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UAD Powered Plug-Ins Manual v7.5
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1. Frequency Frequency determines the center frequency of the band when the band is in peak mode all bands and the cutoff frequency when the band is in shelf mode available with HF LF bands only The frequency for the band can be set using any of these four methods e Drag the inner concentric knob to the desired value e Hover over the inner concentric knob then use the mouse scroll wheel e Click directly on the frequency value label to switch to that value e Click on the band label HF HMF LMF LF to cycle through available val ues shitt click to cycle in reverse UAD Powered Plug Ins Manual 64 Chapter 4 API Vision Console Channel Strip Gain The gain for the band can be set using any of these four methods e Drag the outer concentric knob handle to the desired value e Click the or text labels to increment decrement values e Hover over the outer concentric knob then use the mouse scroll wheel e Click directly on the gain value label to switch to that value this method works only when Controls Mode is set to Circular in the Configuration panel of the UAD Meter amp Control Panel application Peak Shelf Switches The HF and LF bands are in shelf mode by default switches in we down position When the Peak Shelf switch is engaged for the PA band in up position the band is changed to peak mode The de fault value is Shelf amp 550L Pre Dynamics The Pre Dynamics but
2. Low Mid Frequency The low midrange 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 directly on the silkscreen text to specify a frequency or disable the band Note You can also click the midrange symbol below the knob to cycle through the available values or shift click to step back one frequency UAD Powered Plug Ins Manual 252 Chapter 25 Neve 1081 Equalizer The available low mid band center frequencies are 220 Hz 270 Hz 330 Hz 390 Hz 470 Hz 560 Hz 680 Hz 820 Hz 1000 Hz 1200 Hz and OFF When OFF is specified the band is disabled UAD CPU usage is not re duced when the band is OFF Low Mid Q Select m The High Q button switches the response of the low mid band from nor A mal 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 Band The low band delivers smooth low frequency shelving or peak equalization The inner knob controls the band a m ee gt a gain and the outer ring selects the frequency or band TT disable I 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 cont
3. Sidechaining is typically used for de essing and similar frequency conscious techniques To listen 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 283 m This button re routes the UAD Neve 88RS signal Normally the av dio signal is routed from the dynamics module into the EQ module i e the EQ is post dynamics When P DYN is enabled the EQ module precedes the dynamics module Pre dynamics is active when the button is gray and the red indicator illumi nates UAD Powered Plug Ins Manual 286 Chapter 28 Neve 88RS Channel Strip Phase The Phase button inverts the polarity of the signal The signal is inverted when the button is gray and the red indicator illuminates Leave the button inactive unlit for normal phase Output Settee The Output knob controls the signal level that is output from the oo a plug in The default value is O dB The available range is 20 nee CB Power meee 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 is enabled Toggle the switch to change t
4. The bugs have been corrected in the UAD implementation of the plug in but we have provided the option of using the original code for the sake of pure 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 The Display Hold switch alters the behavior of the Numerical Display page 191 In the original hardware the values of parameters that are being modified are displayed for 3 seconds before reverting back to displaying the average decay time The Hold switch changes this behavior When set to infinite the Numer ical Display will continue to show the last modified parameter value When set to infinite and a program is changed the average decay time is displayed until a parameter is moditied Note The last used state of the Display Hold parameter is retained when a new Lexicon 224 plug in is instantiated The Power switch is a bypass control Click the switch to change the Rui Power state When bypassed plug in processing is disabled and the Ei Display Panel and all button LEDs are dimmed Jaai UAD Powered Plug Ins Manual 202 Chapter 18 Lexicon 224 Program Descriptions P1 Small Concert Hall B P2 Vocal Plate P3 Large Concert Hall B P4 Acoustic Chamber P5 Percussion Plate A P6 Small Concert Hall A P7 Room A
5. UAD Powered Plug Ins Manual 446 Chapter 45 SSL E Channel Strip Power Usage Notes The Power button determines whether the plug in is active Click the Power button to disable the processor Power is useful for comparing the processed sound to that of the original sig nal The SSL E Series channel has been used to mix more hit records than any other in history Its no nonsense feature and control set make it easy to get the sound you re looking for A useful approach to getting to know the SSL E is to start with a fresh mix where little to no EQ or dynamic mixing has been done yet Even better start you mix with the SSL G Bus Comp on the master fader as well which will give you the complete SSL sound For an even more authentic SSL experience ad just your DAW s default pan rule usually 3 to SSL s custom 4 5 rule There are two four band LF LMF HMF HF EQ options on the SSL E known as brown and black It is important to note 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 narrower Q and broader gain and frequency ranges making it more useful for fi
6. Determines whether the plug in is active When the Power switch is in the Off position the plug in is disabled and UAD DSP usage is reduced unless UAD 2 DSP LoadLock is enabled UAD Powered Plug Ins Manual 473 Chapter 48 Teletronix LA 2A Leveler Collection Compress Limit This switch sets the compression ratio of the leveler When set to Compress the compression ratio is approximately 3 1 and when set to Limit the ratio is approximately infinity 1 However the compression ratios are nonlinear and frequency dependent so these figures are not absolute Note Like the original hardware this control is unavailable on the Teletronix LA 2 plug in The plug in is hardwired in Limit mode Emphasis The R37 Emphasis set screw knob controls a shelf filter circuit in the com pressor s sidechain input thereby enabling frequency dependent compres sion When the control is fully clockwise the default position the sidechain signal is unfiltered and all frequencies in the source signal that exceed the compres sion threshold will trigger gain reduction equally within the non linear con straints of the electro optical characteristics Rotating the Emphasis control counter clockwise increases filtering of the sidechain signal The Emphasis filter gradually reduces the lower frequency content of the sidechain signal resulting in compression that is less sensitive to those frequencies and more sensitive to high frequency
7. First material Blending bar First material selector pop Second material selector pop up up menu BS aoa Co First material Thickness control Second material Thickness control Figure 124 RealVerb Pro Material panel Note While materials are used to control decay rates as a function of fre quency the overall decay rate of the late field reverberation is controlled from the Timing panel see Figure 126 on page 405 To configure the room material and thickness 1 Select a room material from the first left pop up menu The selected mate rial appears in the left side of the Material circle 2 Adjust the thickness for the first material with the top horizontal slider e A default thickness of 100 yields normal real world decays for the ma terial e Thicknesses beyond the default up to 200 exaggerate how the frequen cies are absorbed and reflected e 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 e A thickness of O yields decay rates that are not affected by the material 3 Select a material from the second right pop up menu The selected mate rial appears in the right side of the
8. 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 curve is green see A B Selector Button on page 72 When Cambridge EQ is dis abled the response curve is grey UAD Powered Plug Ins Manual 70 Chapter 5 Cambridge EQ Zoom Buttons Curve Control Bats The vertical scale of the Curve Display can be increased or reduced with the Zoom buttons This function allows the resolution of the Curve Display to be changed for enhanced visual feedback when very small or very large amounts of boost or cut are applied Four vertical ranges can be selected with the Zoom buttons 5 10 20 and 40 dB 5k idk 20k Figure 16 Vertical resolution of the Response Curve can be changed with the Zoom buttons There are five control bats on the curve display Each bat is color coded and corresponds to each of the five EQ bands The position of the bat on the curve display reflects the frequency and gain of its corresponding band even if the band is disabled 10 tok 20k Figure 17 The Curve Control Bats can be used to control EQ band frequency gain and Q 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 draggi
9. j Equals VCA Control Voltage Figure 139 SPL Transient Designer Sustain Control Voltage UAD Powered Plug Ins Manual 433 Chapter 44 SPL Transient Designer Figure 140 on page 434 displays the processed waveforms with maximum and minimal sustain to compare against the original waveform in diagram 4 Diagram 6 Processed Waveforms Sustain ui l Maximum Sustain NA N NA yor WV ay Ainimum Sustain t ms Figure 140 SPL Transient Designer Processed Sustain 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 UAD Powered Plug Ins Manual 434 Chapter 44 SPL Transient Designer CHAPTER 45 SSL E Channel Strip Large Format Mix Module The SSL 4000 is famous as the console employed on more Platinum selling records than any other With its wide range of VCA compression character istics and intuitive EQ rich with colorful band interdependencies it s easy to hear why Today working in close partnership with Solid State Logic UA proudly unveils the SSL E Series Channel Strip plug in for UAD 2 an exacting circuit emulation of this certified hitmaking machine The SSL E Series Channel Strip plug in allows UAD 2 users on Mac and PC to apply classic SSL 4000 EQ c
10. mea T A Shape Materials lt gt DreamVerb p fe r TE F JE p i La 14 Resonance EAEL T J 7 a i os ian j z L 5 a Pk le wa 7 ra pdi Ee sol ah LiTE TIHU G Positioning Direct 100L E ie Early JE Cheba nce re i 10 a 2003 Invern sud irc Figure 36 The DreamVerb plug in window Signal Flow Figure 37 illustrates the signal flow for DreamVerb The input signal is equal ized then delay lines are applied to the early reflection and late field gener ators The resulting direct path early reflection and late tield reverberation are then independently positioned in the soundfield Source Input Gain Output Pans amp Distance Mute Late Field Reverb Figure 37 DreamVerb signal flow UAD Powered Plug Ins Manual 100 Chapter 9 DreamVerb The DreamVerb user interface Figure 36 on page 100 is similarly organized Reflected energy equalization is controlled with the Resonance panel The pattern of early reflections their relative timing and amplitudes is determined by the room shapes in the Shape panel Figure 40 on page 103 Early reflec tion pre delay slope timing and amplitude are specified in the Reflections panel Figure 42 on page 108 The Materials panel Figure 41 on page 105 is used to select relative late field decay rates as a function of frequency The late field predelay decay
11. plus the AES EQ at 30 IPS The HF Bias calibration parameter allows the user to tune the HF os cillation voltage feed to the magnetic record head striking a balance be tween record sensitivity and distortion 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 be used cre atively All Secondary Controls page 461 can be automatically calibrated to the manufacturer s recommended settings via the A800 s Auto Cal feature or may be disabled Finally separate controls for Hiss and Hum are available each tuned to default settings to match the hardware behavior with a global noise bypass option The primary purpose of Studer A800 is to obtain multichannel tape sonics within the DAW environment To obtain the classic multitrack tape sound the plug in should be placed as the first insert on individual tracks before other processing is applied Creative non standard results can be obtained by placing the Studer A800 in subsequent inserts after other processors or on busses in a send return configuration Mixdown to two tracks can be emu lated by placing the plug in on the stereo output bu
12. Fast active To activate Fast mode click the pull FAST label text or the red indicator just below the Ratio RAT control Fast mode is active when the red indicator illu minates UAD Powered Plug Ins Manual 281 Chapter 28 Neve 88RS Channel Strip L C Release L C Meter EQ Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level The available range is 10 milliseconds to 3 seconds and au tomatic Automatic triple time constant program dependent release time is activated by turning the release control fully clockwise to 3s or by clicking the AUTO label text Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks However if the release is too long compression for sections of audio with loud signals may extend to sections of audio with lower signals Note Fast release times are typically only suitable for certain types of percus sion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results This meter displays the amount of gain attenuation occurring in the limiter compressor module The UAD Neve 88RS Formant Spectrum EQ AMS Neve s descriptor is di vided into four frequency bands see Figure 88 on page 283 High Fre quency HF High Midrange Frequency HMF Low M
13. Power is the plug in bypass control When set to OFF OFF UB emulation processing is disabled the LEDs are dimmed and DSP usage is reduced if UAD 2 DSP LoadLock is dis abled Power is useful for comparing the processed settings to the original signal UAD Powered Plug Ins Manual 212 Chapter 20 Little Labs VOG amplitude r sqe7 29317 frequency a The Little Labs VOG hardware unit Lae z 4g 40 200 100 r fat o c a J J a T Ez 4 Py 1a i F F a 2 A ad f UAD Powered Plug Ins Manual 213 Chapter 20 Little Labs VOG CHAPTER 21 Manley Overview Massive Passive EQ Universal Audio s UAD Powered Plug In versions of the Manley Massive Pas sive EQs represent UA s most ambitious and detailed EQ model to date The two channel four band Manley Massive Passive tube EQ utilizes design strengths from choice console parametric graphic and Pultec EQs deliv ering a fundamentally different sounding EQ that is beyond compare The in credibly natural organic results of the Manley design method evidenced on albums such as Wilco s Yankee Hotel Foxtrot Amon Tobin s Foley Room and Tori Amos A Piano The Collection demonstrate how the Massive Pas sive s natural treatment of a signal lends itself to both radical tonal shaping as well as delicate vocal shading or subtle mastering enhancement Painstakingly modeled over a six month period and rig
14. This program emulates the sound of a small concert hall with moderate initial density and moderately non uniform decay It is optimized for reverb times of 1 5 to 5 seconds for longer decay times P3 Large Concert Hall B is recom mended instead The most natural sound is obtained when Bass and Mid are relatively close to the same setting This program uses the exact same algo rithm as P3 Large Concert Hall B This is a plate reverb emulation optimized for voice It has low initial density and coloration resulting in a clear bright sound This program uses the exact same algorithm as P5 Percussion Plate A but with slightly different inherent diffusion This program emulates the sound of a large concert hall with low density and minimal coloration It is optimized for long reverb times With percussive sounds increasing the diffusion value is recommended This program uses the exact same algorithm as P1 Small Concert Hall B 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 This is a plate reverb emulation optimized for percussive sounds It has high initial density and coloration and sounds best with shorter reverb times This program uses th
15. iliary ettect send configuration The default position in is stereo mode Click the pushbutton switch out to en able Mono mode 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 re duced if UAD 2 DSP Loadlock is enabled Click the pushbutton switch to change the Power state The Power LED is illuminated when the plug in is active This LED style meter indicates the level of the signal at the output of the plug in When the Dimension Mode is OFF but the Power switch is ON audio is not processed but the Output Level meter is still active UAD Powered Plug Ins Manual 416 Chapter 42 Roland Dimension D CHAPTER 43 Roland RE 201 Space Echo Overview In 1973 Roland created the Space Echo system that utilized multiple play heads to create warm highly adjustable echo effects which added wonder ful tape character and chaos to performances and recordings The Space Echo can be heard on numerous recordings from 70 s space rock like Pink Floyd and David Bowie to countless Reggae and Dub albums to more recent bands like Portishead and Radiohead Universal Audio has been entrusted by Roland to re create the highly beloved RE 201 unit considered the best of the Space Echo line Our team spent over a year developing our RE 201 Space Echo which truly captures the physical behavior
16. nels A and B Each channel is transduced to from a coiled length of plastic tubing which provides the acoustic sound columns that define its distinctive sonic character The coils for each channel are at fixed but different lengths which define the available single delay times of 16ms for channel A and 14ms for channel B The two channels can be cascaded in series via external routing for a total available delay time of 30ms at reasonable 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 controls that affect the plug in overall Cooper Time Cube Controls Global Controls Gain The global controls affect both channels of the processor simultaneously COOPER TIME CUBE Mk Il MODEL S20 16 HP FILTER F e COLS COLOR i a oi ry M B Figure 26 The global controls Wet Solo and Power also global controls are not shown here Gain controls the signal input level to the plug in for both A left and B right channels Gain affects the combined wet and dry signals The available range is 15 dB and the 12 o clock position is unity gain UAD Powered Plug Ins Manua
17. Additional attenuation for the Mic input is available via the two position Pad switch Setting the switch to the 15 up position attenuates the Mic signal at the tube input stage by 15 dB In the down position no attenuation is applied Note The 610 B Input Pad is not available for line input Output Level Controls Level Output Level aka the big knob is used to control the gain of the tube out Mee put stage of the preamp Higher fm values add more coloration The amount of available gain using this control is approximately 61 dB for both plug in models Output adjusts the signal level at the output of the plug in without effecting the sonic character of the signal The range is from dB off to 12 dB Sees This control which does not exist on the original OUTPUT hardware facilitates the ability to maximize color of the overall signal For example Gain and Level can be cranked for more dis tortion while lowering Output to normalize levels This is similar to having the line output of a 610 plugged into a console and using the console fader to pad the output of the 610 Tip Click the O label text above the control to return Output to O aB UAD Powered Plug Ins Manual 501 Chapter 51 UA 610 Tube Preamp amp EQ Collection EQ High EQ The UA 610 preamps feature high and low frequency boost cut shelving fil ters with stepped gain controls The equalizers utilize a feedback
18. Amount Rate Rate LED LFO Reset Free Sync Value Wave The LFO low frequency oscillator modulates the filter cutoff frequency Sev eral waveform shapes are available The LFO can be synchronized to the tempo of the host see Free Sync below Amount controls the depth of the LFO filter cutoff modulation A higher value will have a broader filter sweep Rate controls the speed of the LFO The available range is from 0 03 Hz to 25 Hz in Free mode or 16 1 to 1 64 to in Sync mode The LFO Rate LED illuminates in conjunction with the LFO rate once per LFO cycle Clicking this LED resets the LFO cycle see LFO Reset below The LFO is reset to its zero crossing by clicking the LFO Rate LED This param eter can be automated for mixing or bouncing Normally the LFO is free running but this behavior is not always desirable For example 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 This switch defines whether the LFO is synchronized to the tempo of the host application if this feature is supported by the host See Chapter 8 Tempo Sync in the UAD System Manual for more information To ensure the LFO phase is consistent when in Sync mode automate the Reset parameter see
19. At 100 thickness the ratio of low frequency to high frequency decay times is 10 1 This means that the high fre quencies will decay 10 times faster than the low frequencies At 200 thick ness this is multiplied by two high frequencies decay at 20x the rate of the low frequencies At negative 100 the sense of low frequency and high fre quency is swapped low frequencies decay 10 times faster than the high fre quencies Many hardware and software reverbs tend to compensate for the high fre quency absorption that air provides RealVerb Pro instead provides Air as a material 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 the materials under two headings those that tend to reflect high frequencies and those that tend to absorb them They are listed in order of their transition frequencies from lowest to highest Table 29 Materials with high frequency absorption e Table 30 Materials with high frequency reflection Co S UAD Powered Plug Ins Manual 402 Chapter 40 RealVerb Pro Resonance Equalization The Resonance panel has a three band parametric e
20. Chapter 19 Little Labs IBP CHAPTER 20 Little Labs VOG Bass Resonance Processor History For many top engineers the Little Labs VOG Voice Of God is the ultimate bass resonance tool for mixing Available for the first time as a plug in the Lit tle Labs authenticated VOG for the UAD 2 platform accurately models the sonic characteristics of this unique 500 series hardware audio processor in every detail The VOG is used to accurately target and accentuate low fre quency material from vocals to bass guitar and drums adding both heft and precision beyond a simple EQ Put simply it s like a magnifying glass for the bottom end of your mixes One of the most important components of any good mix is blending the low frequencies together in such a way 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 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 release of the UAD Little Labs IBP plug in widely recognized as one of the most versatile phase cor rection plug ins available today Continued collaboration between Universal Audio and Little Labs now provides another instant studio classic the VOG Upon its introduction in 2009 ow
21. Doubler Doubler mode is active when the button is in the up white position This sottware only switch modifies the processed signals at the out puts when used in a stereo output configuration The control does not switch the processor between mono and ste reo modes both modes are true stereo when configured for stereo output In both stereo modes Single and Dual stereo separation of the dry signals is maintained and the stereo signal is not mixed to mono before processing is 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 phase When in the down gray position Dual mode is active When Dual mode is enabled in a stereo out configuration the processing is applied to both the left and right channels In this mode the settings are the same for both processors but a phase difference of 180 antiphase is ap plied between the Sweep LFO of the two channels When Sweep Width is above 0 in Dual mode this phase offset produces a swirling effect that pans back and forth UAD Powered Plug Ins Manual 239 Chapter 23 MXR Flanger Doubler
22. IN Gain Reduction Meter Fade Available Release times are discrete values of 100ms 300ms 600ms 1 2s and Auto The Auto release characteristic for SSL G Bus Compressor has a unique quality that is optimized for program material Ratio defines the amount of gain re duction to be processed by the compressor For example a value gt lt gt of 2 expressed as a 2 1 ratio re _ duces the signal above the thresh RATIO old by half with an input signal of SSL G SERIES 20 dB being reduced to 10 dB The STEREO COMPRESSOR available Ratio values are 2 1 4 1 and 10 1 The Power button determines whether the plug in is active Click the Power button to toggle the processor state Power is useful for comparing the pro cessed sound to that of the original signal 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 reduction The SSL G Bus Compressor provides a Fade function that upon activation automatically reduces the plug in out put to minimum within a specified time period This function enables ex tremely smooth sounding fade outs and fade ins plus it can be automated as well The Fade function processes the signal at the output of the compressor The fade signal level that is output has an exponential curv
23. Midrange Band 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 DSP usage is reduced unless UAD 2 DSP Loadlock is enabled Note Clicking the OFF screen label toggles between OFF and the previously set Input Gain value You can also click the Neve logo to toggle between OFF and the previous state The High Shelf knob offers approximately 18 dB of smooth tixed frequency shelving equalization at 12 kHz Rotate the control clockwise to add the famous high end Neve sheen or counter clockwise to reduce the treble re sponse The midrange band is controlled by dual concentric knobs delivering smooth semi parametric midrange equalization 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 below Midrange Gain The equalization gain for the midrange band is selected with the inner knob of the dual concentric control The available range is approximately 18 dB Midrange Frequency The Mid 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
24. Release Knob 88 510 Index INDEX Resonance panel 101 Response Curve Color 70 Response Curve Display 70 Reverb Time Meters 13 1 Reverberation panel 101 109 Roland 415 416 Roland CE 1 Controls 412 Roland CE 1 Overview 411 Roland Dimension D 415 Roland Dimension D Controls 416 Roland Dimension D Overview 415 Roland Dimension D Screenshot 415 Roland RE 201 417 Roland RE 201 Controls 418 Roland RE 201 Interface 418 Roland RE 201 Screenshot 418 Room Shape and Material 396 R Pan Knob 92 95 RS 1 Controls 94 RS 1 Reflection Engine 93 Screen Shots 15 Secondary Controls 461 Shape 366 Shape Blending Bar 104 Shape Menus 104 Shape Panel 103 Shape panel 101 Shape Pop up Menu 94 Shelf Enable Button 78 Shelf EQ 78 Shelf Type Button 78 Signal Flow 100 Size 113 Size Knob 94 Slope 110 Solo 327 Solo Display 381 Space 113 UAD Powered Plug Ins Manual Spatial Characteristics 113 Spectral Characteristics 398 spectral characteristics 109 Speed 327 SPL Transient Designer 424 SPL Transient Designer Applications 427 SPL Transient Designer Controls 425 SPL Transient Designer Screenshot 424 SPL Transient Designer Technology 431 Split 328 SSL G Buss Compressor 449 SSL G Buss Compressor Controls 450 SSL G Buss Compressor Screenshot 449 SSL G Channel Strip 435 SSL G Channel Strip Controls 436 SSL G Channel Strip Screenshot 436 Stereo 185 Stereo Mode 340 Stereo Operation 472 Studer A800 454 Studer A8
25. Sweep This continuous control determines the delay time of the processor The delay time is modulated by the Sweep LFO when the Width value is higher than 0 The available range of the control depends on the set ting of the Effect button In Flanger mode the available delay time range is 4 9 milliseconds to 0 33 millisec onds In Doubler mode the available delay time range is 66 milliseconds to 18 5 milliseconds The Sweep parameters Width and Speed control the LFO Low Frequency Oscillator that modulates the delay time of the proces sor Width Sweep Width controls the amount of nod _ SSSSSSS lation applied to the delay time LFO The available range is O 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 minimum to maximum Speed Sweep Speed controls the rate of modulation applied to the delay time LFO The available range is 0 02 Hz to 15 96 Hz this is the actual range of the original hardware the knob text on the hardware panel doesn t match ex actly The current speed is indicated by the Sweep LEDs and also shown in the Rate Display The Sweep Speed can be synchronized to the tempo of the host application
26. and unique filter ampli tier clipping behaviors providing full suspension of disbelief these plugins fulfill sonic requirements that previously only the API hardware could provide Based on vintage units provided by Ross Hogarth and Capitol Studios both plug ins provide era specitic features and behaviors and a remarkable model of API s custom 2520 and output transformer the results are fantastic low frequency transparency and tight imaging which is that legendary API punch in your gut sound Like with the hardware the EQs are extremely fast to set reliable and uniform and deliver that one of a kind API high headroom precision If you want the sound of classic American music you need the API EQs UAD Powered Plug Ins Manual 45 Chapter 3 API 500 Series EQ Collection API 500 Series EQ Collection Screenshots _4 i ai ir OUTPUT 24 yg i2 OUTPUT Figure 5 The API 550A EQ left and API 560 EQ right plug in windows UAD Powered Plug Ins Manual 46 Chapter 3 API 500 Series EQ Collection Operational Overview API 500 Series Collection API 550A API 560 Proportional Q Artist Presets API 500 Series Latency The API 500 Series EQ Collection includes the UAD API 550A and UAD API 560 plug ins which are officially licensed from and endorsed by Automated Processes Inc Both plug ins meticulously model the entire electronic path in cluding custom API 2520 op amps transformers ban
27. band except the frequencies see Frequency COMPRESS Ss Controls on page 379 aps a The Band Controls for each of the five bands a are identical THRESHOLD ALL Only one set of Band Controls is displayed at a time The control set for any particular band is displayed by selecting the band see Band Se lect on page 372 475 POW rs RAI ALL GAIN ALL a F aF Faa q 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 which band pa rameters are displayed in the band controls section Click the button to dis play the parameters for the band UAD Powered Plug Ins Manual 372 Chapter 38 Precision Multiband Band Parameters All Button EQ Display Selection iy For example clicking within ly the area shown here will se i lect the LMF band Because the Band Controls for each of the five bands are identical they are only described once The ALL button provides a facility to link controls and copy parameter values to all bands when adjusting the current band Each of the Band Controls has an ALL button The behavior of the ALL button is the same for all the Band Controls in all the bands with the exception of the Type switch see Type Switch on page 374 The ALL but
28. elements do not illuminate plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 LoadLock is enabled Click the switch or the OFF ON labels to change the set ting or click the UA logo to toggle the setting UAD Powered Plug Ins Manual 353 Chapter 35 Precision K Stereo Ambience Recovery Factory Preset Notes by Bob Katz Precision K Stereo includes factory presets designed by Bob Katz for use with his signature plug in Descriptions about these presets are listed below The Default preset and presets with the BK prefix are the settings created by Mr Katz Two categories are included MIX presets for use during mixing and MSTR for use during mastering Default When Precision K Stereo is instantiated it automatically starts with the Default preset which sets the Ambience Level to O dB a nominal starting point which works well with a lot of music engages Wide and Deep and sets everything else to neutral Feel free to turn the Ambience Level up or down to taste or to explore the possibilities The rest of the factory presets are provided to dem onstrate possibilities but since there are very few controls it s easy to get the Precision K Stereo working for any situation BK MSTR Rock This preset has Ambience Level at O dB Wide and Deep engaged and the Tight Bass Ambience Low Cut filter set to 125 Hz to maintain a tight bass instrument while increasing the size and depth of the rest o
29. kHz and OFF When OFF is specified the high cut filter is disabled UAD CPU usage is not reduced when OFF Low Cut The outer silver dual concentric 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 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 phase The equalizer is engaged when the EQ switch is in the In lighted position To disable the EQ put the switch in the Out unlit position Click the button to toggle the state In the hardware 1081 the audio is still slightly colored even when the EQ switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Therefore the signal will be slightly colored when this switch is in the Out position UAD DSP usage is reduced when the EQ is by passed with this control unless UAD 2 DSP LoadLock is enabled If a true by pass is desired use the OFF position of the Inout Gain on page 250 con trol UAD Powered Plug Ins Manual 254 Chapter 25 Neve 1081 Equalizer Neve 1081SE Figure 78 The Neve 1081SE plug in window Overview The UAD Neve 1081SE is derived from the UAD Neve 1081 It
30. low Band 2 3 and 4 Band 5 high shelving control Edge control bats shelving control Figure 38 DreamVerb Resonance panel The equalizer can be disabled with this switch When the switch is off black instead of grey the other resonance controls have no effect This switch has no effect on the direct signal path Each of the five bands has its own amplitude gain control The amplitude range of each band is 30 dB to 20 dB To adjust the amplitude of bands 2 3 and 4 grab the control bat for the band and drag vertically or use the direct text entry method For bands 1 and 5 drag the horizontal line these do not have a control bat 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 this parameter is more pronounced if the amplitude of adjacent bands is significantly different than that of the band whose edge is being adjusted UAD Powered Plug Ins Manual 102 Chapter 9 DreamVerb Shelving The simplest and often most practical use of the equalizer is for low and or high frequency shelving This is achieved by dragging the left most or right most horizontal line the ones without control bats up or down which boosts or cuts the energy at these
31. mono source feeding the DM 1 on a stereo group track or send effect On a mono disk track it works exactly like Dual Delay Sets the modulation rate for the delayed signal expressed in Hertz Sets the modulation 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 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 O 90 or 180 degrees Sets the amount of processed signal fed back into its input Higher values in crease the number of delays and intensity of the processed signal Recirculation allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If Recirculation dis plays a positive value all the delays will be in phase with the source If it dis plays a negative value then the phase of the delays flips back and forth be tween in phase and out of phase In the flanger mode Recir has the potential to make some very interesting sounds Try turning RECIR fully clockwise or counter clockwise and set the de lay to very short but different values UAD Powered Plug Ins Manual 91 Chapter 7 CS 1 Channel Strip Damping Knob Wet Dry Mix Knob L Pan Knob R Pan Knob Enable Bypass Switch Output Knob DM
32. 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 Roland to accurately model the CE 1 and the results are nothing short of spectacular Boss CE 1 Screenshot Figure 131 The Boss CE 1 plug in window UAD Powered Plug Ins Manual 411 Chapter 41 Boss CE 1 Chorus Ensemble Boss CE 1 Controls Clip LED Normal Effect Switch Rate LED Vibrato Chorus Switch Stereo Mode Switch The Boss CE 1 has two operating modes chorus and vibrato Only one mode can be active at a time The operating mode is set using the Vibrato Chorus switch The red Clip LED illuminates when signal peaks in the plug in occur This is an effect bypass switch Click to enable disable the cho rus or vibrato effect The effect that will be heard is determined by the Vibrato Chorus switch The active state is black text The inactive state has gray text The default state is effect This is not a plug in bypass switch The hardware CE 1 has a slight 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
33. on page 359 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 dynamic range and fidelity The Type switch defines the O dB point in the meter scale see Sliding Meter Scale on page 359 There are three different K System meter scales with O dB at either 20 14 or 12 dB below full scale for typical headroom and SNR requirements of various program materials UAD Powered Plug Ins Manual 359 Chapter 36 Precision Limiter Each of these modes displays the The RMS and instantaneous peak levels which follow the signal and the peak hold level see Meter Response on page 361 PK RMS Figure 109 Precision Limiter Meter Types K 20 K 20 mode displays O dB at 20 dB below full scale K 20 is intended for ma terial with very wide dynamic range such as symphonic music and mixing for tilm for theatre K 14 K 14 mode displays O 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 O dB at 12 dB below full scale K 12 is recommended for material intended for broadcast Peak RMS This is what is often considered a normal digital meter where O dB is full scale
34. set the pan law preference in the host to a value of 4 5 dB UAD Powered Plug Ins Manual 436 Chapter 45 SSL E Channel Strip Filters Low Pass Filters to Sidechain DYN SC In addition to the four band EQ UAD SSL E Channel Strip offers individual high and low pass filters FILTERS When the Filter control is at minimum value fully counter clockwise the filter is disabled The control ranges and sonics of these filters can be changed between Black and Brown modes with the EQ Type switch See EQ Type on page 442 for more information High Pass The left knob determines the cutoff frequency for the high pass filter Rotate clockwise to reduce low frequencies In Black mode the slope of the high pass filter is 18 dB per octave and the available range is 16 Hz to 350 Hz In Brown mode the slope of the high pass filter is 12 dB per octave and the available range is 20Hz to 350 Hz The right knob determines the cutoff frequency for the low pass 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 This button enables the Filters sidechain function When the Filters sidechain is active signal output from the Filters module is removed from the audio path and is instead routed to
35. sidechain of the com pressor only It does not filter the audio signal Tatil This parameter determines the threshold level for the onset of i compression Incoming signals that exceed this level are com pressed Signals below the level are unaffected The available threshold range depends on ratio setting At higher Ratio values more headroom is available Since the plug in is designed primarily as a buss compressor where signal levels typi cally run hotter than individual tracks this feature increases the control reso lution for fine tuning these higher levels UAD Powered Plug Ins Manual 321 Chapter 30 Precision Buss Compressor Ratio Attack Release When Ratio is changed the Threshold value is updated accordingly When Ratio is set to 2 1 the Threshold range is 55 dB to O dB When Ratio is set to 4 1 the Threshold range is 45 dB to 10 dB When Ratio is set to 10 1 the Threshold range is 40 dB to 15 dB Note When Ratio is changed Threshold numerical values are updated but the Threshold knob position does not move As the Threshold control is decreased and more compression occurs output level is typically reduced Adjust the Gain control to modify the output to com pensate if desired Ratio determines the amount of gain reduction for the compres sor For example a 2 1 ratio reduces the signal above the threshold by half with an input signal of 20 dB being reduced to 10 dB The available R
36. the positioning of microphones in an echo chamber As the value is in creased the apparent distance from the source increases The available range is 0 71 with zero being close and 71 being far the numbers are arbitrary The default value is program dependent Note Depth 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 ShiftDepth changing the diffusion value re quired holding down the shift button while adjusting the depth amount lt REVERB gt DIFFUSION Click the left lt decrement button to decrease the Diffusion value click the right gt increment button to increase the value The available range is O 63 the numbers are arbitrary The default value is program dependent Table 18 on page 205 lists the default values for each program Note Diffusion is unavailable in P4 Acoustic Chamber Zero is the least dense setting Density increases as the Diffusion value is in creased but setting Diffusion higher than 40 can actually sound less dense The fastest density buildup is achieved with Diffusion values near the middle of the range approximately 32 37 UAD Powered Plug Ins Manual 195 Chapter 18 Lexicon 224 Predelay Immediate Highe
37. trom 80 dB to O 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 the late field reverberations left or right from 1 300 milliseconds to affect the delay between the dry signal and the on set of late field reverberations The Predelay time is indicated in the text tield at the bottom of the Timing panel UAD Powered Plug Ins Manual 405 Chapter 40 RealVerb Pro 3 Drag the Decay Time control for the late field reverberations left or right from O 10 96 00 seconds to affect the length of the reverb tail The De cay Time is indicated in the text field at the bottom of the Timing panel 4 To affect how quickly the late field reverberations become more dense ad just the Diffusion control at the right of Late Reflection display in the Timing panel The higher the Diffusion value near the top of the display the more rapidly a dense reverb tail evolves Positioning One of the unique features of RealVerb Pro is the ability to separately position the direct path early reflections and late field reverberation The Position panel see Figure 127 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 respo
38. with Hi Q selec tions for tighter boosts or cuts Both the high and low shelf filters have select able frequencies and may be switched to bell filters Other features include a 20 to 10 dB input gain control phase reverse and EQ bypass The bands are arranged and grouped as in Figure 77 below The bands fea ture dual concentric controls For each of the main bands the inner knob con trols 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 indepen dent filters Band Layout High High mid Gain Frequency Low mid Low Low cut ring band band inner knob outer ring band band High cut knob Figure 77 Neve 1081 band control 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 DSP usage is re duced unless UAD 2 DSP Loadlock is enabled Note Clicking the OFF screen label toggles between OFF and the previously set Input Gain value You can also click the Neve logo to toggle between OFF and the previous state UAD Powered Plug Ins Manual 250 Chapter 25 Neve 1081 Equalizer High Band High Mid Band The high band delivers smooth high frequency shelving or peak equalization The inner knob controls the band gain and the outer ring selects the
39. 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 Classic Mode In Classic mode the CE 1 behavior is similar to that of a mono in stereo out configuration The left and right channel inputs are mixed to mono and the dry signal mixed left and right channels appear at the left output and the wet effect signal appears at the right output This knob determines the signal level at the output of the plug s a in The range is O 100 OO wn Sy Note This is not a wet dry mix control level ia When CE 1 is in chorus mode the amount of chorusing effect is vue determined by this knob Note When in vibrato mode chorus intensity has no aftect UAD Powered Plug Ins Manual 413 Chapter 41 Boss CE 1 Chorus Ensemble Vibrato Controls These two knobs control rate and depth of the vibrato effect when CE 1 is in vibrato mode Depth Knob The depth knob controls the intensity of the vibrato ef fect Rate Knob The rate 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
40. 1L The RECIR units are expressed as a percentage in all Modes except Dual De lay and Ping Pong In these modes RECIR values are expressed as T60 time or the time before the signal drops 60 decibels This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness Higher values yield a brighter sig nal Damping also mimics air absorption or high frequency rolloff inherent in tape based delay systems This control determines the balance between the delayed and original signal Values greater than 50 emphasize the wet signal and values less than 50 emphasize the dry signal A value of 50 delivers equal signals A value of O is just 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 SOUICE 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 Sets the stereo position for the right channel allowing you to adjust the width or balance of the stereo signal For a mono signal R Pan behaves as the level control for the right delay tap Enables or disables the Delay Modu
41. 20 to O dB with a default value of 4 dB unity gain Fairchild 660 The available range is Infinity off to O dB with a default value of 14 dB unity gain Note Like the 660 hardware there is some signal leakage even when Input Gain is set to Inf Fairchild 670 Legacy The available range is 20 to O dB with a default value of 18 dB unity gain Threshold This continuously variable control determines the amount of compression to be applied to the channel Rotate clockwise for more compression increasing the control lowers the threshold In the Fairchild 670 the default value is 1 5 In the Fairchild 660 the default value is 5 LEFT THRESHOLD UAD Powered Plug Ins Manual 164 Chapter 14 Fairchild Tube Limiter Collection Time Constant Input Gain versus Threshold The amount of signal compression is determined by both the Input Gain and Threshold controls If one is increased and the other decreased the compres sion characteristics won t change much but the distortion characteristics will The input control is located ahead of the tubes directly behind the input transformer Therefore as the input control is increased the input tube the gain varying stage is hit with more signal which can increase distortion which may or may not be desirable Tip For less distortion with the same amount of compression lower the input gain and increase the threshold control This 6 position switch
42. 3 L oR EQ Controls This group of parameters contains the controls for EMT Eo 140 s onboard utility equalizer It is a two band low and O on y high shelving EQ that uses analog sounding algorithms oT SI for great tonal shaping options LO FREQ Al FREQ The EQ section is independent from the reverb algorithms and the Input Filter on the modeled plate systems See In put Filter on page 130 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 gS edge level 4 2 Note There is one EQ per plug in instance Each plate J model A B C within a preset cannot have unique EQ values EQ Enable The EMT 140 equalizer can be disabled with the EQ Enable switch UAD DSP usage is not increased when EQ is enabled Low Frequency This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low band Gain setting The range is 20 Hz to 2 kHz UAD Powered Plug Ins Manual 132 Chapter 11 EMT 140 Plate Reverb Because this is a shelving EQ all frequencies below this setting will be af tected by the low band Gain value Low Gain This parameter determines the amount by which the transition frequency set ting for the low band is boosted or attenuated The available range is 12 dB in increments of 0 5 dB fine control or 1 0 dB coarse control High Frequency This parameter
43. A Range was employed to record some truly great 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 reproduced the EQ section from the specific Trident A Range console used to record classic albums by both The Police and Rush One of only 13 ARange consoles ever built this desk was hand picked by El liott Smith for his private studio and now resides at New Monkey Studio in Van Nuys CA Trident A Range EQ Screenshot Figure 150 The Trident A Range EQ plug in window UAD Powered Plug Ins Manual 477 Chapter 49 Trident A Range EQ Operational Overview Unique Band Interactions amp Distinct Cut Filter Combinations The unique inductor based EQ section of the board is what the Trident A Range sound is all about A series of three high pass filters and three low pass filters are arranged at the ends of the EQ section see Figure 151 These are unique in that the switches can be pushed in simultaneously offering dis tinct cut filter combinations with unusual filter curves The rest of the EQ section contains four bands low shelf low mid bell high mid bell and high shelf
44. ATH a a Independent Controls O Each microphone pair has its own set of controls that can be independently adjusted The individual microphone controls are Selection Distance High Cut Filter Low Cut Filter Polar ity Invert Mute Balance and Level For details about how to operate these controls see Mic Selection on page 309 MUTE 25 i l Et _ A ka 2 Generally speaking the closer a microphone pair is to the source the less room ambience is captured by the micro phones so a Far microphone pair will tend to have more am bience more live than a Near microphone pair s E E r D 0 s _ ts Note Just as in the physical realm there can be signal phase interactions when using more than one microphone si multaneously For details see Phase Considerations on page 300 The microphone placement positions within the studio rooms are specified by Allen Sides based on his expertise of which microphone positions produce great results for a given studio and source Although these pre defined micro phone positions cannot be moved from side to side they can be moved closer or farther with the Distance control UAD Powered Plug Ins Manual 295 Chapter 29 Ocean Way Studios Distance Distance Delay Aligned Overview The distance from the microphone pair to the source can be dynamically adjusted using the Distance control Just as when recording with microph
45. Bot Kak 00dB i Figure 103 The Precision K Stereo plug in window UAD Powered Plug Ins Manual 345 Chapter 35 Precision K Stereo Ambience Recovery Operational Overview Ambience Recovery Primary Application Mid Side Leveling The primary function of Precision K Stereo is for ambience recovery and en hancement The plug in doesn t add new ambience or change the balance of the mix Instead it extracts recovers polishes and embellishes the ambience that already exists in a source recording Precision K Stereo does not use any comb filters matrixing phase processing or related techniques which are used in typical image processors Instead the ambience recovery process is accomplished using established psychoacous tic principles The result is a smooth natural phase coherent and mono com patible sound that meets professional mastering standards In addition to ambience level and enhancement adjustments the ambient por tion of the source material can be further equalized using low high cut filters and a fully parametric bell filter These ambience filters affect the wet signal only and are completely independent from the dry portion of the recording Precision K Stereo is designed for use during the mastering process to fine tune the ambience that exists in previously mixed stereo program material Generally speaking adjusting ambience during multitrack mixdown is best managed within the mix it
46. Chapter 36 Precision Limiter Precision Limiter Screenshot OUTPUT ai 24 a l a I GAIN Se a E 2 O a REDUCTION os UNIVERSA LIMITER a AUTE PRECISION H F INPUT FRIES METER OUTPUT l HOLD d ea CLEAR 1000 OFF i SCALE TYPE ZOOM k 2ll NORMAL PK RMS Figure 108 The Precision Limiter plug in window Controls Overview Control knobs for the Precision Limiter behave the same way as all UAD plug ins Input Output and Release values can be modified with text entry The Precision Limiter introduced a new control style for UAD plug ins For the Mode Meter Scale and Clear parameters click the parameter label the value text or the LED to toggle between available values Precision Limiter Controls Input The Input knob controls the signal level that is input into the limiter Increasing the input will result in more limiting as the input signal exceeds O dB The default value is O 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 O dB internally and the actual output is set by attenuating this internal level Likewise the input control can drive the signal over O dB to get more limiting If the Precision Limiter is the last processor in the signal path when mixing down to disk bouncing the Output value will be the level of
47. EQ curves One result of not using negative feedback loops in the design is that the gain control for a band cannot have a bipolar boost and cut control Only band gain is available how that band gain is applied either as a boost or as a cut is specitied with a separate toggle switch Due in large part to the above points the Massive Passive controls are much more interactive with and interdependent upon each other We encourage experimentation with an open mind without expectations 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 val plug ins The Massive Passive Mastering has nearly the same features and control set plus all the musicality of the standard version with a few tweaks that offer more practical functionality for program material The Mastering version fea tures include e Stepped channel gain band gain and bandwidth controls for repeatabil ity e Channel gain and band gain ranges are reduced for finer resolution e Low high pass filter frequencies and slopes are optimized for mastering The Mastering Massive Passive is identified by the all black flat top band gain and bandwidth control knobs and the word MASTERING
48. Jimi Hendrix Experience live at the Monterey Pop Festival where he first set his guitar on fire In the early 70s long before this one of a kind desk s historical significance could be anticipated Neil Young bought the 12 channel board from Wally Heider Young immediately moved it to his Broken Arrow Ranch He installed the desk in his barn which he used as a recording studio and employed it to record his seminal record Harvest and may other classic albums The Green Board remains at Broken Arrow Ranch and is still in use today UAD Powered Plug Ins Manual 504 Chapter 51 UA 610 Tube Preamp amp EQ Collection The original Wally Heider Green Board console containing 12 vintage UA 610 A preamplifier modules The Universal Audio 2 610 Dual Channel Tube Preamplifier UAD Powered Plug Ins Manual 505 Chapter 51 UA 610 Tube Preamp amp EQ Collection INDEX Numerics 1176 Classic Limiter Collection 483 1176 Controls 489 1176 History 483 1176 Plug In Family 485 1176 Screenshots 484 1176LN 483 AK Buss Compressor 449 AK Channel Strip 435 610 Screenshots 495 610 Tube Preamp amp EQ Collection 494 610 Tube Preamp Collection 494 A A B Selector 72 271 342 414 416 422 acoustical space 105 AGC Mode 166 Air Blending 107 Air Density Menu 106 algorithm 104 All Button 373 Allen Sides 290 Ampex ATR 102 18 Ampex ATR 102 Manual Calibration Notes 42 Ampex ATR 102 Manual Calibration Procedur
49. 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 the HF decay factor is x 1 0 at approximately three sec onds The multiplier refers to a factor of the main decay time lever 1 Higher values upper lever positions generally result in more high frequency content in the reverb tail Predelay Lever 4 Lever 4 is used as a typical reverb predelay parameter See Lever 4 Predelay on page 138 for more information Front Rear In Reverb mode the Front Rear Outputs switch is illuminated Changing the switch setting will yield a slightly different effect See Front Rear Outputs on page 138 for more information UAD Powered Plug Ins Manual 141 Chapter 12 EMT 250 Electronic Reverberator Delay Delay program mode offers two independent delay processors one each for the left and right output channels Up to 375ms delay time is available for each channel Delay repeats feedback are not available in Delay mode use Echo mode if delay feedback is desired Note The maximum per channel delay time of 375ms in Delay mode is ob tained by setting the coarse fine and predelay times to their respective max imum values Coarse Delay Time Lever 1 Lever 1 controls the coarse delay time for the cur
50. Low Mid Frequency The center frequency of the low mid filter is specified by this knob Four center frequencies are available 2 kHz 1 kHz 500 Hz and 250 Hz Low Mid Gain The gain for the low mid filter is specified by the horizontal slider control The available range is approximately 15 dB The gain value is zero when the slider is in the center position The low shelf offers low frequency shelving 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 The band gain sliders can be instantly moved to any position by clicking any where within its range Tip Clicking just above or below the O zero graphic returns the associ ated slider to its center zero gain position The band gain sliders will jump to any position clicked within the red zones Click near the 0 to return to zero gain Figure 152 Trident A Range slider shortcuts UAD Powered Plug Ins Manual 480 Chapter 49 Trident A Range EQ High Pass Filters Three high pass filters are available and they can be used si multaneously in any combination The available cutoff frequen er cies are 100 Hz 50 Hz and 25
51. Maximizer Satellite Satellite DUO Satellite QUAD Apollo Apollo DUO Apollo QUAD Apollo 16 Analog Ears Digital Minds and Helios are trademarks or registered trademarks of Universal Audio Inc Other company and product names mentioned herein are trademarks of their respective owners Universal Au dio Inc End User License Agreement By installing the software you confirmed your accep tance of the Universal Audio End User License Agree ment as well as the Universal Audio terms of service and privacy policy and any additional Third Party Software terms all of which can be found at www uaudio com eula TABLE OF CONTENTS Chapter 1 Documentation amp Support ccc ccccccccscccvcscsces 14 UAD Documentation Overview 0 00 ccc cece eee eee beeen nn nennnes 14 CUSIOMEer SUDCON san 66sann eae Bene eters nes peor s eae senate mene aes 17 Chapter 2 Ampex ATR 102 0 cc ccccccccccccccnsvccssscees 18 Mastering Tape Recorder 0 6 occ nennu arraunera rnern 18 Ampex ATR 102 Screenshots nnana nanunua unuara rarae eearri 19 Operational Overview nannua naurun need nnn eee 20 Primary CONOS cu ciae case ceendeduotnasude En EE EOR AER ENPRE seas 23 Secondary Controls n onanan annaua eee ereraa 31 Manual Calibration Procedure onana uaananann nnana en anaran nanenane e 39 Manual Calibration Notes nanana nananana eneren n arare 42 Parameter Dependencies nunnan unn
52. OUT position the band is disabled Note When set to OUT the other band controls have no effect UAD Powered Plug Ins Manual 217 Chapter 21 Manley Massive Passive EQ Shelf Bell Band Gain The Shelt Bell toggle switch defines the shape of the filter band A unique aspect of this control is that unlike other EQs where only the edge frequencies offer a shelving mode with Massive Passive all bands can be used in either mode for expanded sonic possibilities Note The Bandwidth control page 219 affects the slope of the band filters in both Shelf and Bell modes Shelf The two lowest leftmost bands can each be in Low Shelf mode the two high est rightmost bands can each be in High Shelf mode Shelf slopes generally boost or cut towards the highs or lows thus the high shelves and low shelves The two middle shelves are almost the same as the outer ones but just have other interleaved frequency choices Bell Bell curves focus their boost and cut at a given frequency the Frequency on page 221 and the further away the signal is from that frequency the less boost or cut is applied 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 ke wise position to the maximum value at the fully clockwise posi WE tion Whether the gain is applied as a boost or cut is defined by the Boost Cut Out switch page 217 WT bh The range
53. Parametric 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 Il and Ill The filter algorithm is the same in all three parametric types The difference is in the dependency between the gain and Q parameters Each parametric type has its own response characteristics In Type mode the Q remains constant regardless of the gain setting In Type ll mode the Q increases as gain is boosted but remains constant as gain is attenuated In Type Ill mode the Q increases as gain is boosted and attenu ated See Figure 19 Figure 20 and Figure 21 The Q bandwidth knob sets the proportion of frequencies surrounding the center frequency to be affected by the gain control The Q range is 0 25 16 higher values yield sharper slopes UAD Powered Plug Ins Manual 75 Chapter 5 Cambridge EQ Type Type Il Note that the Q numeric value in relation to its knob position is warped i e not linear and varies according to the parametric type When set to Type I the bandwidth remains at a fixed Q regardless of the gain setting for the 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 a
54. 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 DSP LoadLock is enabled Click the rocker switch to change the Power state UAD Powered Plug Ins Manual 414 Chapter 41 Boss CE 1 Chorus Ensemble CHAPTER 42 Overview Roland Dimension The Roland SDD 320 Dimension D is another classic effect faithfully repro duced by our ace modeling engineers The Dimension D is a one of a kind stu dio gem that adheres to the principle of doing one thing and doing it ex tremely well Its one and only function some of the best sounding stereo chorus ever made However the Dimension D is more than a chorus it is re ally a unique sound enhancer for adding spatial effects to mono or stereo sources The Dimension D does 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 Roland company to emulate this classic studio tool Universal Audio went to great lengths to preserve this Bucket Brigade chorus with all its unique design ele
55. Precision Multiband Dynamics Meters Meter Labels Band Enable Buttons Band Solo Buttons Realtime display of Precision Multiband dy namics processing is shown in the Dynamics Meters This area also contains the band en able and band solo controls There is one vertical dynamics meter for each band They are color coded to match the bands and represent from left to right the LF LMF MF HMF and HF bands respectively Dy namics processing for each band is indicated by light blue LED style metering Zero GB is at the center of the meter and the fee mil ronge is 15 dB Downward negative meter 345 4 9 269 5 f ing indicates compression is occurring on the band Upward positive metering indicates ex pansion is occurring j 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 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 Each band has an Enable button The Enable but ton for the band is just below its dynamics meter The band is active when its Enable button is light blue Click the button to toggle the active state of the band Disabling bands does not reduce UAD CPU usage e eee Each ban
56. Raising the threshold for rising signal levels prevents noise from turning 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 counter clockwise switches the gate off and the 1 2 downward expander on Note Expander mode can also be activated by clicking the EXP label text near the knob When EXP is clicked again the knob returns to the previous value in gate mode GATE Hysteresis cI THR Ou Range dE In Figure 87 Hysteresis in the Neve 88RS Gate ma Threshold defines the input level at which expansion or gat ing occurs Any signals below this level are processed Sig nals above the threshold are unaffected UAD Powered Plug Ins Manual 277 Chapter 28 Neve 88RS Channel Strip Gate Ex Threshol 40 dB Gate ExpR mee xp Range Gate Ex Release REL The available range is 25 dB to 15 dB A range of 25 dB to 65 dB is available when the 40 dB switch is engaged see Gate Exp Threshold 40 dB on page 278 In typical use it s best to set the threshold value to just above the noise floor of the desired signal so the noise doesn t pass whe
57. T UPUT 1 1 gain A E ri unlink mono 22 Ae d hi 14 i li Btered 1 aL TPUT 3 2 aag6uS 6 PRECISION oi EREO LIMITER COMPRESSOR The interface elements that are not directly contained within the compressor or limiter are detailed below This control is a software only addition not found on the original hardware It is an overall makeup gain stage at the output of the plug in to compensate for reduced levels as a result of compression and or limiting The available range is 2 to 20 in 1 dB increments The Gain Reduction Meters indicate the amount of gain reduction that is oc curring in dB There is one meter for each channel The gain reduction dis played is the total reduction of the limiter plus the compressor UAD Powered Plug Ins Manual 266 Chapter 27 Neve 33609 Compressor Link Mono Stereo Note The meter indicator moves farther to the right as more gain reduction is occurring This meter behavior is opposite that of many compressors 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 operation is desired The Link parameter is stored within presets and can be accessed via automation Unlink When set to unlink up position the controls for channels one and two are completely independent Unlink is generally used in mono mode When un linked automation d
58. The stereo peak hold Input and Output Meters display the signal level at the input and output of the plug in L a a a 30 27 24 70 8 15 12 A 6 3 OB PEAK ee aa T The range is from 30 dB to O dB Signal peaks are held for 3 seconds before resetting UAD Powered Plug Ins Manual 324 Chapter 30 Precision Buss Compressor Gain Reduction The Gain Reduction meter dis Meter a E e E plays the amount of gain re REDUCTION 22 f duction occurring within the compressor More blue bars moving to the left indicate more gain reduction is occurring The meter range is from 16 dB to O dB Signal peaks are held for 3 seconds before resetting Power The Power switch determines whether the plug in is active Click the toggle button or the UA logo to change the state OFF Tm VVhen the Power switch is in the Off position plug in process ing is disabled and UAD DSP usage is reduced unless UAD 2 DSP Loadlock 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 UAD Powered Plug Ins Manual 325 Chapter 30 Precision Buss Compressor CHAPTER 31 Overview The Precision De Esser seamlessly and accurately removes sibilance from in dividual audio tracks or even composite mixes via its intuitive interface and sophisticated yet transparent filter processing The Threshold knob dials in the amount of sibilance reduction while
59. 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 the plug in Clicking the OPEN text to the right of the display panel exposes several hid den controls including Input Output gain and Pitch Shift and even a select able Bug Fix mode which enables disables historical bugs fixes from the Hall B and Chorus programs Taken together the Lexicon 224 emulation for UAD 2 is the world s most ex haustive and authentic model of a true studio classic lexicon 224 i The original Lexicon 224 Digital Reverberator hardware All visual and aural references to Lexicon products and all use of Lexicon trademarks are being made with written permission from Harman International Industries Inc UAD Powered Plug Ins Manual 187 Chapter 18 Lexicon 224 Lexicon 224 Screenshot HEADROOM JBE 2 SmHallB Yor Plate IMMED SYS MOISE OUTS MID REVERB TIME REVERB gt DIFFUSION PROGRAM CLE CHORUS J 4 5 ri 4 gHallB Chamber PerePlate SmHall A RoomA ConstPlate REAR MODE DECAY DRY WET gt SOLO ENH om H PRE DELAY CROSS DEPTH OVER TREBLE DECAY lt DECAY gt OPTIMIZATION MODE gt ENHANCEMENT Figure 60 The Lexicon 224 plug in window UAD Powered Plug Ins Manual 188 Chapter 18 Lexicon 224 Operational Overview Graphical User
60. Threshold as desired UAD Powered Plug Ins Manual 125 Chapter 10 Empirical Labs EL7 FATSO Filter HP SIDE FILT Attack Filter regulates the cutoff frequency of the filter on the compres sor s control signal sidechain When active frequencies below pity the filter value are not passed to the sidechain Values of 60 r Hz 120 Hz 240 Hz 480 Hz and Off are available The filter PA slope is 6 dB per octave When the compressor is disabled Fil ter has no effect and its LED turns off When the compressor is enabled Filter returns to its original value Tip Removing low frequency content from the sidechain can reduce exces sive gain reduction and or pumping on bass heavy audio signals without reducing bass content of the audio signal itself Note The Filter parameter affects the control signal sidechain of the com pressor only It does not filter the audio signal Attack sets the amount of time that must elapse once the input signal reaches the threshold level before compression is applied The taster the attack the more rapidly compression is applied to signals above the threshold as The available attack time values are O 9ms 10ms 30ms 6Oms 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 depending on the compressor mode selected A
61. UA 1176LN Legacy but with significantly less DSP usage It provides 1176LN like sound when DSP re sources are particularly constrained The UA 1176SE Legacy sound and be havior is practically identical to the UA 1176LN Legacy at nominal settings at extreme cranked settings the differences are more obvious UAD Powered Plug Ins Manual 486 Chapter 50 UA 1176 Classic Limiter Collection Operational Overview Applications Parameters Control Response amp Interactions Generally speaking the primary use for the 1176 plug ins are as individual inserts for sources that require compression such as an individual snare vo cal or guitar track or for multi instrument sources such as a stereo drum buss Because the UA 1176 Limiter Collection also models the input and output am plitiers these models can also be used as tone boxes to add 1176 color without compression limiting by disengaging the ratio control all Ratio but tons up Using an 1176 is a study in simplicity Input simultaneously sets compression threshold and the level of the signal entering the 1176 Output sets the final signal level Attack sets the time it takes the 1176 to respond to incoming sig nal while Release sets the time it takes the 1176 to return to its initial level The VU meter displays the amount of gain reduction GR or output level 4 8 The four Ratio buttons determine the degree of compression lower ratios for co
62. VE P THRESHOLD eit GAIN nr coar MODEL 670 JAIRCHILD neconamns Sous y JE j lt lt ie a Vay A 4 a a UAD Powered Plug Ins Manual 170 Chapter 14 Fairchild Tube Limiter Collection Historical Background The origins of the Fairchild 660 670 design come from Estonian born immi grant Rein Narma Les Paul hired Narma to modify his first 8 track Ampex ma chine Later Narma built consoles for Olmsted Recording Rudy Van Gelder and Les Paul who then asked him to build an all new sonically reliable audio limiter In the post war years this refugee from Soviet Russia worked for the U S Army as a broadcast recording tech during the Nuremberg trials then later immigrated to the New York and took a job at Gotham Recording Narma and others founded Gotham Audio Developments to build recording gear The compressor s Fairchild connection begins with Sherman Fairchild the son of Congressman George Winthrop Fairchild one of the founders of IBM Sherman Fairchild built and designed the first aerial photography equipment during World War I After that war ended he started the Fairchild Aerial Camera Corporation in 1920 Sherman Fairchild eventually went on to de sign a multitude of products from aircraft to semiconductors and opened sev eral more companies including Fairchild Recording Equipment Corporation After Narma began the limiter project for Les Paul Sherman Fairchild heard about it licensed the design and hired Na
63. When unlink is switched to link the left channel val ues are copied to the right channel and any control offsets between channels are lost CONTROLS UAD Powered Plug Ins Manual 166 Chapter 14 Fairchild Tube Limiter Collection Headroom Overview The Fairchild hardware units can accept an analog signal level of approxi mately 27 dBm before undesirable signal clipping occurs As the signal in creases up fo this point however desirable audio path nonlinearities and good harmonic distortion characteristics occur This musically pleasing warmth at higher levels is what gives the unit much of its revered sonic char acter Because analog mixing consoles can typically output high signal levels audio engineers often take advantage of the ability to push the hardware unit into the colorful arena This complete pallet of sonic nuance including the dynamic input response is captured in the Fairchild Tube Limiter Collection models but not the Fair child 670 Legacy The 660 and 670 plug ins are calibrated internally so that when the Headroom control is at its nominal value of 16 dB O dBFS at their input is equivalent to an input level of approximately 20 dBu on the hard ware where the coloring is more prominent The result is that a typical signal within a DAW will drive the UAD Fairchild 660 670 into these virtual higher levels resulting in fairly high amounts gain reduction Headroom Control The He
64. a high pass filter with a slope of 12 dB per octave The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers API Vision Console Channel Strip Screenshot 500 20K LO PASS s 100 20 24 gp 12 OUTPUT 20 600 HI PASS Figure 6 The API Vision Console Channel Strip plug in window UAD Powered Plug Ins Manual 53 Chapter 4 API Vision Console Channel Strip Operational Overview Modular Design Signal Flow Like the original hardware the API Vision Console Channel Strip plug in has a modular design Each module controls a different signal processing func tion and associated controls are grouped within each module The following modules are contained in the API Vision Console Channel Strip plug in e 212L Microphone Preamplifier e 215L High Low Sweep Filters e 235L Gate Expander e 225L Compressor Limiter e 550L Four Band Equalizer A simplified view of the default signal flow routing within the plug in is illus trated in the diagram below The audio path is shown with solid lines and the side chain control keys for the dynamics modules are shown with dotted lines el 235t i 225l i Gate Exp Comp Lim Figure 7 Simplified default signal flow within the API Vision Console Channel Strip 212L Preamp Out The signal flow can be re routed via options in the plug in The 550L EQ can be placed before the dynamics modules via the PREDYN
65. a time delay which varies randomly and inde pendently resulting in a thick rich sound When Chorus is active each of the first four sliders controls the gain level for a stereo pair of voices The sliders are linear faders not 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 in mono out con figuration The Diffusion control is active in this program Diffusion acts upon the third and fourth pair of stereo voices producing a cluster of tightly spaced echoes whose shape is governed by the Diffusion control The Lexicon 224 is one of the few processors that has diffusion on chorus voices this feature is a pri mary factor in its distinctive character Note The Bass Mid Crossover and Treble Decay behaviors are unavail able in P9 Chorus A Instead each of these sliders controls the level of a ste reo voice pair When Lexicon 224 is used in a mono in mono out MIMO configuration the hardware outputs that are used for the plug in are listed in Table 17 on page 205 These software assignments are per the guidelines in the original hardware manual and cannot be modified
66. aa F iE COMPRESS COMP 30 jf ih Foe ee j m 2 u wa INPUT 15 12 10 Warmth 5 3 2 1 OWT PUT A 1 a a a gt 4 wae SUSS Tracking 4 5 Pinned TRANNY J Lan rump 62 6 ov BP i Wann p U YRASS G To LINK click P LINK Link LEDs COMPRESS COMP 20 j A 7 5 ee ee IMMM p THRESHOLD Compressor Controls pap Lv Hz 0m5 05 Sec a ELE 10m 1 Sec Thresh 240Hz 30ms 2 Sec unity 4e0Hz oms 5 Sec r l F Chi HP SIDE FILT ATTACK RELEASE Figure 47 The FATSO Sr plug in window FATSO Functional Overview n WE ap 7Comp 4 ident leat Compressor Controls i 2 N W Tal NPUT 15 12 i0 Warmth 5 3 2 1 OUTPUT sai i a gt ge Be BUSS S Tracking 3 f 6 pinned TRANNY vi ap Comp 4 6 ov BYPASS E 4 Warmth 7 jiga af K To LINK cik P LINK Link De F CONTROLS COMP 20 15 ii 7 5 j me Te INPUT 15 12 10 Warmth 5 3 2 1 OUTPUT it a ye 7 b2 i 4 ae BUSS tacking 3 5 Pinned TRANNY qo Warmth 5 OVU BYPASS eam lj 7 Litij i LINK To LINK click F ENEE CONTROLS COMP 20 15 i 7 5 j f cm m aUHZ Dart 05 Sac 12Hz a 30m 2 See ee Dave Ders 0ms Sae YY Fay Custom Mods E Ls Pi HP SIDE FILT ATTACK RELEASE Four Processing Types Saturation and Distortion Processor UAD Powered Plug Ins Manual 117 The FATSO was essentially desi
67. able range is infinite dB to 12 dB The right channel control is unavail able when Lexicon 224 is used in a mono in mono out configuration Tip Click the text label Output Level to return the value of both channels fo zero ey Link unlink allows the left and right controls for Input Gain and Output Bia Level to be unlinked non ganged in order to apply a different value for each channel Link is inactive when the LED is unlit Click the Link LED to toggle the state The default state is ON UAD Powered Plug Ins Manual 201 Chapter 18 Lexicon 224 Bug Fixes Display Hold Power If the left and right controls have different values when link is inactive and Link is engaged the left channel value is copied to the right channel thereby over writing the right channel value When Link is active automation data is written and read for the left channel only The automation for the left channel controls both channels in Link mode Note When link is active modifying the right channel parameters will have no effect when changed from a control surface or when in controls only non GUI mode The original Lexicon 224 code contains programming errors in the Hall B and Chorus algorithms These computer code bugs can cause incorrect Bass decay times Hall B programs and undesirable pops and or thumps in the right channel Chorus program with certain source signals and parameter configurations
68. also included in the original unit Lighted pushbuttons select the desired program while four click stop levers provide the primary reverb parameters of delay time prede lay and high and low Filtering LED ladders provide additional visual rein forcement of program selection and parameter positioning Like the hard ware the plug in operates in quad with two discrete stereo output pairs accessed through the added front rear output switch Additional digital only features include dry wet mix wet solo reduced noise if desired and hard bypass via the EMT power icon UAD Powered Plug Ins Manual 136 Chapter 12 EMT 250 Electronic Reverberator EMT 250 Screenshot ao EMT 250 Ragister ode a T a b Noise Output E Front gf tl t4iy 8 Bry Wee Raar Outputs Figure 49 The EMT 250 plug in window Functional Overview Program Modes Variable Control Functions The EMT 250 offers six effect types Reverb Delay Phase Chorus Echo and Space These effects are called program modes in the EMT 250 Only one mode can be active at a time Each program mode has up to five parameters that can be modified by the four main control levers plus the front rear 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 The function of control levers 1 2 3 and
69. amount of high shelf cut to be applied to the frequency set by the Attenuation Selector switch Pultec MEQ 5 Controls The MEQ 5 can control three frequency bands simultaneously using three groups of interacting parameters The first group adjusts the low mid frequencies and has two controls fre quency select and boost The second group adjusts the mid frequencies and has two controls frequency select and attenuation The third group adjusts 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 119 Figure 119 Control grouping within the Pultec MEQ 5 UAD Powered Plug Ins Manual 391 Chapter 39 Pultec Passive EQ Collection EQ Enable This is the EQ enable control Like the original hardware the signal is still colored even when this switch is in the out down position be cause the signal is still passing through the I O circuitry If a true by pass is desired use the Bypass Gain knob MEQ 5 or the Enable switch Pultec Pro Legacy see page 389 Low Peak LM Frequency Controls This switch determines the frequency of the low midrange portion of the equalizer Five frequencies are available 200 300 500 700 and 1000 CPS Tip To cycle through the available values click the PEAK text label or shift click the text label to cycle through avail able values in reverse These shortcuts are unavailable with
70. before the frequency unit of Hertz was widely adopted The UAD Pultec plug ins adopt the original frequency unit name conventions CPS is an acronym for Cycles Per Second which is now more commonly re ferred to as Hertz and abbreviated as Hz KCS is an acronym for KiloCycles per Second which is now more commonly referred to as KiloHertz and ab breviated as kHz UAD Powered Plug Ins Manual 387 Chapter 39 Pultec Passive EQ Collection Artist Presets Upsampling The Pultec Passive EQ Collection includes artist presets from prominent Pultec users Some of the artist presets are in the internal factory bank and are ac cessed via the host application s preset menu Additional artist presets are copied to disk by the UAD installer so they can be used within Apollo s Con sole application The additional presets can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual Note Presets created with the original Legacy plug ins are incompatible with the equivalent newer model plug ins All UAD Pultec plug ins use an internal upsampling technique The upsam pling results in a slightly larger latency than other UAD plug ins See Chapter 9 Delay Compensation in the UAD System Manual for more information Pultec EQP 1A Controls Control Grouping The EQP 1A can control three frequency bands simultaneously using three groups of interacting
71. behavior and features of a dedicated tube preamp UAD Powered Plug Ins Manual 494 Chapter 51 UA 610 Tube Preamp amp EQ Collection UA 610 Screenshots MOGULAR AMPLIFIER 8i10 A Low HI TUBE PREAMPLIFIER 610 E m n 10 10 GAIN lt gt 100 200 A F ae Fu 500 15 2K 0 G F F LINE PAD LEVEL a1 E E Fj OUTPUT UA 610 A Vintage plug in UA 610 B Modern plug in Figure 159 The UA 610 Tube Preamp and EQ Collection plug in windows UAD Powered Plug Ins Manual 495 Chapter 51 UA 610 Tube Preamp amp EQ Collection The UA 610 Plug Ins Vintage 610 A Modern 610 B In Use Tonal Range The UA 610 Tube Preamp Collection is comprised of two distinct plug ins as shown in Figure 159 on page 495 The vintage UA 610 A and the modern UA 610 B Each plug in has its own modeling and each captures its unique segment in the 610 s sonic history The complete signal path is modeled for both 610 plug ins including tube am plitiers and transformer components along with all the phase shift and distor tion characteristics that are inherent in each hardware preamp The original 610 Modular Amplifier had two versions the 610 and the 610 A Besides minor cosmetic differences such as updates to the panel lay out and the UA logo the only circuit difference between the two was the ad dition of a 3 dB setting to the 10 kHz High Shelf EQ The UA 610 A plug in models the vintag
72. bookings and clients can expect to see some improvements and additions in the coming months Ocean Way Recording is now captured as a tool developed by Universal Au dio and Allen Sides The Ocean Way Studios plug in rewrites the book on what s possible with acoustic space emulation UAD Powered Plug Ins Manual 318 Chapter 29 Ocean Way Studios Chapter 29 Ocean Way Studios 319 UAD Powered Plug Ins Manual CHAPTER 30 Precision Buss Compressor Overview The Precision Buss Compressor is a dual VCA type dynamic processor that yields modern transparent gain reduction characteristics It is specifically designed to glue mix elements together for that cohesive and polished sound typical of master section console compressors A flexible and intuitive tool the Precision Buss Compressor is intended primarily for controlling the tinal output of your mix but can be usefully applied to a variety of sources trom drum busses or overheads to vocal groups or even as a channel compressor on individual 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 offered for the internal contro
73. cece ccc cece eee ene e eee e eben been eees 244 Neve 1073 and 1073SE Controls 0 00 oe eee eee eee 244 Neve TO7 S08 cs ada dane nes awe ois are nen be bs ait ae ee be eo ea as 247 Neve 1070 LOEN rere eed se neee ee a eheemus eon see oeeeene te eee sueeese 248 Chapter 25 Neve 1081 Equalizer ccccccccccccccccsssesse 249 OVEIVICW ba band hoes ane une n ae bee poe eae kee eee eee bene eens Suae Ease 249 Neve 1081 Screenshot 00 0 00 cece ccc cece eee eee eee e beeen beeen eees 249 Neve 1081 and 1081SE Controls o oo anunn 250 Neve 1OSISE lt i0bescccunecee uous btae nema bnedeues eens eee sdaedene b eenene ds 255 Neve TOSI MatenCy lt 3 ecto nee chee sea ERN enee eee sess RENTTO 255 Chapter 26 Neve 31102 Console EQ 2 cc ccc weer cece eee cccees 256 CVEDIEW ooo sae oun ners nan Rees Sea gta pea E Haan wae een oades oenareoun 256 Neve 31102 Screenshot 0 0 0 0 c ccc ccc eee cnet e eee tenet eneees 256 Neve 31102 and 31102SE Controls 0 0 0 0 ccc cece eee e eee eeees 257 Neves IOZSE EE E sas qgae E EE eee anentoe mae os Hoey ane ees 260 Neve sl 107 IGIenCy nea uy ete caw Ren eadng eters gees Be eeadea gees 4 aes E 261 Chapter 27 Neve 33609 Compressor ccccccccssscccccccssees 262 OVE IVICW ose oo eee gee Sarees Goes Pe See Gee Gree oe Soe eae eee Game es 262 Neve 33609 Screenshot 0 0 0 ccc ccc cnn e eee e cence nen eneeneneas 263 UAD Powered Plug Ins Manual 7 Table of Contents TABLE OF CO
74. cece cece errara rarr 217 Massive Passive Band Controls 000 c cece eee ete e eee ee neennnennes 217 Channel Controls o oo 0 0 cc anaana 221 Other Controls n on naana nananana aaa EEEE 223 UAD Powered Plug Ins Manual 6 Table of Contents TABLE OF CONTENTS Massive Passive Latency 000 eet naaa 224 Notes from Manley Laboratories 0 0 0c cence eee eee 224 Additional Information 0 0 ccc nent ene nnn e eee eens 226 Chapter 22 Moog Multimode Filter cccccccccsccsssseee 227 CNE eee au ohne acne ee ee ond ane eo aad ae eee eee ews OIRE 227 Moog Filter Screenshot 0 0 0 0 ee eee eee nnn n nent eee 228 Moog Filter Controls 2 0 0 nn eee eee nnn nent ees 228 Moog Filter Obs 2suchuncase sees easuctunease enn eudyshuncase canneadecheneuss ut 234 Moog Filter Latency 0 0 nee eee eee enn nent eee 235 Chapter 23 MXR Flanger Doubler cccccccssscccccccsseees 236 Classic Electronic Flanging 1 2 2 0 000 c ccc cee een eee e nnn rarr 236 MXR Flanger Doubler Screenshot 0 0 0 0 0000s 237 Operational Overview sa susunu n rununnar nrar eearri 237 MXR Flanger Doubler Controls n a nnn aunnna aa anana earna nananana errn 238 MXR Flanger Doubler Latency 0 0 0 0 ccc cee eee earra 243 Chapter 24 Neve 1073 Equalizer cccccccccccccccsssseese 244 OWEIVIEW 5 6 ree noes as tie oe Gn eee a pa oe oes coe eats cn en casa ns 244 Neve 1073 Screenshot 0 000 c
75. characteristics of the room s reflections 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 sizes that can be blended to create a hybrid of early reflection patterns There are 15 room shapes available including several plates springs and classic rooms room sizes can be adjusted from 1 99 meters The two rooms can be blended from O 100 All parameters can be adjusted dynamically in real time without causing distortion or other artifacts in the audio First shape S nape Second shape f Blending bar First shape selector Second shape pop up selector pop menu up menu First shape Second size control shape size SO control S0 m Figure 123 RealVerb Pro Shape panel UAD Powered Plug Ins Manual 398 Chapter 40 RealVerb Pro Material and Thickness To configure the room shape and size 1 Select a room shape from the first left pop up menu The selected shape appears in the left side of the Shape circle Adjust the room size with the top horizontal slider 2 Select a room shape from the second right pop up menu The selected shape appears in the right side of the Shape circle Adjust the room size with the bottom horizontal slider 3 Blend the early reflection patterns of the two rooms by dragging the Blend ing bar The relative percentages of the two rooms appear above their pop up menus Drag to the right t
76. coloration of the signal occurs just like the hardware If a true bypass is desired use the power switch Power on page 271 to disable the plug in The article Ask the Doctors Modeling of the Neve 33609 compressor lim iter contains interesting technical details about the 33609 It is available at our online webzine http www uaudio com webzine 2006 august index2 html Neve 33609 and 33609SE Controls Limiter Limiter Threshold Limiter Recovery aiaa FE A mail Controls in this section only function El when the limiter is enabled with the limit In switch the Power switch must also be on lir slow Limit 1 in Note The compressor precedes the lim iter see Signal Flow on page 263 esholddBu recovery ms attack Threshold determines how much limiting will occur When the input signal ex ceeds the threshold level the signal above the threshold is limited A smaller value results in more limiting The available range is from 4 dB to 15 dB in 0 5 dB increments If the compressor is enabled the Gain control in the compressor section Compressor Gain on page 266 will affect the input level into the limiter In this case the compressor gain can affect the limiter threshold response 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 50 100 200 800 a
77. 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 processing is disabled the VU Meter and control LEDs are dimmed and DSP usage is re duced OFF is useful for comparing the processed settings to the original sig nal OFF is identical to the Thru position in the Path Select control page 458 Note DSP usage is reduced only when DSP Loadlock is disabled If DSP LoadlLock is enabled the default setting activating OFF will not reduce DSP usage Input Input acts as an outside gain control like an external console D fader and adjusts the signal level going into the tape cir cuitry The available range is 12 dB to 24 dB UAD Powered Plug Ins Manual 460 Chapter 47 Studer A800 Output VU Meter Just like real magnetic tape lower Input levels will have a cleaner sound while higher levels result in more harmonic saturation and coloration Higher Input levels will also increase the output level from the plug in The Out put control can be lowered to compensate Tip Click the O control label text to return to the Input value to O J Output acts as an outside gain control like an external con m sole fader and adjusts the gain at the output of the plug in _ The available range is 24 dB to 12 dB 2 Tip Click the 0 control label text to return to
78. descrip tions see Harrison 32C EQ and Harrison 32C SE Controls on page 174 UAD Powered Plug Ins Manual 176 Chapter 15 Harrison 32C EQ Harrison 32C Latency The Harrison 32C but not the Harrison 32C SE uses an internal upsampling technique to facilitate its amazing sonic accuracy This upsampling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information The Harrison 32C SE does not require additional latency 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 S t i el i i E oun i hn TY MN a w The Harrison 4032 Console featuring the Harrison 32C EQ Special thanks to Bruce Swedien for his gracious cooperation with the UAD Harrison 32C project UAD Powered Plug Ins Manual 177 Chapter 15 Harrison 32C EQ CHAPTER 16 Helios Type 69 Equalizer Overview Helios consoles were used to record and mix some of the finest rock pop and reggae classics ever produced The Beatles Led Zeppelin The Rolling Stones The Who Roxy Music Queen Jimi Hendrix and Bob Marley are just a few that recorded with these amazing wrap around consoles Moreover many great musicians of the era purchased Helios consoles for their personal use Of all the Helios co
79. desks were built from 610 modules their contribution to the history of recorded music is enormous Ray Charles Frank Sinatra and The Beach Boys were a few artists captured with the 610 at United Western as part of landmark recordings such as Sounds in Country and Western Mu sic Strangers In The Night and Pet Sounds respectively UAD Powered Plug Ins Manual 503 Chapter 51 UA 610 Tube Preamp amp EQ Collection One of these 610 desks is the famous Wally Heider Green Board This ex tremely well built example was originally fabricated by Frank DeMedio for Wally Heider s Remote Recording Service in the early 60s Wally originally handled many of the live recording dates booked by Putnam This console re corded and mixed some of the greatest performances of the era from many live shows with the Rat Pack to recording the very last concert under the ba ton of Igor Stravinsky in Los Angeles With the Wally Heider Green Board alone the list of records using the 610 is staggering Here are but a few notable acts recorded with the Green Board Duke Ellington Elvis Presley Johnny Cash at Folsom Prison Fats Dom ino Little Richard Cream The Beach Boys The Doors Janis Joplin with Big Brother amp The Holding Company The Who The Grateful Dead The Steve Miller Band Moby Grape The Byrds Jefferson Airplane Booker T amp the M G s Otis Redding Eric Burdon and The Animals Simon and Garfunkel and The
80. digital code UAD Powered Plug Ins Manual 360 Chapter 36 Precision Limiter Meter Response Gain Reduction Meter Meter Scale Note When the meters are in the K modes the displayed RMS level is 3 01 dB higher when compared to the same signal level in the Peak RMS mode This is done to conform to the AES 17 specification so that peak and average measurements are referenced to the same decibel value with sine waves The main stereo Input Output meter actually displays three meters simulta neously The RMS and instantaneous peak levels which follow the signal and the peak hold also known as global peak level The peak hold level is the maximum instantaneous peak within the interval set by the Hold button and is also displayed as text to the right of the meters To reset the peak hold levels press the Clear button Precision Limiter metering is also active when plug in processing is deacti vated with the Precision Limiter Power switch Metering is disabled when the plug in is bypassed by the host application 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 O dB There fore increasing the Input knob usually results in more gain reduction The Meter switch specifies the signal source for the main stereo meter either input or output Input When
81. disable the Mid band Note You can also click the midrange symbol above the knob to cycle through the available values or shift click to step back one frequency UAD Powered Plug Ins Manual 245 Chapter 24 Neve 1073 Equalizer Low Band Low Cut The available midrange center frequencies are 360 Hz 700 Hz 1 6 kHz 3 2 kHz 4 8 kHz 7 2 kHz and OFF When OFF is specified the band is dis abled UAD CPU usage is not reduced when the band is OFF The low frequency band is controlled by dual concentric knobs delivering smooth shelving equalization 3 The inner knob controls the band gain and the outer ring selects the frequency or band disable These two controls are detailed below Low Gain The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approximately 15 dB Rotate the control clockwise to boost the selected low band frequency or counter clockwise to reduce the 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 available low band center frequencies are 35 Hz 60 Hz 110 Hz 220 H
82. displays the current value of the parameter the value is actually changed only with subsequent clicks This feature enables viewing the current setting without changing it Tip For the inc dec buttons e g Reverb Diffusion the value can be contin uously changed by holding the button down The six sliders control the main reverb parameters within a program These are the most obvious controls to reach for when fine tuning a reverb program to best suit the material at hand In PO Chorus A the first four sliders don t control the labeled parameters See P Chorus A on page 204 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 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 be used as the main stereo left right outputs The other two outputs B and D are implemented in some programs for use as quadraphonic reverb The UAD Lexicon 224 fully models the individual sonics of all four outputs when available in the program algorithm The alternate B and D outputs are available via the Rear Outs control page 197 Note The dry signal at the Lexicon 224 output is completely unprocessed The Lexicon 224 hardware has dual channel inputs left an
83. due to Bias optimization and system filtering It is used to tune HF con tent into the incoming signal prior to the tape non linearity The control pro vides a continuous boost filter gain and affects saturation characteristics Note This filter is prior to the tape record circuit while the other EQs Sync Repro are for tape playback only Bias is defined as an oscillator beyond the audible range applied to the audio at the record 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 extremely low voltages may even cause audio to drop out entirely Bias voltage HF Record EQ and fixed Emphasis EQ CCIR NAB AES work together to provide a linear response to the recorded signal Sync and Repro Playback EQ Controls are available for tape playback cali bration They affect the signal coming out of the tape circuitry UAD Powered Plug Ins Manual 465 Chapter 47 Studer A800 With the hardware machine these controls enable compensation for any tape frequency loss or head wear Under hardware use the Sync and Repro playback heads are calibrated to normal operating standards and are nearly
84. eas Gee berneeees aces Geese ame 129 EMT 140 Screenshot 0 0 cece cece eee een eect eet eee e bene een eees 129 EMT 140 Controls 00 cece teen e beeen ene n be ben been eees 130 Reverb Controls 000 ccc cece eee eee nee beet eee bebe eben been eees 131 Stereo Controls 00 cece ene e tenet ene e ener beeen 132 EQ Controls n 132 Modulation Controls onnaa anaana anna 133 Blend Controls on ona anann 134 Chapter 12 EMT 250 Electronic Reverberator ccccccccccceees 136 Introduction 0 cece ete ceed ence bbb eet need nev ennnnes 136 EMT 250 Screenshot 00 0 ccc cee cece eee eset beet bebe en eee eneees 137 Functional Overview 0 2 00 ccc cece eect eben eee bebe en ee eneees 137 Program Mode Controls n nananana anana enn n ete n nee 140 Global Controls 0 cece eet eben bbb b eben beeen 147 Chapter 13 EP 34 Classic Tape Echo ccc ccccccccccsscsseese 149 EPSA OVCIVICW ates ane as Sees ns Gee Rs Bn ns He ao Ge eG eke es 149 EP 34 Tape Echo Screenshot 0 0 0 c ccc een need eee 150 EP SA Cones ou eset adeceuataced aan eadeseensases case ednyeeetenes Guneecue ee 150 EP 34 Hardware History 0 0c ccc cece eee nent eee nnn 154 Chapter 14 Fairchild Tube Limiter Collection ccccccccecees 156 The Gold Standard in Vintage Tube Limiters 2 0 0 0 0c c cece eee eee eens 156 Fairchild Tube Limiter Collection Screenshots 000 000 cece eee eee e
85. for more information Note Compensating for Precision Limiter is not required if the host applica tion supports full plug in delay compensation throughout the signal path or when if is used only on the outputs UAD Powered Plug Ins Manual 363 Chapter 36 Precision Limiter CHAPTER 37 Precision Maximizer Overview Signal Flow The Precision Maximizer is a dynamic impact processor that uniquely en hances the apparent loudness warmth and presence of individual tracks or program material without appreciably reducing dynamic range or peak level control Significant audio improvements can be achieved without the fatigu ing artifacts typically associated with traditional dynamic processors The plug in uses a proprietary softsaturation process that maximizes signal energy while minimizing undesirable distortion and aliasing A wide variety of sounds are available using relatively few controls The primary sonic pa rameter is the Shape control which can range from simply increasing the ap parent loudness 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 369 for practical usage
86. for putting vocals in your face In All Button mode sometimes also known as British Mode distortion increases radically due to a lag time on the attack of initial transients UAD Powered Plug Ins Manual 491 Chapter 50 UA 1176 Classic Limiter Collection Multi Button Modes Selectin All Multi Button Ratio Modes Available Multi Button Modes In All Button mode the ratio goes to somewhere between 12 1 and 20 1 and the bias points change all over the circuit thus changing the attack and re lease times as well The unique and constantly shifting compression curve that results yields a trademark overdriven tone that can only be found in this family of limiter compressors All Button mode is available in all 1176 models The UA 1176 Limiter Collection includes the ability to select a variety of Multi Button combinations offering various interpretations of the All Button idio syncrasies Various button combinations will yield audibly different compres sion characteristics In UA 1176 Limiter Collection e To select the various combinations of multiple buttons shift click the Ratio buttons e Combinations are limited to the modes that actually affect the sound in the hardware See Figure 158 below for the available combinations e For the combinations with three or more buttons the shift clicking the outer buttons will automatically engage the inner buttons the inner buttons cannot be disengaged
87. frequencies Drag these control handles up or down for shelving EQ Figure 39 DreamVerb Resonance Shelving Bands Shape Panel The parameters in the Shape panel in conjunction with the Materials panel Figure 41 on page 105 effect the spatial characteristics of the reverb The pattern of early reflections 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 effect on the late field reverberation First shape First shape selector display menu Blending bar Second shape Second shape display selector menu First shape Second shape percentage percentage Figure 40 DreamVerb Shape panel UAD Powered Plug Ins Manual 103 Chapter 9 DreamVerb Shape Menus Shape Blending Bar DreamVerb lets you specify two room shapes that can be blended to create a hybrid of early reflection pat terns The first and second shape each have their own menu The available shapes are the same for each of the two shape menus The first shape is displayed in the upper area of the Shape panel and the second shape is displayed in the lower area To select a first or second shape click its s
88. has a selectable cutoff fre quency which can be cut or boosted by various amounts Hi EQ Frequency a This switch determines the cutoff frequency 4 5 kHz 7 kHz or 10 kHz of the high shelf EQ This switch has no effect if the Hi EQ Gain value is zero Note Like the hardware high frequency values are not consecutively or dered Hi EQ Gain This rotary switch determines the amount of boost or cut applied to the high frequency signal Fixed values of plus or minus 9 6 4 5 3 or 1 5 dB can be selected When set to O dB the filter is inactive This switch inverts the polarity phase of the signal The signal polarity is inverted when the switch is in the up position Polarity is normal when the switch is in the down position Polarity inver sion can help reduce phase cancellations when more than one microphone is used to record a single source Power is the plug in bypass control When set to OFF emulation processing is disabled n and DSP usage is reduced if DSP LoadLock is mache OVOFF Power is useful for comparing the processed settings to the original signal Creating an original 610 desk meant buying the individual modules and building the console from scratch as no complete consoles were ever sold commercially However Bill Putnam himself built a few full fledged desks for his own studios complete with fabricated frame power supply metering and buss effects routing options Although very few
89. hiss is dependent on settings of the various controls and may subtly change based on the values of Path Select Tape Type Emphasis EQ Cal Level Bias Playback EQs and 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 O 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 2 Table 2 Hiss Level Offsets Tape Speed Hiss Level Setting 30 IPS 7 5 IPS 12 5 dB 3 75 IPS 17 dB Nofe Because hiss noise is an element of tape playback Hiss is disabled when Path Select is set fo Input Meese These buttons are global enable disable controls for the Wow pii Ha and Flutter effects When Wow amp Flutter is ON the level of Be Wow and Flutter can be independently adjusted using the Wow and Flutter Level controls Wow and Flutter are undesirable pitch modulations induced by the me chanical components of the tape transport Wow is a by product of capstan irregularities while flutter is a by product of tape stretching and sticking Both can be effectively used for creative purposes UAD Powered Plug Ins Manual 34 Chapter 2 Ampex ATR 102 Wow Flutter Crosstalk Enable Transformer Enable Tape Delay Wow usually refers to very low frequency fluctuations while Flutter refers to faster fluctuat
90. in 1957 with the release of the EMT 140 which utilized a resonating metal plate to create ambience Nothing is quite like the wonderfully lush and distinctive tone of plate reverb that still endures as part of the fabric of modern music However plate reverb systems are large expensive require maintenance and need to be isolated trom external vibration therefore plates are usually found only in commercial studios Universal Audio s uncanny representation of that unmistakable sound can 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 tore Universal Audio brings this classic mix tool within the reach of everyone Licensed and endorsed by EMT Studiotechnik GmbH as the world s only au thentic plate reverb emulation We thoughtfully combined the look of various elements from the EMT 140 sys tem into one convenient panel replicating the original damper controls for decay and adding additional controls for the convenience of the modern DAW user EMT 140 Screenshot EE NA TN E T F E ite om ee 18 IPRA eee tat E Wit at ET jei DiN Hi 1 k 4 ArmA ST E PILPG FRANC UAD Pow
91. in the original hardware The High Shelf Gain knob offers fixed frequency shelving equalization at 10 kHz This stepped control can cut the tre ble by 3 dB or 6 dB or boost it in 2 dB increments up to 16 dB Sete This switch is an EQ bypass control It allows you to compare the wm processed and unprocessed signal The EQ is active when in the in up position The EQ is bypassed 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 If a true bypass is desired use the Line switch instead is in the Inverted up position the phase is reversed Leave the switch in the Normal down position for normal phase R The Phase switch inverts the polarity of the signal When the switch This control adjusts the signal output level of Helios Type 69 This may be necessary if the signal is dramatically boosted or reduced by the EQ settings The available range is 20 dB to 10 dB Level Adjust The Line switch determines whether the plug in is active This is use ful for comparing the processed settings to the original signal or to bypass the plug in to r
92. increased in Shelf mode a bell curve begins to be intro duced in the opposite direction 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 69 below Bells 100 hz ad shell 100 Senall Signal AC T Frequency H2 10 000 31 623 100 000 3 16 225 1 000 3_162k 2 0 000 10 000 eee Mo Se eS oe ee ee E ee I a 40 53 len 149 108m 34 335m 62 17 Im Figure 68 Effect of Bandwidth control on response curve in Bell mode E shelf B amp c2 Small Signal AC 5 Graph mA Shel Hrcz Small Signal AC 5 Fr quency He hd 31823 100 000 316 225 3 162k i i i l I i i i 420000 dies H ee ee ee eee ee ee ee eee eee eee i i i l 15 00 a E salklsosasansbasans i 10 000 f i i 1 i f I i 1 i 1 4 4 H i I shane nee eee Sc a ee I oo l of Som REALE o 435 4 1 iim REAL Spee 18 227m Figure 69 Effect of Bandwidth control on response curve in Shelf mode UAD Powered Plug Ins Manual 220 Chapter 21 Manley Massive Passive EQ Frequency etait This control defines the center frequency Bell mode or edge img Ta 255 frequency Shelf mode for the band Each band provides a wide range of specially tuned overlapping and interleaving frequency choices The available frequencies for each ba
93. is active when the switch is illuminated The cutoff frequency and filter slope varies for each of the microphones as shown in Table 25 below Table 25 Microphone Cut Filter values High Cut Filter Low Cut Filter 6 dB Octave 12 dB Octave 150 Hz polarity is inverted when the switch is illuminated This switch inverts the polarity phase of the microphone The signal Polarity is especially useful when more than one microphone pair is enabled See Phase Considerations on page 300 for related information Mute turns off the microphone pair so it is no longer heard Click the switch to toggle the mute state When mute is active the switch is illu minated and the mic placement indicators are hidden from the Posi tion Display Tip To quickly solo any microphone pair shift click any Mute switch When a Mute switch is shift clicked that mic is un muted and the other mics are muted Balance sets the position in the stereo panorama When the plug in Emri is used in a mono in mono out configuration this control is locked ie in in the center position E Tip To quickly return to the center position click the BALANCE L R text label UAD Powered Plug Ins Manual 310 Chapter 29 Ocean Way Studios Gain Master Controls Predelay Bypass L R Swap Mono This fader controls the volume level of the microphone Gain has a logarithmic taper for a more musical response The gain range is
94. is unity gain UAD Powered Plug Ins Manual 112 Chapter 9 DreamVerb Mute Mix Dry Wet This switch mutes the signal at the input to DreamVerb This allows the reverb tail to play out after mute is applied which is helpful for auditioning the sound of the reverb Mute is on when the button is gray and off when the button is black The wet and dry mix of DreamVerb is controlled with this slider The two but tons above this slider labeled D and W represent Dry and Wet clicking either will create a 100 dry or 100 wet mix When this button labeled D is enabled DreamVerb is 100 dry It has the same effect as moving the Mix slider to 0 Dry is on when the button is gray and off when the button is black When this button labeled W is enabled DreamVerb is 100 weet It has the same effect as moving the Mix slider to 100 Wet is on when the button is gray and off when the button is black Spatial Characteristics Size Pre Delay Space 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 the reverb algorithm at once You may notice DreamVerb does not have a size parameter Instead the elements that control the reverber ant space are available to the user In DreamVerb room size is determined by the interaction between all the pa rameters in the Reflections and Rever
95. kHz FREQUENCY a a OUTPUT r B C E a a 1 kha if J7 OFF Figure 101 The Precision Enhancer kHz plug in window Precision Enhancer kHz Controls Effect Knob Effect Meter Mode Control knobs for the Precision Enhancer kHz behave the same way as with all UAD plug ins Effect kHz Frequency and Output values can be moditied with text entry The Effect Knob controls the amount of pro cessing that occurs in the plug in The avail able range is from 0 00 to 100 0 aa EFFED all mi A l i iid Technically speaking Effect scales the input to the enhancer Increasing this parameter makes the enhancer have a higher amplitude output for a given input level Increasing Effect increases the overall enhancement effect Note The signal level at the plug in input will interact with the Effect control The Effect Meter indicates the amount of signal processing that is occurring More illuminated blue segments indicate more signal enhancement aaa The Mode control determines the type of enhancement that will be applied to the signal The active Mode can be selected by clicking the Mode button repeatedly to rotate through the Modes or by clicking each Mode letter or LED All mode is se lected by shift clicking Mode letters or LEDs Mode A Mode A enhances the high frequency content statically Input dynamics do not affect on the enhancement process Mode B Mode B is optimized for vocal range cont
96. knob is an output gain control and a plug in bypass control The available output gain range is 12 dB Rotate the control fully counter clockwise to bypass plug in process ing and reduce UAD DSP load DSP load is not reduced if UAD 2 amp DSP LoadlLock is enabled Tip Click the OFF text label or the red power lamp to toggle between by pass and the previous value Tip Click the O text label to set the gain to O dB Pultec HLF 3C Controls Unity Gain The Pultec HLF 3C hardware unit is a true passive design there are no in put output amplifiers and it does not require any external power As a result there is an inherent loss of signal level when using the HLF 3C hardware The Pultec HLF 3C plug in compensates for this inherent signal loss for simpli tied use in the modern era it has unity gain upon insertion there is no inser tion loss until one or both of the cut filters is engaged UAD Powered Plug Ins Manual 393 Chapter 39 Pultec Passive EQ Collection Enable Low Cut High Cut The HLF 3C interface is very simple and includes only the three controls shown in Figure 120 Figure 120 The Pultec HLF 3C controls This toggle switch is the plug in bypass control When in the down position bypassed plug in processing is disabled altogether The plug in is engaged with the switch is in the up position This switch can be used to compare the processed settings to that of the orig inal
97. later recall The plug in behaves the same way except user registers are not implemented Instead user settings are stored within the session file or they can be saved as a preset for later recall like all other UAD plug ins Lexicon 224 version 4 4 firmware contains nine programs the maximum available for the unit consisting of eight reverb programs and one chorus program Descriptions of the various programs can be found on page 203 The active algorithm determines the inherent sonic character of the current program Algorithms are changed by selecting a different program the algo rithm cannot be changed within the same program Lexicon 224 v4 4 contains seven unique algorithms All seven algorithms and the nine factory programs have been authentically modeled in the UAD Lexi con 224 plug in There are more programs than algorithms because some programs use the same algorithm See Program Descriptions on page 203 for details UAD Powered Plug Ins Manual 189 Chapter 18 Lexicon 224 Lexicon 224 Buttons Lexicon 224 Sliders Inputs amp Outputs Mono Stereo Operation Like the original hardware UAD Lexicon 224 buttons are momentary style and don t latch in a down position When a function is unavailable within a particular program the button s LED will not illuminate when clicked the LEDs also don t illuminate for the increment decrement buttons The first click of an increment decrement button
98. leave more headroom for a broader sweet spot or to prevent electronics from clipping Therefore one can go traditional and calibrate to the recom mended levels lable 1 or select a non corresponding calibration setting As an example if 456 is the selected Tape Type and when Cal is set at 6 6 dB higher than the NAB tape standard the reference flux level is 355 nWb m nanoweber per meter and is 10 dB below the point where THD reaches 3 referred to as the maximum operating level Therefore with a 1 kHz test tone at 12 dBFS sent to the plug in with Tape Type set to 456 Cal set to 6 and Auto Cal enabled output levels of the plug in will match the in put level and fluxivity on the tape will be 355 nWb m The tape manufacturer s recommended calibration settings for each Tape Type are shown in lable 1 Table 1 Tape Manufacturer s Recommended Calibration Levels Tape Type Calibration Flux Level 35 90 251 nWb m 250 251 nWb m UAD Powered Plug Ins Manual 28 Chapter 2 Ampex ATR 102 Head Width Path Select Table 1 Tape Manufacturer s Recommended Calibration Levels 456 355 nWb m 468 355 nWb m GPO 502 nWoim Tip The UAD Ampex ATR 102 default presets bank offers a variety of preset Tape Type Tape Speed CAL level and EQ configurations that are commonly used for the recording of specific genres ER This control specifies the active tape head model Head Widths of 1 4 1 2 or 1 can be
99. line The newer state of the art algorithms in this bundle take full advantage of the extra power available on UAD 2 devices and the design sophistication and expertise gained since the introduction of the legacy LA 2A plug in in 2001 Teletronix LA 2A Silver The LA 2A Silver captures the North Hollywood California unit manufac tured in the late 1960s by Bill Putnam with its brushed aluminum panel and original T4B gain reduction module Perhaps the most flexible of the three plug ins in the collection this unit s fast time constant makes it suitable on the widest variety of program material including transient rich sources like drums and percussion Teletronix LA 2A Gray The LA 2A Gray covers Jim Lawrence s original mid 1960s painted unit trom Pasadena California This unit maintains an average time constant cov ering the gamut of medium speed compression uses Teletronix LA 2 The LA 2 captures one of the earliest Teletronix examples This exceedingly rare unit preceded the LA 2A by a few years and incredibly still has the orig inal TAA fully intact The LA 2 provides the slowest response and a unique mellowed sound due to 50 years of luminescent panel aging inside the T4 module Use the LA 2 with legato tempos and your most vowel like sources for a transparency and sublime mood unlike any other compressor The Teletronix LA 2A Legacy plug in Figure 149 on page 469 was along with the UA 1176LN Legacy th
100. more complex Position I duplicates the Left Front and Right Front outputs of the hardware Il duplicates Left Rear and Right Rear outputs of the hardware III combines both the Left Front and Left Rear on the left side and Right Front and Right Rear on the right IV combines Left Front Left Rear and Right Rear on the left side and Left Rear Right Front and a phase inverted Right Rear on the right IV imparts a pseudo quadraphonic sound Predelay Lever 4 Lever 4 is can be used as a common predelay to all four delays See Lever 4 Predelay on page 138 for more information Front Rear In Chorus mode the Front Rear Outputs switch is not illuminated the sound is identical in both pairs of outputs When moved to the Rear position the plug in output is summed to mono See Front Rear Outputs on page 138 for more information 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 adjustable high frequency attenuator for damping Note The maximum delay time of 375ms in Echo mode is obtained by set ting the coarse fine and predelay times to their respective maximum values Coarse Echo Time Lever 1 Lever 1 controls the coarse delay time Th
101. next three will not seem to do anything if they are at similar frequencies and bandwidths Tene Bandwidth adjusts the slope or Q of the band filter in both ar BP An Bell and Shelf modes Bandwidth does not have a lot of range 3 S 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 bandwidth lowers the Q of the band and a broader range frequencies is affected As Bandwidth is rotated clockwise bandwidth is decreased Q is increased and a narrower range of frequencies is affected At the narrowest settings Bandwidth fully clockwise the maximum boost cut gain of 20 dB is available As Bandwidth is broadened the available band gain is decreased down to about 6 dB of boost cut at the widest fully counter clockwise settings The effect of the Bandwidth control in Shelf mode is shown in Figure 68 on page 220 Shelf Mode In Shelf mode rotating Bandwidth counter clockwise decreases the slope of the shelf and Gain adjustments are more gentle As Bandwidth is rotated clockwise the shelf slope steepens and Gain changes will be more obvious UAD Powered Plug Ins Manual 219 Chapter 21 Manley Massive Passive EQ As Bandwidth is
102. of O dB to 30 dB is available when the 20 dB switch is engaged see L C Threshold 20 dB on page 281 Note As the Threshold control is increased and more processing occurs out put level is typically reduced Adjust the Gain control to modify the output of the module to compensate if desired The 20 dB switch increases the sensitivity of the limiter compres sor by lowering the range of the available threshold values When 20 dB mode is active the threshold range is O dB to 30 dB When 20 is inactive the threshold range is 20 dB to 10 dB To activate 20 dB mode click the pull 20 label text or the red indicator just below the Threshold control 20 dB mode is active when the red indica tor illuminates Ratio defines the amount of gain reduction to be processed by the module For example a value of 2 expressed as a 2 1 ra tio reduces the signal by half with an input 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 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 Attack time is program dependent Two ranges are available 3 milliseconds to 7 milliseconds Fast off and 1 millisecond to 7 milliseconds
103. of the numerical value being displayed for a particular control For parameters in the time domain the sec seconds or ms milliseconds LED is lit For parameters in the frequency domain the Hz Hertz or kHz kilohertz LED is lit For parameters that have no units value e 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 O dB When the O dB LED illuminates input clipping has occurred Overflow LED The Overflow LED illuminates when an arithmetic processor overflow has oc curred Overflows can happen when loud signals are present at the input when reverb decay times are long and or when self oscillation occurs Un expected sonic artifacts and or ringing can occur when the processor over flows Overflow behavior in the hardware is fully modeled in the plug in If proces sor overflows are causing undesirable sounds overflow can usually be elim inated by reducing the levels with the Input controls or by reducing the value of the Bass Mid and or Treble Decay controls UAD Powered Plug Ins Manual 192 Chapter 18 Lexicon 224 Primary Controls Program Reverb Time The Program buttons Figure 62 are used to specify which of the nine default Lexicon programs and its
104. 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 features of the original such as the Mode Selector for various head combinations Repeat Rate for fine timing control and Intensity which sets repeat count and allows the unit to achieve self oscillation The all important Echo Normal Dub switch is retained for muting as well as the simple tone controls Last but cer tainly not least the atmospheric shimmer of the Space Echo s spring reverb is faithfully captured putting this fantastic plug in on par with the original unit as a tool of infinite creativity UAD Powered Plug Ins Manual 417 Chapter 43 Roland RE 201 Space Echo Roland RE 201 Screenshot Roland REVERE i EAN YOL a j REPEAT RATE INTENSITY ECHO YOL POWER T f r i kA t k k s F M wi P i A T On po ian i P r a REVERB oe ONLY Z A 3 a a STRAIGHT HO E E HEW USED OLO SPLICE Li E ET i Li Li 4 ane BUF i 7 ral a Figure 133 The Roland RE 201 plug in window Roland RE 201 Interface The RE 201 interface is true to the original hardware with a few customiza tions to bring it into the digital era The
105. off to 12 dB Gain is at unity when set to the zero position Tip To quickly return to the O dB unity position click the associ ated NEAR MID FAR text label beneath the fader or the associ ated O text label at the fader s unity gain position The amount of time between the dry signal and the onset of the EES reverb is controlled with this knob The range is from O to 125 ata milliseconds Predelay is cumulative with the inherent microphone delays D 125ms Note Predelay is unavailable in Re Mic mode Bypass disables the plug in The button glows red when Ocean Way Studios is disabled Bypass can be used to compare the processed and original signals BYP Note The UAD DSP load is not reduced when bypassed with this switch To reduce UAD DSP usage when bypassed use the host s bypass switch instead This switch reverses the left and right channels at the output of the plug in L R Swap is useful for changing the listener perspective from the audience position to the performer position When the switch is not illuminated the default output is from the audience position T Ocean Way Studios can be used in a mono in mono out mono in stereo out or stereo in stereo out configuration The left right stereo outputs are summed to mono when the Mono switch is engaged When the plug in is used in a mono in mono out configuration this control is always engaged and the left right output channels are summed UA
106. original mic and instrument volume controls have been replaced with echo reverb pan controls and an input control We ve also added a Tape Age switch to emulate new and older tape a Wet Solo control for use as a bus send effect and an output volume control for utility The clever Splice switch 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 201 interface is detailed below Peak Level The Peak lamp indicates when transient signal peaks and clipping are SAE detected just after the input volume control It begins illuminating at ap i proximately 2 dB to 1 5 dB then gets brighter as the level in creases VU Meter The VU meter indicates the average signal that is about to lamp an indication of signal level can be deduced be written to the tape Used in conjunction with the Peak UAD Powered Plug Ins Manual 418 Chapter 43 Roland RE 201 Space Echo Echo Pan Reverb Pan Input Volume Mode Selector The VU is essentially an input meter therefore it doesn t react when the Echo Normal switch is switched from Echo to Normal Note The Peak lamp and VU meter measure signal just after the input volume control However like the original hardware echo intensity feedback is ap plied just before the lev
107. owed gray as if in the down position The red numerical display between the Manual Cal knob and the Tones buttons represents the amount dis Ml played as a percentage of third harmonic distortion resent in each of the left and right channels This feature can be useful for custom calibration techniques CAST L DET Fi When the Manual Cal knob is set to 16 dB 6 dB or 4 dB the value rep resents third harmonic distortion in the tape playback circuit Generally speaking increasing Record input will increase distortion while in this mode as tape saturation increases If Bias is set very low distortion may in crease at lower Cal Levels Note When the Manual Cal knob is set to MRL the Distortion Meter is inac tive there is no distortion display in this mode UAD Powered Plug Ins Manual 38 Chapter 2 Ampex ATR 102 Manual Calibration Procedure Preparation Manual calibration tools are provided so expert users can calibrate the sys tem to their preferred methods for obtaining desired results For example some technicians may prefer adjustments for lowest distortion at a certain fre quency setting bias for maximum sensitivity instead of overbiasing or other non standard techniques The calibration procedure described here is the most commonly used tech nique and is the albeit simplified method recommended by the Ampex Op eration and Service Manual Important Manual calibration is not required to
108. placement consistency the response of this medium diaphragm omnidirectional mic becomes more cardioid above 800 Hz Allen s favorite i a POSITION MASTER EG interior INFORMATION POSITION MASTER EG INTERIOR INFORM ATION Figure 97 The Display Panels Position The Position panel shows an overhead representation of the current studio room The relative positions of the source and active microphone s are dis played within the room UAD Powered Plug Ins Manual 307 Chapter 29 Ocean Way Studios Master EQ Interior Information Load Progress Microphones The locations of the source and microphones within the room are determined by the Source and Distance parameters Note Microphones that are muted are not shown in the Position Display Panel The Master EQ panel displays the state of the Master EQ settings When the Master EQ is disabled or when both Master EQ Gain values are zero the frequency spectrum is flat The Interior panel displays a photograph of the currently selected studio This panel is a helpful static background when visual feedback is undesirable This panel displays information about the currently selected studio and micro phone s General information is displayed initially when the studio or micro phones are changed text in the panel is updated with information about the selection The Load Progress LED flashes STUDIO SOURCE when the plug in is updating the impulse
109. pre dynamics but ton and the 215L and or 550L modules can be moved out of the audio path and into the dynamics side chain path via the SC side chain buttons in those modules Note that the side chains for the dynamics modules are in series by default as in diagram above However when the 215L and or 550L are moved into the side chain via the SC buttons the side chain inputs for the dynamics modules are in parallel as shown in the diagram below Figure 8 Simplified signal flow illustrating parallel side chain inputs with 215L SC enabled UAD Powered Plug Ins Manual 54 Chapter 4 API Vision Console Channel Strip Displayed Knob settings when compared to the graphical user interface silkscreen num Values bers may not match the actual parameter values For example in the 215L Sweep Filters module the highest value shown in the plug in window is 20 kHz However the actual value when the knob is at maximum is 40 kHz This behavior is identical to the original hardware which is modeled exactly When the plug in is viewed in parameter list mode controls and or automa tion views the actual parameter values are displayed Artist Presets The API Vision Console Channel Strip includes artist presets from prominent API users The artist presets are in the internal factory bank and are accessed via the host application s preset menu The artist presets are also placed by the UAD installer so they can be used within Apollo s C
110. processed to sound like the CE 1 in nor mal mode To disable audio processing use the CE 1 Power Switch The yellow Rate LED blinks according to the current low frequency os cillator LFO rate When CE 1 is in Vibrato mode the LFO rate is de termined by the vibrato rate knob When in Chorus mode this LED is affected by the Intensity knob Note In Chorus mode the fastest LFO rate is slower than the slowest LFO rate in Vibrato mode This switch determines the operating mode of the plug in Click to switch between chorus and vibrato modes The active mode is black text The inactive mode has gray text The default mode is chorus The Stereo Mode switch determines the operating mode of CE 1 when the plug in is used in a stereo or mono to stereo configuration such as a stereo au dio track insert or stereo effects bus UAD Powered Plug Ins Manual 412 Chapter 41 Boss CE 1 Chorus Ensemble Output Level Kno Chorus Intensity Knob The hardware CE 1 has only a monophonic input Its output can be mono wet and dry signal mixed at one output jack or stereo dry signal in one output jack wet signal in other output jack We ve adapted the model for the mod ern era enabling a true stereo input Note This switch has no affect in a mono in mono out configuration The Stereo Mode switch affects the output as follows Dual Mode In Dual mode the CE 1 behaves as a dual mono device functioning as two in dependent CE
111. rate room diffusion slope and level is specified in the Reverberation panel Figure 43 on page 109 Finally the Positioning panel Figure 44 on page 111 contains controls for the placement of the source early reflections and late field reverberation Resonance Equalization Panel The Resonance panel Figure 38 on page 102 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 between the two The EQ curve effects the signal feeding both the early reflections and the late tield reverberations but not the direct path Bands 1 and 5 are configured as shelving bands Bands 2 3 and 4 also have an Edge control for adjusting its bandwidth Generally speaking a lot of high frequency energy results in a brilliant rever beration whereas a good amount of low frequency content gives a warm re verberation Note The values for the EQ parameters are displayed in the text fields at the bottom of the Resonance panel The values can also be entered directly using the text entry method UAD Powered Plug Ins Manual 101 Chapter 9 DreamVerb Bypass Band Amplitude Band Edge Bypass switch Band Amplitude control bats Resonance dE 10 Fist Hz 250 Hz 1 0 kHz 40 kHz 16k 2 4 OB 6 6 dB 0 d 2 dB Band 1
112. reduction in UAD DSP usage when DSP Loadlock is disabled If DSP Loadlock is enabled the default set ting 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 FATSO controls and processing for the channel are inactive in this mode Note UAD DSP load is not reduced in Bypass mode If you want to reduce UAD DSP usage when bypassing both channels of the FATSO use the Power switch instead page 25 The Output knob controls the signal level that is output F AA from the plug in 4 L Note This control has no effect when Bypass By pass Tranny on page 123 is active UAD Powered Plug Ins Manual 123 Chapter 10 Empirical Labs EL7 FATSO Global Controls The global controls are not channel specific they apply to both channels Link Compress wpa The control signal sidechains of the gain reduction processors for ete eee Channels 1 and 2 can be linked using the Link Compress function To activate Link Compress click the LINK COMPRESS text or LED on Ch1 on the left The feature is active when the LED is illuminated In typical use on stereo signals Link Compress should be active so the stereo imaging is maintained If the compressor is inactive Compressor Mode on page 121 or when FATSO is used in a mo
113. response which is triggered whenever the Stu dio Source Mic Select or Mic Filter controls are modified The new control settings are not heard until the LED stops flashing Sonic artifacts and or host CPU increases may occur during IR updating See Load Time on page 302 for related information Note that studio and source changes take longer than microphone changes because these changes update all three microphone pairs while microphone changes update only one microphone pair The Near Mid and Far microphone pairs each have their own set of con trols The control set for each mic is identical See Microphones Overview on page 294 for related information UAD Powered Plug Ins Manual 308 Chapter 29 Ocean Way Studios Mic Selection Distance Distance Delay The microphones used in the room are selected with this menu To change the active microphone click the current mi crophone name then select the desired mic from the drop menu or click the microphone image to cycle through the available microphones Tip To maintain the current Distance value for the selection when changing microphones press Shift on the computer keyboard when making the mic selection Not all microphones are available for all sources For a list of available microphones and their descriptions see Table 22 on page 294 Distance varies the length between the microphone pair and the j source The available ranges and default val
114. rough re verb size This timing ordinarily needs to be tweaked several times along the way e The materials and air density define the frequency decay of the LF and also the coloration of the ER if ER filtering is used the slider on the right of the Re tlections panel e Typically materials should be blended Try blending contrasting high fre quency roll off materials with high frequency reflecting materials or inverse materials This tends to add nice dimension to the LF tail Start with one use ful material and experiment with blending e 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 e The room shapes define the ER pattern they do not effect the LF Solo the ER and choose a shape that works well for your source or environment e Blending shapes does not always yield desirable results Use shape blend ing with discretion or to define a more complex room e Start with the EQ flat set the approximate sound with the materials then EQ the input to cut or boost specific frequencies UAD Powered Plug Ins Manual 114 Chapter 9 DreamVerb e The EQ is often most useful for a simple Lf or Hf roll off boost or to notch out bothersome frequencies for particular sources For full mix ambience mas tering presets use the EQ to cut most of all LF input
115. 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 intensity settings Different Modes will reveal different qualities of oscillation Single head Modes tend to have simpler oscillation qualities while multiple head modes will have a more complex sound when oscillating The RE 201 s oscillation qualities are heavily program and control depen dent Different sources of audio gain tone repeat rate and tape settings will all effect oscillation performance The RE 201 can also achieve oscillation with no signal making the RE 201 a truly unique instrument SEL This control determines the volume of the echo effect Ro tate the control clockwise for louder echo Reducing the control to its minimum value will disable the echo ETRAIGHMT UAD Powered Plug Ins Manual 421 Chapter 43 Roland RE 201 Space Echo Power Switch Echo Normal Sync Delay Time Display Tape Age Note Echo Volume has no affect when the Mode Selector is in the Reverb Only position TLL This switch determines whether the plug in is active This is use ful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load Toggle the switch to change the Power state Toggling the power switch will also clear the tape echo This can be useful if the RE 201 i
116. selected To select the Head Width click the HEAD button to cycle through the available values or click directly on the value label The active Head Width is highlighted in yellow m Note At tape speeds 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 INPUT ble signal paths is active in the Ampex ATR 102 The a active mode is indicated by an illuminated LED above REPRO THAU its associated button The default value is Repro a Sync The Path Select buttons specify which of the four possi Sync mode models the sound of direct tape recording and playback via the sync record head plus all corresponding machine electronics Sync mode is generally not used for playback due to its poorer frequency re sponse but it is included for authenticity and creative purposes Repro Repro mode models the sound of tape recording through the record head and playback through the reproduction head plus all corresponding machine electronics Input Input mode emulates the sound of the Ampex ATR 102 through the machine electronics only without tape sonics This is the scenario when the machine is in live monitoring mode but the tape transport is not running UAD Powered Plug Ins Manual 29 Chapter 2 Ampex ATR 102 Thru Thru is a processor bypass control When Thru is enabled all controls are in active emulation processing is disabled and DSP us
117. shelving filter When set to Shelf on the H1 and H2 bands the band becomes a high shelving filter Each band can be individually engaged with the Enable button All bands default to disabled When a band is enabled the button glows blue To enable a band click the Enable button or move the band Gain knob 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 decreased when a band is disabled unless UAD 2 DSP loadLock i is mabed UAD Powered Plug Ins Manual 342 Chapter 34 Precision Equalizer Frequency Knob Gain Knob High Pass Filter The Frequency knob determines the center frequency of the filter band to be boosted or attenuated by the band Gain setting This knob is stepped with 41 values for easy reproducibility during mastering To double the resolution of the available knob values for fine control press the shift key on the computer keyboard while adjusting the knob This in creased 2x frequency resolution within the available range can also be specified using text entry parameter automation or controls mode The available values for each of the four bands is the same in both parametric and shelf modes and are listed in Table 26 below Note Not all host applications support automation and or controls mode Table 26 Precision Equalizer Band Frequency Ranges Low Frequencies L1 and L2 19 572 Hert
118. 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 switch to Front when echo is desired The behavior is identical to the popular dub switch on the Roland RE 201 Echo Normal on page 422 See Front Rear Outputs on page 138 for more information Space mode is a special reverb program with an extremely long decay time and linear distribution of the reverberation time with frequency all frequen cies decay at the same rate Because this condition doesn t exist in nature and the program was originally intended for science fiction productions the reverberation in outer space moniker was derived The reverb decay time is approximately 10 seconds in Space mode Predelay and Front Rear are the only adjustable parameters in this program mode Note Levers 1 2 and 3 have no effect in Space mode UAD Powered Plug Ins Manual 146 Chapter 12 EMT 250 Electronic Reverberator Predelay Lever 4 Lever 4 is used as a typical reverb predelay parameter See Lever 4 Prede lay on page 138 for more information Front Rear In Space mode the Front Rear Outputs switch is illuminated Changing the
119. signal or bypass the entire compres sor section to reduce UAD DSP load unless UAD 2 DSP Loadlock is enabled Adjusts the signal output level of the plug in The EX 1M is a monophonic version of EX 1 that enables independent left and right EQ settings in master effects chains and allows Logic Audio users to con serve UAD DSP resources EX 1M requires half the processing power compared to that of EX 1 when used on a mono audio track within Logic Audio Therefore EX 1M should be used on monophonic audio tracks within Logic whenever possible to conserve UAD resources UAD Powered Plug Ins Manual 89 Chapter 7 CS 1 Channel Strip DM 1 Delay Modulator L DELAY R DELAY r YHE LATE DELAY MODULATOR z T 4 f i a 2 l EHGHALE k k i X l ar B j CRELLE oe 20s a S00 re DAMPING e T wo MIX i a me 24 0 aA Figure 32 The DM 1 Delay Modulator plug in window The DM 1 Delay Modulator provides stereo effects for delay chorus and flange DM 1 Controls Sync Button This button puts the plug in into Tempo Sync mode See Chapter 8 in the UAD System Manual for more information L Delay Knob Sets the delay time between the original signal and the delayed signal for the left channel When the Mode is set to one of the delay settings the maximum delay is 300 msec When the Mode is set to one of the chorus or flange set tings the maximum delay is 125 msec R Delay Knob Sets the dela
120. suggests the heart of the Moog Multimode Filter is the switchable Low pass Highpass and Bandpass filter that allows Moog s signature self oscilla tion 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 elements Warning Like most resonant filters VAD Moog Filter has the potential to create unpredictable sonic results that can result in unexpected jumps in out put amplitude Depending on the source material input levels and parameter values the filter output can suddenly get extremely loud with the potential to damage speakers and or hearing This condition is particularly susceptible when the simultaneous conditions of high gain low filter cutoff and high res onance values are applied and or when the LFO sweeps into these condi tions Use caution and or low monitoring levels when dialing in extreme parameter values to avoid speaker and or hearing damage UAD Powered Plug Ins Manual 227 Chapter 22 Moog Multimode Filter Moog Filter Screenshot Figure 71 The UAD Moog Filter plug in window Moog Filter Controls The Moog Filter is true stereo with separate filters for t
121. the 12 o clock position weg The Wet Solo switch puts the Cooper Time Cube into 100 Wet swe mode When Wet Solo is on in the up position it mutes the dry un f 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 is used on a channel insert this control should be deactivated Note Wet Solo is a global per plug in instance control Its value is saved within the host project session file but not within individual preset files The Power switch determines whether the plug in is active It s useful for com paring the processed sound to the original signal The VU Meter provides a visual indication of the output level of the plug in the meter is not calibrated The meter needle drops to minimum when the plug in is disabled with the Power switch UAD Powered Plug Ins Manual 83 Chapter 6 Cooper Time Cube Channel Controls Delay A B Decay A B Pan A B The channel controls affect each channel of the processor independently The control functionality is identical for each channel A indicates the left chan nel and B is the right channel DELAY DECAY ECHO WEL gs et es O ek Figure 27 The channel controls Delay controls the delay time for each channel of the processor The selected value is shown in the Echo display Echo A B on page 82 The available delay range for each
122. the Legacy ver sion of the plug in LM Boost This knob determines the amount of low midrange gain to be applied to the frequency set by the low midrange frequency se lector Dip Controls Mid Frequency This switch determines the frequency of the midrange portion of the equalizer Eleven frequencies are available 200 CPS 300 CPS 500 CPS 700 CPS 1 KCS 1 5 KCS 2 KCS 3 KCS 4 KCS 5 KCS and 7 KCS Tip To cycle through the available values click the DIP text label or shift click the text label to cycle through available values in reverse These shortcuts are unavailable with the Legacy version of the plug in Mid Dip This knob determines the amount of midrange cut attenuation to be applied to the frequency set by the midrange frequency selector UAD Powered Plug Ins Manual 392 Chapter 39 Pultec Passive EQ Collection High Peak Controls HM Frequency This switch determines the frequency of the high midrange portion of the equalizer Five frequencies are available 1 5 2 3 4 and 5 KCS Tip To cycle through the available values click the PEAK text label or shift click the text label to cycle through available values in re verse These shortcuts are unavailable with the Legacy version of the plug in HM Boost This knob determines the amount of high midrange gain to be applied to the frequency set by the high mid frequency selec tor Bypass Gain This is dual purpose
123. the Output control after the de sired amount of compression is achieved with the Threshold and Compression controls Output does not affect the amount of compression emg The Meter buttons define the mode of the VU Meter a The buttons do not change the sound of the signal e processor The active button has a darker appear m ance when compared to the inactive buttons When set to Input the VU Meter indicates the plug in input 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 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 reduced if UAD 2 DSP Loadlock is en abled UAD Powered Plug Ins Manual 98 Chapter 8 dbx 160 Compressor Limiter CHAPTER 9 DreamVerb Overview DreamVerb Universal Audio s unique stereo reverb plug in draws on the unparalleled flexibility of RealVerb Pro Its intuitive and powerful interface lets you create a room from a huge list of different materials and room shapes These acoustic spaces can be customized further by blending the different room shapes and surfaces with one another while the density of the air can be changed to simulate different ambient situations DreamVerb also features a
124. the amount of de essing by defining a cos ae the signal level at which the processor is activated Ro tate Threshold counter clockwise for more de essing ee SPEED g Signals peaks as determined by Frequency Fre quency on page 327 and Width Width on page 328 that exceed the Threshold level are compressed by a ratio of 7 1 The available range is 40 dB to O dB Speed determines the response of the sibilance detector Fast mode will usually make sibilance reduction more obvious In Slow mode the effect is usually more subtle but can produce a more natural sounding result The actual times of the two modes are as follows SPEED FASI SLOW e Fast Attack 0 5ms Release 30ms e 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 a FREQUENCY This control defines the center frequency of the de esser SE gos I when in bandpass mode or the cutoff frequency of the de esser when in highpass mode For bandpass use the value is set to the center of the undesirable fre quency range that is to be reduced For highpass use the value is set below the frequency range that is to be reduced Used in conjunction with the Width control Width on page 328 a broad range of de essing is possible 7 2 KHz 16 The available range is 2 kHz 16 kHz The Solo button isolates the de essi
125. the control in the 85 95 range to get a 50 50 wet dry balance Note When the Wet switch page 154 is in the On position Echo Volume has no effect Recording Volume adjusts the input gain and clipping charac BEEE teristics of the delayed tape signal Increasing this control will hee increase the tape distortion and grit that is an important ele am ment of the famous hardware sound The Recording Volume is x indicated by the Input Meter j VOLUME ATA The Input Meter in the EP 34 is a three segment horizontal LED f array two green one red that indicates the recording level at the input of the tape recorder The yellow LED indicates that the plug in is active When the Power switch page 154 is enabled the yellow LED is illuminated The frequency response of the delayed wet sig ECHO TONE nal can be modified with the Echo Tone controls These knobs are cut boost controls they have no effect when in the 12 o clock position The avail able range is 10 dB of gain Note The Echo Tone controls do not affect the dry signal Treble Controls the high frequency response in the delayed signals Bass Controls the low frequency response in the delayed signals UAD Powered Plug Ins Manual 152 Chapter 13 EP 34 Classic Tape Echo Echo Pan Input Tension Send Pan sets the position of the delayed wet signal in the stereo field it does not affect the unprocessed dr
126. the distance is from the source to the mic the longer the delay time When a microphone pair in Ocean Way Studios is set to aligned by click ing its Distance knob this inherent mic delay is artificially removed so the sound source reaches the mic instantaneously The setting is useful when the source audio signals need to remain time aligned or simply for its own phys ically impossible sonic effect UAD Powered Plug Ins Manual 296 Chapter 29 Ocean Way Studios Removing this inherent delay can be especially useful in these scenarios e f a source is recorded with a distant room mic it will play back later in re lation to sources that are close miced Typically this delay can be compen sated in the DAW by manually shifting the track forward in time so it aligns with the other instruments With Ocean Way Studios removing the micro phone delay will align the distant mics automatically e When the microphone pair is distant from the source the additional micro phone delay can be problematic for performers tracking in realtime while monitoring through the plug in Setting the microphone pairs to aligned re duces realtime latency Tip The most realistic acoustic emulations are recreated when the distance delay is retained aligned off This is because the inherent source to mic de lays provide subtle yet important auditory cues that our brains use to interpret the acoustic space Sound A gt Source Woyys Dist
127. the filter may self oscillate Resonance works the same way in all three filter modes The filter slope is determined by this switch The slope defines how steep the frequencies above the cutoff in lowpass mode or below the cutoff in highpass mode are rolled off 2 Pole In 2 pole mode the filter has a slope of 12 dB per octave For example in lowpass mode frequencies that are double the cutoff frequency an octave are attenuated by 12 dB 2 pole filtering is less aggressive than 4 pole mode but has its own unique sound that you may find is better suited for certain types of signals 4 Pole 4 Pole mode has a steeper slope 24 dB per octave so the filtering is more obvious This is the classic and luscious Moog filter in all its glory that has been employed on just about every Moog product from the Modular to the Minimoog to the Voyager UAD Powered Plug Ins Manual 230 Chapter 22 Moog Multimode Filter Step Track Mode Spacing This switch is a smoothing control for the filter cutoff frequency parameter Smoothing is most obvious on continuous filter sweeps when varying the cut off rapidly with the knob or automation Step mode can be desirable when sudden cutoff changes are automated and other creative purposes Smoothing is on in the Track position and off in the Step position Note When set to Track the plug in does not track the input signal fre quency like a synthesizer filter T
128. to Neve 31102 and 31102SE Controls on page 257 for Neve 31102SE control descriptions UAD Powered Plug Ins Manual 260 Chapter 26 Neve 31102 Console EQ Neve 31102 Latency The Neve 31102 but not the 31102SE 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 The latency and its compen sation is identical to that of the other UAD Neve EQ s See Chapter 9 UAD Delay Compensation in the UAD System Manual 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 One Neve 31102 EQ hardware module and 31102s installed in a Neve 8068 console All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS NEVE s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 261 Chapter 26 Neve 31102 Console EQ CHAPTER 27 Neve 33609 Compressor Overview Derived from the original Neve 2254 compressor circa 1969 the 33609 stereo bus compressor limiter utilizes a bridged diode gain reduction circuit and many custom transformers The uniquely musical character of this circuit made the
129. types of percussion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results 225L Knee The knee onset characteristic of the compressor limiter can be set to Soft SFT or Hard HRD with this two position switch The default value is Hard Soft provides a more subtle compression resulting in a very natural less com pressed sound Hard results in a more typical sharp knee type compression that has a more severe limiting effect UAD Powered Plug Ins Manual 62 Chapter 4 API Vision Console Channel Strip 225L Type The Type control switches the 225L compressor s control side chain NEW signal to use either a feed back OLD or feed forward NEW de sign providing two types of gain reduction The default value is OLD Old Compressors typically have a side chain control signal based on either feed back or feed forward designs NEW feed forward gain reduction is typical of newer VCA type compressors that rely on RMS detectors for the side chain cir cuit The OLD feed back method is what most classic compressors use for the side chain circuit Note Unlike the original hardware side chain processing via the 215L and 550L modules can be performed with this switch in the OLD position the hardware cannot use side chain filtering with feedback compression 225L Meter This meter displays in dB the amount of gain attenuation occurring in the 225L module 2
130. use VAD Ampex ATR 102 Following this procedure will result in the same or nearly the same values ob tained by simply using the Auto Cal feature Tip When making manual calibration settings consider disabling Auto Cal so the manually calibrated values are not accidentally lost if any of the con trols that force automatic calibration Tape Type Tape Speed Emphasis EQ and Head Width are inadvertently modified e Reduce monitoring system volume to avoid loud sine wave Tones e Insert UAD Ampex ATR 102 on the DAW output bus see note below e Set Path Select to Repro mode Sync mode is not supported for manual cal e Set left and right Meter Input Output switches to the OUTPUT position e Set left and right Meter Peak VU switches to the VU position e Set Tape Speed Tape Type Cal Level and Head Width to desired values e f Tape Speed is set to 3 75 IPS set Cal Level to 3 dB e Disable Noise Enable excessive Hiss may contribute to incorrect results e Do not change the above settings throughout the procedure e For related information see the Manual Calibration Notes at the end of this chapter Note The Manual Calibration Tools are operational only when Path Select is set to Sync or Repro Additionally the tools may not operate in some hosts unless audio is present on the track containing the plug in and the transport is running Placing the plug in on an aux bus or master output may eliminate this host limit
131. value This parameter determines the amount by which the frequency setting for the high band is boosted or attenuated The available range is 12 dB UAD Powered Plug Ins Manual 314 Chapter 29 Ocean Way Studios The History of Ocean Way Recording Ocean Way Recording in Hollywood California is the world s most awarded studio complex Albums recorded at the studio have sold over 1 billion units Generations of music icons from Frank Sinatra Nat King Cole Ray Charles to The Rolling Stones Eric Clapton and Michael Jackson all the way to con temporary artists like Green Day Dr Dre Radiohead Kanye West and The Red Hot Chili Peppers all choose Ocean Way for its phenomenal sounding rooms customized equipment impeccable electronic maintenance and ac cess to the music industry s most famous collection of vintage tube micro phones In 1972 Allen Sides began building custom loudspeakers and leased a ga rage in Santa Monica California as a hi fi demo room This garage was within steps of the Pacific Ocean and was situated on a street appropriately named Ocean Way Since he knew exactly what kinds of sounds were most impressive on his speakers Sides did limited live to two track recordings as demo material During these demos listeners became as interested in the re cordings as the speakers and before long they were asking Allen to make their recordings In order to service those clients Ocean Way Recording was born Five Gr
132. 00 Screenshot 455 Studer Operational Overview 455 Support Website 16 Sync Button 90 94 Teletronix LA 2A Classic Leveler Collection 468 The UAD System 14 Threshold 164 321 327 Threshold Knob 89 Time Constant 165 Transient Designer 424 Trident A Range EQ 477 Trident A Range EQ Controls 479 Trident A Range EQ Screenshot 477 Trident A Range Latency 48 1 Type 76 Type Il 76 Type Ill 77 511 Index INDEX U UA 1176 Classic Limiter Collection 483 UA 1176 Limiter Collection 485 UA 1176 Screenshots 484 UA 610 Screenshots 495 UA 610 Tube Preamp Collection 494 UA 610 B Controls 499 UAD Nomenclature 15 Users Forum 16 V Video Documentation 16 VU Meter 418 W Welcome 14 Wet 113 Wet Solo Button 134 Wet Dry Mix Knob 92 95 Width 328 Width Knob 134 Windows 15 www 16 Z Zoom Buttons 71 UAD Powered Plug Ins Manual 512 Index
133. 02 Mastering Tape Recorder has turned music recordings into records With its cohesive sound punch and ability to provide subtle to deep tape saturation and color the Ampex ATR 102 is a fixture in major recording and mastering studios and is considered by many engineers to be the best sounding tape machine for final mixdown The perfect complement to the workhorse Studer 800 Mul tichannel Tape Recorder the Ampex ATR 102 plug in can provide the final analog polish on your music turning songs into albums Impeccably modeled in the renowned UAD engineering tradition and in corporating presets from noted Ampex ATR 102 users Chuck Ainlay Richard Dodd Buddy Miller Mike Poole and more the Ampex ATR 102 Mastering Tape Recorder plug in emulation for UAD 2 faithfully replicates the unique dy namics frequency response and saturation 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 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 tape tension and handling The large capstan and absence of pinch rollers provided nearly non existent speed drift and ultra low flutter The clever ATR 102 design allowed users to change out heads and guid
134. 1176LN LIMITING AMPLIFIER IN FUT UNIVERSAL AUDIO ie i a E 7 117ASE LATS AMPLIFIER OP g e To en lip pl UNIVERSAL ALO a Figure 157 The UA 1176SE Legacy plug in window UAD Powered Plug Ins Manual 484 Chapter 50 UA 1176 Classic Limiter Collection 1176 Plug In Family UA 1176 Limiter Collection The complete 1176 family is comprised of five individual plug ins as seen on the previous page Each variation has its own unique sonic characteristics The UA 1176 Limiter Collection bundle introduced in UAD v6 2 provides three distinct 1176 revisions representing over 40 years of design iterations to the original 1176 the world s most recognized compressor The newer state of the art algorithms in this bundle take full advantage of the extra power available on UAD 2 devices and the design sophistication and expertise gained since the introduction of the legacy 1176LN plug in ten years prior 1176 Rev A Bluestripe This model Figure 153 on page 484 represents the original Putnam FET lim iter design complete with its higher distortion and unique FET gain amplitier characteristics Although the input can clip even when gain reduction is not occurring in all the Limiter Collection bundle models the input clipping is most evident on the Rev A model 1176 Rev E Blackface This model Figure 154 on page 484 covers the early 70 s Brad Plunkett LN Low Noise era of the 1176 ci
135. 25L On This button enables the 225L module The module is active when the button s green indicator is lit Note UAD DSP load is reduced when this module is inactive unless DSP LoadLock is enabled UAD Powered Plug Ins Manual 63 Chapter 4 API Vision Console Channel Strip 550L Four Band The 5501 EQ is divided into four frequency bands High Equalizer Frequency HF High Midrange Frequency HMF Low Midrange Frequency LMF and Low Frequency LF The 550L features API s Proportional Q which continu ously narrows the bandwidth of the filter as band gain is increased providing as stated by API an uncompli cated way to generate acoustically superior equaliza tion The boost and cut characteristics are identical al lowing previous actions to be undone if desired Band Controls The four EQ bands HF HMF LMF LF are controlled by dual concentric switches The inner knob controls the band frequency values in blue text and the outer knob controls the band gain values in white text Available values for these controls are listed in the table below Table 9 API 550L Frequency and Gain Values Band Frequency Values High Frequency 20 15 12 5 10 7 5 HF 2 5 kHz Low Mid Freq 12 5 10 8 5 3 1 5 LMF KHz 800 Hz High Mid Freq 1000 700 500 240 HMF 180 150 75 Hz Low Frequency 400 300 200 100 dB LF 50 40 30 Hz Default values indicated in bold text above
136. 300 Chapter 29 Ocean Way Studios Latency Whenever more than one microphone pair is simultaneously enabled careful attention should be paid to the Distance position and Polarity Invert param eters to avoid potential phase issues Just as with moving microphones around and changing signal polarity when recording acoustically changes to Dis tance and Polarity Invert can have a dramatic effect on the sound Note that sometimes phasing can sound just fine and can be useful for creative pur poses Ocean Way Studios sounds amazing when set properly If using more than one microphone and the plug in doesn t seem to sound right adjust the Dis tance and or Polarity parameters on one or more of the microphones to taste until phasing is minimized Don t Include Original Dry Signal in Re Mic Mode Because Re Mic mode includes the direct signal component if the original dry signal is mixed with the processed signal when Ocean Way Studios is in Re Mic mode phasing is likely to occur in this configuration for example if the plug in is in Re Mic mode when used in a traditional effects bus send re turn configuration For illustrations of proper DAW routing in Re Mic mode see Figure 94 on page 299 and Figure 95 on page 300 Important For the intended design results and to minimize phasing when Ocean Way Studios is in Re Mic mode exercise caution to ensure the origi nal dry signal is not mixed with Ocean Way Studio s processed outpu
137. 33609 a studio standard since its release The UAD Neve 33609 is the only Neve sanctioned software recreation of the Neve 33609 revision C Every detail of the original unit is captured and matches its hardware counterpart with absolute precision The 33609 plug in includes a DSP opti mized 33609SE which allows 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 slow attack The mono stereo switch couples and decouples the left and right gain reduc tion elements The UAD Powered Plug In version of the Neve 33609 adds a few control en hancements not found on the hardware An additional stepped output control with 20 dB of gain a link switch allowing ganged left right control of all pa rameters and a headroom switch which allows the DAW user to take advan tage of the full range of 33609 gain coloration UAD Powered Plug Ins Manual 262 Chapter 27 Neve 33609 Compressor Neve 33609 Screenshot threshold dBu gain reduction 1 _ 910 Neve A i Eee POWER al a 3 gain reduction 2 OUTPUT 1 esholddBu recov aE covery ms g atio 3 3i F a ae a4 nic A tells 16 2 ik Zs 5 f
138. 369 Neve 1073 Screenshot 244 263 Neve 1073SE 247 271 Neve 1073SE Controls 247 271 Neve 1081 Band Layout 250 Neve 1081 Controls 179 185 250 275 327 336 Neve 1081 Equalizer 249 Neve 1081 Latency 255 Neve 1081 Screenshot 178 184 249 274 Neve 1081SE 255 Neve 1081SE Controls 176 255 Neve 31102 Console EQ 256 Neve 31102 Controls 257 Neve 31102 Latency 261 Neve 31102 Screenshot 256 Neve 31102SE 260 Neve 31102SE Controls 260 Neve 33609 Compressor 262 Neve 33609 Controls 264 Neve 33609 Screenshot 263 Neve 33609SE 27 1 Neve 88RS Band Layout 283 Neve 88RS Channel Strip 273 Neve 88RS Controls 275 365 Neve 88RS Screenshot 274 Noise 148 O Ocean Way Studios 288 Ocean Way Studios Operational Overviews 292 Ocean Way Studios Screenshot 289 Online 16 Online Documentation 16 Output 112 489 509 Index INDEX Output Knob 88 92 95 Output VU Meter 134 Overview 86 96 178 184 244 249 256 262 273 320 326 330 335 364 370 417 424 P Parameter Copy Buttons 341 Parametric EQ 75 Parametric Type Selector 75 Peak 185 Peak Level 245 250 257 418 Peak Reduction 473 Plate 140 Overview 129 Plate Select Switch 131 Platforms 15 Positioning panel 101 110 Power 414 416 Power Lamp 135 Power Switch 135 342 Precision Buss Compressor 96 320 Precision Buss Compressor Controls 97 321 Precision Buss Compressor Screenshot 321 Precision De Esser 320 326 Precision De Esser Control
139. 5 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 This control determines the frequency of the midrange band The following frequencies can be specified 700 Hz 1 kHz 1 4 kHz 2 kHz 2 8 kHz 3 5 kHz 4 5 kHz and 6 kHz Note The gain for the mid band is determined by the Mid Gain control MidFreg has no effect if the Mid Gain control is set fo zero In the graphic interface of this control what may appear to be a dash actually represents a decimal point This anomaly mimics the original hardware This control determines the amount of gain or attenuation to be applied to the mid band Up to 15 dB of boost or cut is avail able The Q bandwidth on the midrange band is fairly wide and senile at low settings but gets progressively narrower as the gain value is in creased UAD Powered Plug Ins Manual 180 Chapter 16 Helios Type 69 Equalizer Mid Type High Shelf Gain EqCut Phase Level Adjust Line Note Whether gain or attenuation is applied is determined by the Mid Type control mode When switched to Peak the Mid Gain control will boost the sta Mid Type specifies whether the midrange band is in Peak or Trough midrange When switched to Trough Mid Gain will cut the midrange Note When using Trough a 1 dB loss occurs on the overall output of the plug in This is normal the behavior is the same
140. 60 1 e Ratio range in Expand mode is 1 1 to 1 4 e Ratio range in Gate mode is 1 1 to 8 1 UAD Powered Plug Ins Manual 375 Chapter 38 Precision Multiband Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before processing is applied The faster the Attack the more rapidly processing is applied to signals above the threshold The available range is 50 microseconds to 100 milliseconds Release Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level Slower release times can smooth the transition that occurs when the signal dips below the threshold especially use ful for material with 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 control The Gain control does not affect the amount of process ing The available range is 12 dB Note The Gain for each band can also be modified by control points in the EQ Display see Curve Control Points on page 377 Band For details about the band frequencies see Frequency Controls on Frequencies page 379 Band Enabl
141. 670 Legacy On the hardware unit the Zero screw as displayed in the Fairchild 670 Legacy ad justed the meter pointer to compensate voltage fluctuation and component wear Balance controls the bias current balance It always controls one channel of the compressor regardless of what the nearby Meter Switch is set to The point of perfectly calibrated bias currents is achieved when the screw slot is at the 12 o clock position the de fault value At this setting the amount of additive signal deflection thud which happens due to an attack is minimized Setting this control counter clockwise from this position results in a thud of one polarity on transients and going clockwise produces a thud of opposite polarity Tip Click the BAL text label to return the control to the default position Note To avoid the DC settling artifacts that can result when adjusting Bal ance automating this control is not recommended SIDECHAIN FILTER The Sidechain Filters one each for the Left Lat and RIGHT Right Vert channels control the cutoff frequency of a low cut filter on the compressor s control signal sidechain They have a slope of 12 dB per octave The available range is 20 Hz to 500 Hz and Off The default value is Off Tip Click the OFF label to disable the sidechain filter Removing low frequency content from the sidechain can reduce excessive gain reduction and or pumping on bass heavy audio signals without re
142. AES em phasis curve When the value is set to NAB the Hum Noise frequency is 60 Hz the United States standard When set to CCIR the Hum Noise frequency is 50 Hz the standard in Europe and other regions See Noise Enable on page 462 and Hum Noise on page 467 for more information about Hum Note When IPS Tape Speed is set to 30 IPS the yellow LEDs are not illu minated indicating that the Emphasis EQ is set to AES However in 30 IPS mode the Equaliser switch can still be changed to set the frequency of Hum Noise Tape Speed and Emphasis EQ were originally practical controls for record duration vs noise and local standards It is important to note that historically the origin of the tape machine US or European dictated the builtin EQ em phasis but later machines like the A800 had both circuits available While the hardware A800 has discrete controls for tape soeed 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 A800 plug in has three speeds and related EQ pre emphasis de emphasis filtering presented as two easy to use controls for simple auditioning of the sonic variations CCIR also known as IEC is the EQ pre emphasis made famous on British records and is considered the technically superior EQ many say this EQ was part of the British sound during tape s heyday NAB also referred to as IEC2 was the Americ
143. By pass and EQ enabled modes so that the EQ effect can be more accurately judged With drastic EQ there may not be enough range to match levels but with drastic EQ this kind of comparison is of little use The range is small to al low easier and finer adjustments Filters Low Pass and High Pass filters are available for both channels The response curves of the filters are shown in Figure 70 below The available Filter values differ between the standard and mastering versions see Table 20 on page 217 for the available values for each version Low 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 ter is used In the mastering version when Low Pass is set to 27kHz the frequency re sponse is down by about 0 6 dB at 20kHz When the control is set to 52kHz there is actually a boost of about 0 4 dB at 20kH7z the filter is slightly reso nant at this setting so there is a slight boost before the filter starts rolling off High Pass The High Pass filter allows the channel s higher frequencies to pass while attenuating lower frequencies The slope of the High Pass filter is 18
144. Channel Strip 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 is enabled HF Freq This parameter determines the HF band center frequency to W be boosted or attenuated by the band Gain setting The ie available range is 1 5 kHz to 18 kHz HF Gain This control determines the amount by which the frequency set ting for the HF band is boosted or attenuated The available range is 20 dB HF Hi Q Enable The filter slope of the HF band can be changed with this control When Hi Q is off the Q is 0 7 When Hi Q is active the Q is 2 Higher Q values mean the peak or trough has steeper slopes Hi Q is active when the button is gray and the yellow indicator illuminates Hi Q is off by default Note Hi Q has no effect when the band is in shelf mode HF Shelf Enable 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 The HF band can be switched from bell mode to shelving mode by fault HMF Freq ee This control determines the HMF band center frequency to be i se boosted or attenuated by the HMF Gain setting The available range is 800 Hz to 9 kHz HMF Gain This control determines the amount by which the frequency set ting for the HMF band is boosted or attenuated The available range is 20
145. Cooper Time Cube 80 Cooper Time Cube Controls 81 Cooper Time Cube Screenshot 80 CS 1 Channel Strip 86 Curve Control Bats 71 Curve Control Points 377 Customer Support 17 Cut Enable Button 73 Cut Filter 130 Cut Frequency Knob 74 Cut Type Menu 73 D Damper Controls Reverb Time 131 Damping Knob 92 95 dbx 160 Compressor Limiter 96 dbx 160 Controls 97 dbx 160 Screenshot 96 Decay Time 110 Delay Knob 94 Delay Size Settings Interaction 94 Demo Mode 234 Depth Knob 91 Diffusion 110 Dimension D 415 Dimension D Controls 416 Dimension D Screenshot 415 Dimension Mode 416 Distance 112 DM 1 Controls 90 DM 1 Delay Modulator 90 DM 1L 90 DM 1L Overview 92 Documentation Overview 14 DreamVerb 99 Dry 113 UAD Powered Plug Ins Manual Dual Mode 341 413 Dynamic Room Modeling 288 Dynamics 275 Dynamics Meters 380 Early 111 Early amp Late Adjustment 111 EL7 FATSO 116 Empirical Labs EL7 FATSO 116 EMT 140 Controls 130 EMT 140 Plate Reverb 129 EMT 250 Electronic Reverberator 136 EMT 250 Functional Overview 137 EMT 250 Program Mode Controls 140 EMT 250 Screenshot 137 Enable Button 74 Enable Bypass Switch 88 89 92 95 energy 101 EP 34 Classic Tape Echo 149 EP 34 Controls 150 EP 34 Hardware History 154 EP 34 Overview 149 EP 34 Tape Echo Screenshot 150 EQ Bands 74 EQ Display 377 EQ Enable Button 72 EQ Enable Switch 132 EQ Response 377 ER Relative Timing 110 EX 1 Compressor Controls 88 EX 1
146. D Powered Plug Ins Manual 311 Chapter 29 Ocean Way Studios Mono Output When the plug in has monopho nic output when in a mono out configuration or set to mono with the Mono switch the micro phone icon s in the Position panel shows a single icon for each active microphone as shown at right This is a conve nient visual reminder that the plug in output is monophonic Stereo Output When the plug in has stereo out put the microphone icon s in the Position panel shows dual icons representing the matched stereo set for each active micro phone pair as shown at right Each microphone signal is routed to the left and right plug in channel outputs respectively Tip The color of the microphone icons matches the color of the ring around each Distance knob for visual feed back Dry Wet mak ame Vhen the plug in is used in Reverb mode in a track insert versus ale effect send return configuration Dry Wet determines the bal ance between the original dry signal and the processed signal The range is from 0 dry unprocessed to 100 wet pro cessed signal only Dry Wet is used to set the amount of ambience when the plug in is used in a track insert versus aux send return configuration Note If Wet Solo is enabled this control is unavailable Wet Solo Wet Solo puts Ocean Way Studios into 100 wet mode When Wet P Solo is on it is the equivalent of setting the Dry Wet knob value to 100 UAD Powered
147. Drive Gain LED operates when the plug in is in Bypass mode but not when Power is off DRIVE GAIN The Envelope controls Envelope knob Smooth Fast switch closely mimic the controls of the MF 101 Moogerfooger However UA has broadened the sonic palette with a negative range allowing unique negative envelope effects The cutoff frequency of UAD Moog Filter can be modulated by the amplitude of the signal coming into the plug in This function is typically called an en velope follower or auto wah because the cutoff frequency follows the signal input level The amount and speed of the envelope response 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 The greater the value either positive or negative the greater the amount of filter modulation the cutoff frequency range is increased with greater values Tip Click the knob label ENVELOPE to return the value fo zero m This LED indicates the relative peaks of the control envelope The envelope LED does not illuminate when the plug in is in Bypass mode or when Power is off This toggle switch determin
148. E OF CONTENTS SSL G Bus Compressor Screenshot n 000 ccc cen nee SSL G Bus Compressor Controls 0 0 0 0 000s General Usage Notes 0 00 00 c cece cence enn ete enn e eee eens Chapter 47 Studer A800 1 ccc www www ccc ccc cnn cn nssscece Multichannel Tape Recorder 0 0 0 0 0 cece een eee eens Studer A800 Screenshot 00 e nent eee enes Operational Overview 2 0 66nd n nee e nnn e nes Primal COnWOls cu ciaecase ceendeguctwasuda cacndedneteecase seontadeeeuagause Secondary Controls 20 ee nee nnn e enn eet e nes Studer A800 Latency 0 6 6 n eee e nnn e ee nas Chapter 48 Teletronix LA 2A Leveler Collection ccccccceees LA 2A Plug In Family 2 0 0 0 0c ccc ee ene ene een n eee e ee enneeee Operational Overview 2 0 0 0 eee nnn eee eben ete een es PIE fo ee ee ee ee ee ee eee Historical Background 0 0 ccc aaneren aeaaaee Chapter 49 Trident A Range EQ 1 2 ccc ccc ccc ccc ccc n ccs ccscee VEIWVIEW Ss awacpady E pawn eaduencageng sawed adweh ene any pees cage ewaneacas Trident A Range EQ Screenshot 20 0 0c cece eee enn eee Operational Overview 0 0 c cece eee eee nnn nets Trident A Range EQ Controls 00 0 e nnn Trident A Range Latency 60 0 Chapter 50 UA 1176 Classic Limiter Collection ccccccccces 1176 POG ein Famy assesseer a Operational Overview aunnuauaa naurun rnrn eurra erruan rnrn ernan 1176 Controls 00 c
149. E control bat Diffusion 7 LATE TIMING Diffusion control a Decay Time 100 me control bat 4 5 cB Figure 43 DreamVerb Reverberation panel Bypass The late field reverberations can be disabled with this switch When the switch is off black instead of grey the other Reflections controls have no ef tect This switch has no effect on the direct signal path UAD Powered Plug Ins Manual 109 Chapter 9 DreamVerb Late Field Start This parameter defines when the late field reverb tail begins the delay be tween the dry signal and the onset of the LF in relation to the dry signal Amplitude amp This bat controls two late field parameters Dragging the bat vertically con Slope trols the maximum amplitude of the LF reverb energy Dragging it horizontally controls the LF slope fade in time Decay Time This control effects the length of the reverb tail Drag the bat to the left for a short decay or to the right for a long decay Diffusion This slider effects how quickly the late field reverberations become more dense The higher the Diffusion value the more rapidly a dense reverb tail evolves ER Relative To highlight the relative timing relationship between the early reflections and Timing 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 Rever
150. EMT c Gye power indicator glows brighter when the plug in is enabled Note The EMT 140 distills 1800 pounds of classic vintage reverb into a sin gle plug in Exercise caution when lifting UAD Powered Plug Ins Manual 135 Chapter 11 EMT 140 Plate Reverb CHAPTER 12 EMT 250 Electronic Reverberator Introduction Unveiled by EMT at the AES convention in 1976 and inducted into the TEC Hall of Fame in 2007 the EMT 250 was the first digital reverberation device to create ambience through a purely electronic system With its single reverb program and iconic lever driven control surface the EMT 250 is still an indis pensable tool within the record making elite and is widely considered one of the best sounding reverbs ever made Although only around 250 were built the EMT 250 has made an immeasurable impact on record making history in the hands of studio legends like George Massenburg Bruce Swedien Allen Sides and many others Captured from Allen Sides unit at Ocean Way Re cording 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 effects Delay Phasing Chorus Echo and Space
151. EQ The VCA ype Limit Comp provides a 0 01 to 3s release Auto Release and a continuously variable ratio control with a fixed fast or slow attack time The Gate Exp provides 0 01 to 3s release times fast or slow attack times plus Threshold Range and Hysteresis to tailor your gate or expansion effect to the perfect response for any source Additionally the user may engage the P DYN button to reorder the signal chain so that the EQ is first With the SC EQ button the user may engage a sidechain feature to achieve frequency dependent compression for such use ful tasks as de essing UAD Powered Plug Ins Manual 273 Chapter 28 Neve 88RS Channel Strip Neve 88RS Screenshot GATE EXP LIMIT COMP EQUALISER ST N J E GAIN i 0 0 ail 10 2 a pull 4 lds A0 i 20 T30 i 4 ia pull r J dao gt 00 1 Hz 200 420 Figure 84 The Neve 88RS plug in window UAD Powered Plug Ins Manual 274 CUT FILTERS kHz7 5 18 li A gli E e j gs NEVE 88R POWER Chapter 28 Neve 88RS Channel Strip Neve 88RS Controls Overview Signal Flow Dynamics The UAD Neve 88RS controls are divided into four main sections dynamics EQ cut filters and global Each section and control is detailed below In the UAD Neve 88RS plug in O dBFS is calibrated to 4 dBU plus 18 dB of headroom so O aBFS is equivalent to 22 dBU The output of the cut filters is fed to the
152. Eceo m O Filters EQ Figure 13 Signal flow with SC enabled in both 215L and 550L modules UAD Powered Plug Ins Manual 66 Chapter 4 API Vision Console Channel Strip Global Module 550L EQ This button enables the 550L module The module is active when the button s green indicator is lit Note UAD DSP load is reduced when this module is inactive unless DSP LoadLock is enabled Output Meter The vertical LED style metering provides a visual indica tion of relative signal peak levels at the output of the plug In SC Link Side Chain Link When the plug in is used on a stereo signal this button links the side chains of the left and right channels of the 225L and 235L dynamics modules so both channels are compressed by the same amounts SC Link is active when the button s green indicator is lit The default value is en abled Linking the side chains prevents signals which appear on only one channel from shifting the stereo image of the out put For example any large transient on either channel will cause both channels to compress and the amount of compression will be similar to the amount of compression for a transient which appears on both channels at the same time Note The SC Link button cannot be engaged when the plug in is used in a monophonic configuration 24 gp 12 Output OUTPUT This control provides 24 dB to 12 dB of clean uncol ored gain at the output of the plug in The default val
153. Equalizer and Compressor 87 EX 1 Equalizer Controls 87 EX 1M Overview 89 Fairchild 670 156 Fairchild Controls 163 Fairchild screenshots 157 Fairchild Tube Limiter Collection 156 507 Index INDEX FATSO Controls 120 FATSO Functional Overview 117 FATSO Jr 116 FATSO Screenshots 117 FATSO Sr 116 Feedback 17 Filtering 108 Frequency 327 Frequency fc Knob 88 Frequency Controls 379 Frequency Knob 74 343 G Gain G Knob 88 Gain Knob 75 343 Gain Reduction 329 Gain Reduction Meter 361 Grit 488 H Harrison 32C EQ 173 Harrison 32C EQ and Harrison 32C SE Controls 174 Harrison 32C EQ Screenshot 173 Harrison 32C Latency 177 Headroom 167 269 Headroom Switch 167 269 Helios 69 Latency 182 Helios Type 69 Band Layout 179 Helios Type 69 Controls 179 Helios Type 69 Equalizer 178 Helios Type 69 Screenshot 178 Hidden Controls 135 High 391 393 High Attenuation Controls 391 393 High Frequency Controls 390 High Frequency Knob 133 High Gain Knob 133 High Pass Filter 343 Hysteresis 277 UAD Powered Plug Ins Manual Input 112 489 Input Mode Switch 416 K KCS Selector Switch 390 K Stereo Ambience Recovery 345 K System 358 LA 2A Classic Leveler Collection Screenshots 469 LA 2A Controls 473 LA 2A Leveler Collection Screenshots 469 LA 2A Plug In Family 470 LA 2A Screenshots 469 LA 3A Compressor 184 LA 3A Controls 185 LA 3A Screenshot 184 Late 111 Late Field Relative Timing 109 Late Field
154. Expand Range Expand Release Gate 1 G1 In Gate 1 mode signals below the Expand Threshold are attenuated by the Expand Range amount Gate 1 is authentic to the gate mode on earlier hard ware consoles Gate 2 G2 Gate 2 mode operates the same way as Gate 1 but has a different no chat ter response characteristic that is derived from later versions of the hard ware Threshold defines the input level at which expansion or gat ing occurs Any signals below this level are processed Sig nals above the threshold are unaffected Threshold is contin eek uously variable from 30 dB to 10 dB THRESHOLD In typical use it s best to set the threshold value to just above the noise floor of the desired signal so the noise doesn t pass when the de sired signal is not present but below the desired signal level so the signal passes when present Range depth controls the difference in gain between the gated expanded and non gated expanded signal Higher LE T k ea 5 I i i 3 E 5 i values increase the attenuation of signals below the threshold EO Y 36 When set to zero no gating or expansion occurs Range is fa ean continuously variable from O dB to 40 dB RANGE Release sets the amount of time it takes for gate expander pro cessing to engage once the input signal drops below the Threshold value The available range is O 1ms to 4 seconds Slower release times can smooth the transition that
155. Figure 137 on page 432 displays the processed waveforms with maximum and minimal ATTACK to compare against the original waveform in diagram I Diagram 3 Processed Waveforms Attack uN Maximum Attack Original Waveform li AN NA yy Minimum Attack Figure 137 SPL Transient Designer Processed Attack UAD Powered Plug Ins Manual 432 Chapter 44 SPL Transient Designer The SUSTAIN The SUSTAIN control circuitry also plays host to two envelope generators The Control Circuitry envelope tracker Env 3 again follows the original waveform The envelope generator Env 4 maintains the level of the sustain on the peak level over a longer period of time The control voltage of the VCA is again derived from the difference between the two voltages Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings Figure 138 on page 433 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 Diagram 4 Generated Envelopes Sustain ujv anv 4 Prolongued Sustain Te TV D Original Waveform Figure 138 SPL Transient Designer Sustain Envelopes Figure 139 on page 433 shows the difference between Env 4 and Env 3 that defines the control voltage of the VCA Diagram 5 Calculated Control Voltage Sustain U mY Difference Env g Env 3
156. GMA TOW EEE EE E E E EE EE 100 Resonance Equalization Panel 0 0 0 cece eee a 101 SNCS PONClicanau0c E Kea nate G Hides Kea cewae poedeees don ceead 103 Materials Panel 0 0 0 0 ccc cece a 105 Reflections Panel 0 00 ccc eect eee ee bebe ee enb been ennneees 107 Reverberation Panel 0000 cece eee eee e tenet eee tenet eneees 109 Positioning Panel n nananana naana een eranan aaaea 110 Levels Panel n on nnna 112 Spatial Characteristics 0 ananunua ararnar aaar 113 DreamVerb Presets uann aaae 114 Preset Design Tips nn ae Gaeen c odes gaat ads Sara ed Gales Gado Ere abs Gates eee ee 114 Chapter 10 Empirical Labs EL7 FATSO cccccccccccssccccses 116 Introduction 0 eee eect e eet e eed ene e bbb b need bebe nenes 116 FATSO Screenshots 0 c cece cence tee ete beeen bene been ben eneees 117 FATSO Functional Overview 0 0 0 c cece cece eee eee tenet en eees 117 FATSO Controls se 2acaceeeueva ocean Snes baeeawaw deeb E chee E a Oaie ia 120 UAD Powered Plug Ins Manual 4 Table of Contents TABLE OF CONTENTS Channel Controls 0 0 0 0 0 cc ccc cee eee b bbe b eben bbb eben nenbnnnny 121 Global Controls 0 0 00 c ccc ccc eee e bebe b bebe bebe bbe bbnnenbnneny 124 FATSO Sr Controls 0 00 ccc cece tbc b bebe b bebe bebe nb enbnnenen 125 Chapter 11 EMT 140 Plate Reverb ccc ccccccccvcvcsssseee 129 OVEIVIEW cane aoee ean ead atiet gus eae adn ete
157. Gain value can also be adjusted by dragging the Gain handle in the EQ Display see EQ Display on page 377 Note No change occurs to the parameter values unless the control is actually moved This allows you turn off absolute linking without making any changes Copy Cirl click 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 ALL Note Careful with the control Copy function It will delete the existing values in the other bands and no undo is available The Type button defines the dynamic nature of the band allow ____ ing each band to function as a compressor expander or noise 7 gate independent of the Type value in the other bands GATE TYPE ALL Click the Type switch to scroll through the three available values The Type text compress expand gate behaves as a vertical slider and can be used for changing the Type as well Alternately the Type can be changed using the Dynamics Meters label text see Dynamics Meters on page 380 Note When changing the band Type the Ratio value for the band changes to 1 1 This prevents dramatic jumps in the output level that could result from extreme values of other band parameters UAD Powered Plug Ins Manual 374 Chapter 38 Precision Multiband Threshold Ratio COMPRESS When a band is set to Compress the dynamic
158. Hum on page 33 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 the tape machine US or European dictated the built in EQ emphasis but later ma chines like the Ampex ATR 102 had both circuits available CCIR also known as IEC1 is the EQ pre emphasis made famous on British records and is considered the technically superior EQ many say this EQ was part of the British sound during tape s heyday NAB also known as IEC2 was the American standard with its own sound AES is truly standardized at 30 IPS and is the sole EQ found on the Ampex ATR 102 at 30 IPS Power is the plug in bypass control When set to OFF em ulation processing is disabled the Meters and control LEDs are dimmed the Bypass LED illuminates and DSP usage is reduced Power is useful for comparing the processed settings to the original signal UAD Powered Plug Ins Manual 26 Chapter 2 Ampex ATR 102 Tape Speed Tape Type OFF is similar to the Thru position in the Path Select control page 29 except that the Meters are still active when the Thru control is used However in this state the Meters indicate signal levels at the input of the plug in prior to pro cessing Note DSP usage is reduced only when DSP Loadlock is disabled If DSP LoadlLock is enabled the default setting activating OFF will not reduce DSP us
159. Hz with a slope of 18 dB per i E pant octave Each filter is active when its button is engaged darker Ea est Each high pass filter adds to the others For example engag SE iat ing the 50 Hz filter will rolloff frequencies below 50 Hz but en gaging 100 Hz as well will also attenuate frequencies below 50 Hz even more than if 50 Hz was used by itself Output Level qae The Output knob controls the signal level that is output from the en plug in The default value is O dB The available range is 24 dB to 12 dB Tip Click Output or O zero to return fo zero gain position EQ In The EQ In switch determines whether the 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 LoadlLock is enabled Note the Phase setting Phase on page 479 remains in effect even it EQ In is in the off position EQ IN Trident A Range Latency The Trident A Range EQ uses an internal upsampling technique This upsam pling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more informa tion Note Compensating for Trident A Range EQ is not required if the host ap plication supports full plug in delay compensation throughout the signal path or when it is used only on the outputs UAD Powered Plug Ins Manual 481 Chapter 49 Trident A Ra
160. Interface Lexicon 224 Programs Lexicon 224 Algorithms The original Lexicon 224 consists of two hardware elements The main frame rack mountable 4U chassis contains the power supply circuitry and audio input output connectors The remote control unit has a display buttons and sliders which control the 224 parameters and functionality Some of these buttons and sliders have dual and even triple functionality which makes using certain buried functions a tricky procedure The UAD Lexicon 224 interface resembles the appearance and functionality of the original hardware remote control Operation has been simplified how ever by reassigning the buried shift functions to the buttons that are no longer necessary in a plug in such as managing saved programs Additional parameters are exposed by opening a panel cover The original Lexicon 224 hardware has programs that are defined by the tirmware ROM Read Only Memory chip installed in the unit A Lexicon 224 program is comprised of a unique DSP algorithm and an initial set of factory 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
161. L7 FATSO This control determines the amount of Tranny process ing see The Tranny Processor on page 118 for a de A tailed description Higher values make the Tranny ef fect more prominent Increasing the Tranny level also increases the signal THD see THD Indicators on page 121 and the sensitivity of the Warmth proces sor page 122 A value of 5 is the unity setting Tranny Level Note This control has no effect when the Tranny processor is inactive see Bypass Tranny on page 123 LF Sat LED The LF Sat Low Frequency Saturation LED indicates the amount of LF satura tion in the Tranny processor Higher Tranny Level values increase the LF satu ration FATSO Jr When loading presets created on the FATSO Jr into the FATSO Sr the pa Presets 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 z Empirical Labs The Empirical Labs EL7 FATSO Jr hardware unit All visual and aural references to the FATSO and all use of EMPIRICAL LABS s trademarks are being made with written permission from EMPIRICAL LABS Special thanks to Dave Derr for assistance with this project UAD Powered Plug Ins Manual 128 Chapter 10 Empirical Labs EL7 FATSO CHAPTER 11 EMT 140 Plate Reverb Overview EMT s founder Wilhelm Franz made a breakthrough
162. LFO Reset on page 232 The Value display depends upon the setting of the Free Sync switch Value displays the LFO frequency in Free mode and the tempo sync note value in Sync mode See Chapter 8 Tempo Sync in the UAD System Manual for more information This control determines the waveform shape used by the LFO Six waveshapes are available Sine Triangle Sawtooth Up Sawtooth Down Square and Random UAD Powered Plug Ins Manual 232 Chapter 22 Moog Multimode Filter Offset Mix Stereo Mono Output Output LED Effect Bypass Boost Power Offset adjusts the polarity between LFO signals for the left and right channels The available range is 180 degrees Offset can create great stereo spacial effects When the filter is in Mono mode both filters are still heard Tip Click the knob label OFFSET to return the value to zero Mix varies the amount of filtering that is occurring It is not a true dry wet con trol it mimics the mix function on the MF 101 Moogerfooger When Mix is at zero the Drive Gain control and Boost on non SE version are still active and audible Setting Mix at zero is the same as setting the Efect Bypass switch to Bypass The left and right channel filters are always independent in the UAD Moog Fil ter However when this switch is set to Mono the left and right output chan nels are summed In Stereo mode the left right separation is retained The Output co
163. Legacy is included with the purchase of the Fairchild Tube Limiter Collection if it is not already owned Although the Fairchild 660 original hardware is a single channel processor and the Fairchild 670 original hardware is a dual channel processor all plug ins in the UAD Fairchild family can each be used on either mono or stereo SOUICES Fairchild 670 Operational Overview Unique Controls Controls in the UAD Fairchild plug ins are original Fairchild hardware con trols with the following exceptions e The VU meter and the Meter Switch are re purposed enabling the ability to monitor input and output levels the original hardware does not have this ability In the hardware the function the meter switch is to enable calibrat ing the bias currents this function is achieved automatically in the plug in when the Balance control is in the default position e The Headroom HR control replaces the VU meter s Zero control which originally corrected for component wear offsets in the VU meter pin e The Sidechain Link control is a common modification which had been per formed on the unit we modeled e Output Level Controls Link Sidechain Filter Mix and Headroom controls are digital only additions for the UAD plug ins e The D C Threshold controls are original controls however on the Fairchild 660 they were located on the rear panel Note Not all controls are available in the Fairchild 670 Legacy plug in UAD Powered Plug In
164. Manual for related information When certain Ocean Way Studios controls are modified items in the two left most columns in Table 24 on page 303 the impulse response engine is updated and or microphone recalculations are performed by the plug in These IR updates and recalculations are not instantaneous there is a time lag before the new control values are heard Additionally sonic artifacts and or host CPU increases can occur while these recalculations are performed if au dio is currently being processed by the plug in Because there are extensive interdependencies within the plug in the specific load time depends on the control s being modified The Load Progress LED on page 308 is a status indicator that flashes during the reload Automation Limitations The load time can be an impediment if the specific controls are modified with automation during a mix We recommend against changing specific controls with automation to avoid sonic artifacts and or host CPU increases If automation must be used on these controls only snapshot automation should be used instead of continu ous automation and only when the signal being processed is not audible for example between musical phrases Parameter automation recommenda tions are listed in Table 24 on page 303 UAD Powered Plug Ins Manual 302 Chapter 29 Ocean Way Studios Table 24 Parameter Automation Recommendations Automation Automation Continuous Not Recommended M
165. Material circle Adjust the material thick ness with the bottom horizontal slider UAD Powered Plug Ins Manual 400 Chapter 40 RealVerb Pro About the Materials 4 Blend the absorption properties of the two materials by dragging the Blend ing bar The relative amount of each material expressed as a percentage appears above their respective pop up menu Drag the Blending bar to the right to emphasize the first material and drag it to the left to emphasize the second material To use only one room material drag the Blending bar so the material is set to 100 Some materials absorb high frequencies and reflect low frequencies while other materials absorb low frequencies and reflect high frequencies This characteristic is determined by the material surface and density Fiberglass for example absorbs high frequencies When high frequencies strike fiberglass they bounce around inside the fibers and lose much of their energy At a thickness of 100 fiberglass rolls off the high frequencies a little bit each millisecond After a while the high frequencies dissipate and the low fre quencies linger If we were to take fiberglass and increase its thickness to 200 the high frequencies would roll off even faster At 200 this high trequency decay happens at twice its normal rate producing a very heavy re verberant tail At 200 a very sizzly late field is created Some materials such as plywood naturally absorb low freq
166. NTENTS ODGIGHON aese cae bese teire bean aaae KEE ER AE Ea bone R BE aque wade E iore DR DE m a nae 263 Neve 33609 and 33609SE Controls 0 00 0 nananana 264 EE e E E E EE E E di ean E E E E EEEE 264 COMPIESSOF cia 4a 6 asa a aaa E E a a E ROERE P EECA EE due EE O AE RE RE dene KEE E EA 265 Other Controls nonna anaana EEEE 266 Neve 33609SE six cowie nos Seve bdbn dewia Gon Sunes bobs Hawes 06 Sante bbe sawss obs Sue a74 Neve 33609 Latency 00 nunnan 271 Chapter 28 Neve 88RS Channel Strip ccccccccssccccccssees 273 OVEIVICW 4 6 st hen ws are ees os Se es gs Ge a oe ee Ge 2 273 Neve 88RS Screenshot 0 cece eect eee eee e eee eben eben eben nnnennan 274 Neve 88RS Controls 0 2 0 0 ccc cece eee eee e eee beeen been bnebnnennan 275 DY GWICSS cane avednee patyadensategusesaeequtn cats Gui cape guenscareenen cates 275 Gate Expander 0 0 00 ne ee aenaran arenaer 276 Limiter Compressor 0 000000 ccc een nnn EEEE 279 EO gienGe nt eeeuceucne en eee eeronene ones pe E E E E epeqeee ane ee ene 282 Cut Filters 0 ccc cee eect eee bebe b bebe nnn bbe bbbnbbnnnnnes 286 Global ace aoe ree oie asete geet a tere es ere ot Ge a tes ede ee det ee a es ete ade ae 286 Chapter 29 Ocean Way Studios ccccccccssssccccccssseees 288 Dynamic Room Modeling 0000 c cece ete ene ete eee nnn eee 288 Ocean Way Studios Screenshot 2 0 00 ccc nent een nent n nn aes 289 What Is Ocean Way Studios 0 0 cnn nent
167. Output Power Through filter isolation of the original bass content the Hz Frequency parameter defines the cutoff fre quency for the enhancement process Frequencies be 16 Hz adi low this value are enhanced by the processor The available range is 16 Hz to 320 Hz i a Hz FREQUENCY Hz Solo isolates the original bass signal and can be combined with Ef 168 Hz tect Solo Hz Solo is active when the button is red Output controls the signal level that is output from the plug in The available range is 20 dB to O dB Ju 20 dh i Generally speaking adjust the Output control after the desired amount of processing is achieved with the Effect 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 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 is enabled Toggle the switch or click the UA logo to change the Power state The UA logo is illuminated in blue when the plug in is active Note You can click hold the pow
168. PS 20 kHz Note 7 5 kHz is specified in Ampex manual 15 Adjust Record HF EQ not to be confused with Repro HF so the PR Meters display the level in Table 4 above the level depends on tape speed HF EQ 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 related information see the Manual Calibration Notes in the next section UAD Powered Plug Ins Manual 41 Chapter 2 Ampex ATR 102 Manual Calibration Notes e O dB on the output meter represents 4 dBm and 12 dBFS digital when Reproduce is in its calibrated position which is marked with the red arrow sticker e For proper calibration follow the entire calibration procedure in order e This example uses 3 5 dB overbias The amount of gain reduction in step 12 determines the amount of overbias In some cases we used more than 3 5 dB of overbias to achieve a flatter response e Generally speaking higher Cal Level values will have higher Distortion Meter values for a given reading on the Meters If Bias is set very low dis tortion may increase at lower Cal Levels e We recommend leaving the record SHELF EQ control in its default position e The Ampex ATR 102 hardware has an additional gain control via a set screw like Repro HF LF Bias etc which is usually used for manual gain calibrations This control is not available in the plug in bec
169. Plug Ins Manual 312 Chapter 29 Ocean Way Studios Wet Solo defaults to On which is optimal when using Ocean Way Studios in Reverb mode in the traditional reverb configuration placed on an effect group bus that is configured for use with channel sends When Ocean Way Studios is used on a channel insert in Reverb mode this control should be de activated so the Dry Wet mix can be adjusted Wet Solo is fixed in the enabled position in Re Mic mode so the original dry signal cannot be mixed with the modeled direct signal component within the plug in This control uses a logarithmic taper to provide increased resolution when se lecting lower values When the knob is in the 12 o clock position the value is approximately 15 Note Wet Solo is a global per plug in instance control Master Level This fader controls the volume level at the output of the plug in It has a logarithmic taper for a more musical response The gain range is from off to 12 dB Gain is at unity when set to the zero position Tip To quickly return to the O dB unity position click the MAS TER text label beneath the fader or the O text label at the fader s unity gain position MASTER UAD Powered Plug Ins Manual 313 Chapter 29 Ocean Way Studios Master EQ Master EQ In Out Low Shelf Frequency Low Shelf Gain High Shelf Frequency High Shelf Gain This group of parameters contains the controls for Ocean Way Studio s m
170. Start 110 L Delay Knob 90 Levels 112 Lexicon 224 186 Lexicon 224 Controls 193 Lexicon 224 Screenshot 188 LFO Type Pop up Menu 91 Limit 367 Limiter 356 Link Button 93 Little Labs IBP 206 Little Labs IBP Controls 207 Little Labs IBP Latency 208 Little Labs IBP Screenshot 206 Little Labs VOG 209 Little Labs VOG Parameters 21 1 Little Labs VOG Screenshot 210 Little Labs Voice Of God 209 Low Cut High Cut Filters 73 508 Index INDEX Low Frequency Controls 389 392 Low Frequency Knob 132 Low Gain Knob 133 L Pan Knob 92 95 M Mac OS X 15 Manley Massive Passive EQ 214 Manual Conventions 15 17 Massive Passive Controls 217 Massive Passive EQ 214 Massive Passive Latency 224 Massive Passive Mastering EQ 216 Massive Passive Notes 224 Master 72 Master Level Knob 72 Materials Blending 107 Materials Blending Bars 107 Materials Menus 106 Materials Panel 105 Materials panel 101 Meter 493 Meter Pop up Menu 89 Microphones 290 Mix 113 367 Mix Knob 134 Mod Depth 133 Mod Rate 133 Mode Pop up Menu 91 Mode Switch 358 Modes 340 Modulation 133 Moog Filter Controls 228 Moog Filter Latency 235 Moog Filter Screenshot 228 Moog Filter SE 234 Moog Filter SE Controls 234 Moog Multimode Filter 227 Multiple Buttons 416 Mute 113 UAD Powered Plug Ins Manual MXR Flanger Doubler 236 MXR Flanger Doubler Controls 238 MXR Flanger Doubler Screenshot 237 Neve 1073 Equalizer 244 Neve 1073 Latency 248 271
171. T Figure 53 The Fairchild 670 plug in window UAD Powered Plug Ins Manual 157 Chapter 14 Fairchild Tube Limiter Collection gt es p ae GITAL LEFT LEFT CHANNEL LEFT LEFT E METERING INPUT GAIN THRESHOLD TIME CONSTANT 3 M T eo TF an ie a 5 s yA fa Wi i o P To SK A Lo Fk pe l a gt 0 rf cir i ZERO RIGHT RIGHT CHANNEL RIGHT J Lo METERING INPUT GAIN THRESHOLD JI GR o W rp e T a RIGHT a j TIME CONSTANT 3 q4 f P p JI g cy 4 eee ODEL STI LEFT RIGHT a e LEFT OUT RIGHT OUT La LINK H ill F y F i SIDECHAIN E conos it Factory A Factory i Cal Gal Le s A DC BIAS DC BIAS UNLINK oe gt es E Figure 54 The Fairchild 670 Legacy plug in window Fairchild Plug In Family The complete Fairchild family is comprised of three individual plug ins as seen in the screenshots above and described below Each variation has its own unique sonic characteristics Fairchild Tube The Fairchild Tube Limiter Collection introduced in UAD v7 4 includes two AS plug ins Fairchild 660 and Fairchild 670 Fairchild 660 The original Fairchild 660 hardware is a single channel monophonic proces sor The UAD Fairchild 660 plug in was faithfully modeled from the original 660 hardware independently from the Fairchild 670 plug in modeling The Fairchild 660 may be handy with mono sources or when less control is required via its simpler interfac
172. There are two gate modes G1 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 UAD UAD 1 UAD 2 and UAD 4K are trademarks of Universal Audio Inc All other names are trademarks of Solid State Logic which are in no way associated or affiliated with Universal Audio Inc These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose circuits and sounds were studied during the sound development of the UAD 4K products Use of third party trademarks are for informational purposes only and do not imply an endorsement or sponsorship of Universal Audio s products UAD Powered Plug Ins Manual 448 Chapter 45 SSL E Channel Strip CHAPTER 46 SSL G Bus Compressor Large Format Console Dynamics The SSL G Series Bus Compressor plug in for UAD 2 is an incredibly faithful circuit emulation of the legendary SSL 4000 G console s bus compressor The undeniable drive and punch of this G Series master compressor modeled to exacting detail by Universal Audio and fully authenticated by Solid State Logic helped make the original 4000 G Series the world s most success tul studio production console Engineers have come to rely on this master com pressor to glue togeth
173. UAD PLUG INS MANUAL SOFTWARE VERSION 7 5 Manual version 140211 UNIVERSAL AUDIO Universal Audio Inc 4585 Scotts Valley Drive Scotts Valley CA 95066 4517 www uaudio com Customer Support USA toll free 1 877 698 2834 International 1 831 440 1176 NOTICES Disclaimer This manual provides general information preparation for use installation and operating instructions for the Uni versal Audio UAD Powered Plug Ins The information con tained in this manual is subject to change without notice Universal Audio Inc makes no warranties of any kind with regard to this manual or the product s it refers to including but not limited to the implied warranties of merchantability and fitness for a particular purpose Universal Audio Inc shall not be liable for errors con tained herein or direct indirect special incidental or consequential damages in connection with the furnish ing performance or use of this material or the prod uct s Copyright Copyright 2014 Universal Audio Inc All rights reserved Trademarks Universal Audio the Universal Audio diamond logo UAD UAD Series UAD 1 UAD 2 UAD 2 SOLO UAD 2 DUO UAD 2 QUAD UAD 2 OCTO Powered Plug Ins 1176LN 1176SE Teletronix LA 2A LA 3A LA 610 LA 610MkIl 2 1176 610 2 610 6176 710 Twin Finity 2192 4 710d Cambridge EQ DreamVerb Plate 140 Precision Limiter RealVerb Pro Precision Buss Compres sor Precision De Esser Precision
174. UAD Powered Plug In version of the dbx 160 cap tures all of the sonic nuances from our golden modeling unit plus the simple control set of the original hardware including Threshold Compression Ratio and Output Gain Just like with the hardware LED threshold indicators are provided in the plug in as well the Input Output Gain Change VU meter for which the unit is famous dbx 160 Screenshot THRESHOLD COMPRESSION OUTPUT Cus BELA Aes i Er T E P i Ci J z a il ait e fii T z as i 7 Tal i r J is J i a L a PLF u H 10 1 oo ae Gm dbx 160 a l COMPRESSORI LIMITER Figure 35 The dbx 160 plug in window UAD Powered Plug Ins Manual 96 Chapter 8 dbx 160 Compressor Limiter dbx 160 Controls Threshold Compression The minimal controls on the UAD dbx 160 make it very simple to operate Knob THRESHOLD BELO The Threshold knob defines the level at which the onset of compression occurs Incoming signals that exceed the Threshold level are compressed Signals below the Thresh old are unaffected The available range is from 55 dB to O dB The numbers on the graphical in terface indicate volts as on the original hardware As the Threshold control is decreased and more compression occurs output level is typically reduced Adjust the Output Gain control to increase the out put to compensate if desired Below When the input signal is below the compression thr
175. UAD Powered Plug Ins Manual 204 Chapter 18 Lexicon 224 Table 17 Lexicon 224 Outputs Used With Monophonic Output Program Program Output s A 1 Small Concert Hall B 3 Large Concert Hall B 4 Acoustic Chamber 5 Percussion Plate A Default Table 18 below lists the default values of all available parameters for each program Table 18 Lexicon 224 Default Parameter Values ronson ny De tion iy Emer On Decay delay Opt 1 Small Concert Hall B 3 0 z w a as we or Program N N NIN NIO amp D 3 Large Concert Hall B 00 4 Acoustic Chamber 5 Percussion Plate A N N N N 6 Small Concert Hall A 3 0 2 0 540Hz 2 7 Room A 2 00 1 8 540Hz 8 Constant Density Plate A k 00 00 9 Chorus A gt gt NO Lexicon 224 The Lexicon 224 uses an internal resampling technique to facilitate its sonic Latency lity Thi i Its i lightly h her UAD quality This resampling results in a slightly larger latency than other U plug ins See Chapter 9 UAD Delay Compensation in the UAD System Man val for more information UAD Powered Plug Ins Manual 205 Chapter 18 Lexicon 224 CHAPTER 19 i i ME SAEN y Little Labs IBP eames Little Labs eN i analog phase alignment teal Overview The Little Labs IBP Phase Alignment Tool easily eliminates the undesirable hol low comb filtered sound when combining out of phase and part
176. WIDTH HIGH FREQUENCY Figure 117 The Pultec Pro Legacy plug in window which includes both the original EQP 1A and the original MEQ 5 UAD Powered Plug Ins Manual 385 Chapter 39 Pultec Passive EQ Collection Pultec Plug In Family Pultec Passive EQ Collection The complete Pultec family is comprised of five individual plug ins as seen on the previous page Each variation has its own unique sonic characteristics The Pultec Passive EQ Collection introduced in UAD v7 1 provides access to three historical and highly coveted revisions in the Pultec product line The plug ins in the Pultec Passive EQ Collection benefit from the additional processing power afforded by the UAD 2 plus more than 10 years of UA s evolving sophistication designing plug ins While the original EQP 1A Legacy and Pultec Pro Legacy plug ins remain an excellent rendition of the hardware the plug ins in the newer Pultec Passive EQ Collection add the transformer and complex tube amplifier nonlinearities for even more authenticity The sophis ticated modeling technology used in the newer plug in collection captures all of these tone enhancing characteristics Pultec EQP 1A Used on a myriad of recordings from the 1950 s to today the three band tube amplitied EQP 1A Program Equalizer has long been a studio staple of re cording and mix engineers for its ability to bring out individual frequency ranges without significantly altering neighboring frequencies Thi
177. Wet Solo is a global per RE 201 plug in instance control If the RE 201 generates noise after installation changing the location or po sition is indicated to correct the situation Avoid prolonged use in dusty hot or high humidity places The Roland RE 201 original hardware unit Roland and RE 201 Space Echo are registered trademarks of Roland Corporation Japan and are used under license Portions of this RE 201 manual section is copyright Roland Corporation Japan and are used under license with kind permission from Roland UAD Powered Plug Ins Manual 423 Chapter 43 Roland RE 201 Space Echo CHAPTER 44 SPL Transient Designer Overview Universal Audio has partnered with German company Sound Performance Lab SPL to bring you the Transient Designer with its unique and compelling Differential Envelope Technology for shaping the dynamic response of a sound Only two simple audio controls are required to allow you to effortlessly reshape the attack and sustain characteristics SPL was 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 applied to virtually any other signal as
178. While the UAD Ampex ATR 102 is a true stereo processor designed primarily for use in stereo in stereo out configurations it will also operate in mono in stereo out and mono in mono out modes When used in a mono in stereo out configuration the mono input signal is sent to both channels of the processor which 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 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 tape sound becomes more audible Once this basic setup is made adjust the L R Record gain levels for more or less tape cir cuit coloration saturation UAD Ampex ATR 102 includes artist presets from prominent ATR 102 users Some of the artist presets are in the internal factory bank and are accessed via the host application s preset menu Additional artist presets are copied to disk by the UAD installer The additional presets can be loaded using the Set tings menu in the UAD Toolbar The graphical interface panel has two modes open and closed In closed mode the primary controls those that are typically most used are available on the main panel interface and the tape reels are visible Additional typi cally less used controls a
179. a P A las a A a i i il F 1 i il i rie F 560 27K l in Pi r Oo i iz p i dE om p i dE Pe T l S J r j l Mig ro i p i we Ea p wat dE So BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH er E ae BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH ye iiaa i i te uF i paina fe F Po oo M el 24 LSA sti eis bl ee na an a ih 1 K e FREQUENCY HZ FREQUENCYHZ FREQUENCY HZ oA FRE mo 960 ago IK IKS aka f axy IKA aka i oF i as Bsr aa _ a ee setts L te i f p 3 ay RS May Sa ee f i i i i f i ry Be i fa F F i 4 fh 1 i f i ram i f i rh i f i Fam pod aes apa W as FREQUENCY HZ oer IKI aka w 3 e i i QUENCY HZ FREQUENCY HZ FREQUENCY HZ o aka fo S ia T pon m0 50 aa IK WKS ak z Ka f iKa aK 65 ao f zo ike e IKJ 1KS ake 7 er ike 2K i 7 70 100 aiia 2K 1 a e a o a d Ea 2 Pe x sy ann we sa STEREO EQUALIZER Figure 66 The Massive Passive plug in window pe t 3 ete iy af g pi al he ky a ta BOOST e a E ae E2 IP 220 10K 220 10K 560 27K 560 Ga a Me 22 1K B2 IKI D BOOST SHELF BOOST SHELF SH KA A Aio Boost SHELF BOOST SHELF BOOST SHELF p SHELF z air C 0UT C ouT j i gae i E aT 0 O oT Oo ouT C ot 5 I ae j J RR Beil f T el i BELL J X Z e a a i i fem g g aol Pp Tl Ts nT T rS I b A f p a l i a i i Mi
180. a bit deeper due to its higher gain values while Brown is more gentle at extreme settings EQ Type Background The original E series equaliser 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 designs with an option for a fixed Q parametric response Bell The 02 EQ to give it its correct name the last two digits of the card s part number was used on countless record ings and mixes in the early eighties In 1983 a new 242 EQ circuit was developed in conjunction with the leg endary George Martin for the first SSL console to be installed in AIR studios The Black Knob EQ as it became known featured enhanced cut and boost ranges 18 dB instead of 15 dB together with a different control law and a steeper 1 8dB octave high pass filter for tighter control of low frequencies It is this design which is retained today as the E Series EQ option of the X Rack Duality and AWS consoles UAD Powered Plug Ins Manual 442 Chapter 45 SSL E Channel Strip High Frequency HF Ban High Mid Frequency HMF Band HF Gain This control determines the amount by which the frequ
181. a clean sound or just the right amount of harmonic saturation using the Input and 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 characteristics The Cal control allows the user to choose between 3dB UAD Powered Plug Ins Manual 455 Chapter 47 Studer A800 Multitrack Tape Machine 6dB 7 5dB or 9dB calibration levels which can be used at their recom mended settings or tweaked for additional tonal options Input Sync and Re pro paths plus Thru bypass are available for authenticity providing all available circuit options of the A800 A huge time saver the Studer A800 plug in features an innovative Gang Controls setting allowing for instant glo bal adjustment of any parameters for all Studer A800 instances in your ses sion Secondary controls are hidden behind the reel deck and can be exposed by clicking on the Studer badge or Open label of the plug in GUI The Equaliser control allows the user to select between the American NAB and European CCIR standardized EQs providing regional pre emphasis de emphasis fil tering at 7 5 and 15 IPS each with its own sonic qualities
182. about fringing compensation and system alignment are beyond the scope of this manual thorough resources are avail able from the MRL website at htto www mrltapes com UAD Powered Plug Ins Manual 37 Chapter 2 Ampex ATR 102 Manual Cal Knob Tones Distortion Meter The Manual Cal knob performs two functions it sets the signal level of the external test tone generator for record calibration and specifies when alignment tapes are to be used for playback calibration When set to 16 dB 6 dB or 4 dB a generated sine wave test tone at the frequency specified by the Tones buttons is sent to the input of the record cir cuitry This mode emulates sending external test tones into the system The level of the test tone is set by the knob position and remains static regardless of other parameter values When set to MRL a test tone from the alignment tape is sent into the play back circuitry The MRL frequency is also specified by the Tones buttons but the levels used are from the calibrated alignment tape Therefore the MRL tone levels are dependent on other tape parameter values The Tones buttons set the frequency of the external test a of tone generator and the MRL tape test tones Tone fre ve ee 25 quencies of 50 Hz 100 Hz 1 kHz 2 5 kHz 5 kHz 10 ee kHz 15 kHz and 20 kHz are available Sk 10k 16k 20k Click a button to specify that frequency the active frequency s button is shad
183. adroom control labeled HR is provided to accommo date applications where high amounts of gain reduction are not desired Headroom simply lowers the internal operating level so that the plug in is not pushed into gain reduction as much Note There is only one headroom parameter Although the HR control ap pears twice in the Fairchild 670 window they are permanently linked Headroom can be set in dB to 4 8 12 16 20 24 or 28 The default value is 16 dB when the set screw dot is in the straight up 12 o clock position Note that Headroom is increased as the dB value decreases Tip Click the HR text label to return the control to the default value At higher dB values clockwise rotation signals will push the plug in into gain reduction and more non linearity and good harmonic distortion color more easily Set the control to a lower value counter clockwise rotation when less gain reduction and less color is desired Note To avoid the temporary gain increases that can result when adjusting Headroom automating this control is not recommended UAD Powered Plug Ins Manual 167 Chapter 14 Fairchild Tube Limiter Collection Balance Sidechain Filter Keep in mind there are no hard and fast headroom rules Feel free to exper iment with the various positions of the HR control regardless of the audio source If it sounds good use it Note The HR control does not exist on the Fairchild
184. age The Tape Speed control determines the speed of the tape trans port in inches per second IPS Tape Speed affects the re corder s fidelity and associated head bump sonics Head bump is bass frequency build up that occurs with magnetic tape the dominant frequencies shift according to transport speed To change the Tape Speed value click the IPS text values or drag the knob or click the 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 other artifacts Note The available parameter ranges of Tape Type Head Width and Em phasis EQ are affected by Tape Speed See Table 6 on page 43 for details Tape Type selects the active tape stock formulation Seven Tape Types are modeled in the UAD Ampex ATR 102 To se lect the Tape Type click the TAPE button to cycle through the available types or click directly on the Tape Type value label The active Tape Type is highlighted in yellow Note The available Tape Types and defaults are dependent on the current Tape Speed and Head values The available Tape Types and the associated Tape Speed and Head values are shown in Tab
185. age is reduced Thru behavior is similar to that of the OFF position in the POWER control page 26 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 is disabled If DSP LoadlLock is enabled the default setting activating Thru will not reduce DSP usage Tape Reels When the secondary controls panel is closed Animation Figure 1 on page 19 by default the graphi ee l cal tape reels spin if the DAW transport is FNP aon r running The tape reels animation can be dis s abled by clicking the capstan graphic Re clicking the capstan will re start the animation The spin state is saved until it is changed again Note Spinning reels automation is not supported in all hosts In Sonar the plug in must be configured as a tempo based effect for reels animation UAD Powered Plug Ins Manual 30 Chapter 2 Ampex ATR 102 Secondary Controls Auto Cal AMPEX he secondary controls Figure 4 below adjust the various calibration ancillary noise tone generator and tape delay parameters The secondary controls panel is accessed by clicking the OPEN button beneath the AMPEX label Figure 4 UAD Anea ATR 102 TA controls The Ampex ATR 102 has individual calibration controls for ad justing sync record EQ reproduction playback EQ and record b
186. ailed only once Note When the FATSO is used in a mono in mono out configuration the channel 2 controls have no effect and the LINK parameters page 124 are disabled Pushbuttons All FATSO pushbuttons are momentary The value of the parameter incre ments by one step each time the button is clicked holding the button down does not continue to increment the value The value cycles to the beginning when the end of the range is reached Clicking on the control LED indicators has no effect with the exception of the LINK parameters page 24 Tip Shifttclick any pushbutton to decrement its value by one UAD Powered Plug Ins Manual 120 Chapter 10 Empirical Labs EL7 FATSO Channel Controls Input THD Indicators Compressor Mode Mode LED s i When the compressor is active see Compressor Mode below higher input values also result in more compression as indicated by the gain reduction meters page 22 Note This control has no effect when Bypass page 123 is active meee The Total Harmonic Distortion THD LED s provide some reference im operating levels The yellow O VU LED light indicates around 1 THD and the red Pinned LED indicates 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
187. al 7 4 lial F 7 h m 8 y j ai 5 2 ee 14 com 5 ul j imit e LIMIT 2 in COMPRESS 2 Figure 83 The Neve 33609SE plug in window Overview The UAD Neve 33609SE is derived from the UAD Neve 33609 Its algorithm has been revised in order to provide sonic characteristics very similar to the 33609 but with significantly less DSP usage It is provided to allow 33609 like sound when DSP resources are limited Nobody with golden ears will claim it sounds exactly like the 33609 but it still sounds great and is very us able in most situations The 33609SE interface can be differentiated from the 33609 by color and the module name The 33609SE background is black instead of the 33609 s blue grey and the module name below the link switch includes SE Neve 33609SE The Neve 33609SE controls are exactly the same as the Neve 33609 Please Controls refer to the Neve 33609 section for Neve 33609SE control descriptions see Neve 33609 and 33609SE Controls on page 264 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 Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note The Neve 33609SE does not require additional latency compensation because it is not upsampled UAD Powered Plug Ins Manual 271 Chapter 27 Nev
188. al Reverb 0 0 een eee e nnn e nnn nes 186 Lexicon 224 Screenshot n n nuanua nanunua cen e nett eee eens 188 Operational Overview 2 0 0 0 t een nent eee e nn nes 189 Primary COMNGls 4 lt ssa eqaeboatqncaswas neeetonmascaseas Re neare gees anaes 193 Hidden Controls 0 0 0 cc een nnn nent een nes 200 Program DeSCriDIONS sa 4 apaqueac ase ense tar ES mEn EERI cabo unencabeeneecatees 203 Chapter 19 Little Labs IBP 2 1 ww we ww ww www cc ccc n cnn ncnsccee 206 OVEIMIEW o oa see hae cen aes cave Bawa dese aes eee ee E aes eee eases 206 Little Labs IBP Screenshot 0 00 c ccc cee cee eee ete e tenet en eees 206 Little Labs IBP Controls 0 0000 e eee e een ene tenes 207 Little Labs IBP Latency 00 ccc ccc eee e nnn t eee eea 208 Chapter 20 Little Labs VOG 1 wc ce cc www wc wcrc enc c rnc ccne 209 Bass Resonance Processor 0 0 naana caaeaae 209 Little Labs VOG Screenshot 00 0 ccc cee cee cence tenet eee tenet eneees 210 Operational Overview 0 00 06 tenn nee e nn eet enn nes 210 Little Labs VOG Parameters 00 00 cece cece cence cence eee tenet eben ii Chapter 21 Manley Massive Passive EQ ssssssososooooosoooo 214 OVEIVICW reae ENA EE EAEE EEES 214 Massive Passive Screenshots nnna anaana aaae 215 Unusual EQ Conventions onoono nunana eee eE EE 215 Massive Passive Mastering EQ 0 2 00 c cette teen tees 216 Standard vs Mastering Versions 00 00 c
189. ally suited for use in professional recording in project or home studios and sound reinforcement applications For the first time you can manipulate and control the attack and sustain char acteristics of a signal regardless of level in the most intuitive and simple way Usually equalizers are used to separate instruments in a mix the tonal aspect 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 you can arrange new positions of instruments Reduce ATTACK and increase SUSTAIN to move signals back into the mix that are too present Additionally the FX parts of too dry signals are strengthened Applied to single instruments or loops the Transient Designer allows you to create entirely new sounds and or effects The following examples are given as suggestions and examples The de scribed procedures with specific instruments can of course be transferred to others that are not mentioned here Processing drum and percussion sounds is probably the Transient Designer s most typical range of application both from samples to live drum sets e Emphasize the attack of a kick drum or a loop to increa
190. ammys and a thousand albums later Allen is still rolling UAD Powered Plug Ins Manual 315 Chapter 29 Ocean Way Studios Putnam moves to Los Angeles Get This Stuff Out of Here In order to be a proper studio Sides needed a recording console This is where the story of Ocean Way truly begins How Sides ended up purchasing Western Recorders original tube console and came face to face with M T Bill Putnam Putnam was a true renaissance man in the world of sound and music His combined skills as a record producer audio engineer songwriter singer electrical engineer inventor studio owner and businessman are un paralleled to this day Putnam owned and operated the largest independent recording facility in the country Universal Recording in Chicago But with a large chunk of his business moving west clients like Frank Sinatra and Bing Crosby urged him to open a Los Angeles facility Finally in 1957 Bill moved to 6050 Sunset Blvd in Hollywood and started constructing brand new stu dios for his newly named studio enterprise United Recording Corporation The ultimate result was in 1961 when he purchased the neighboring West ern Studio at 6000 Sunset creating the United Western Recorders studio complex So how was it that Allen Sides and Bill Putnam come together at this key mo ment Sides explains I needed a console heard that Bill s factory manager Ray Combs needed to clear some space much of it occupied by all the o
191. amount of gain applied to the input signal The available range is 30 dB to 65 dB The de fault value is 40 5 dB 2121 Pad When enabled the input signal level is attenuated low ered by 20 dB The pad is engaged when the red indi cator is lit Pad can be used to reduce signal levels when undesir able overload distortion is present at low preamp gain levels Note The 2121 Pad is available for both the mic and line inputs 212L Meter The Meter indicates the signal level at the output of the 212L preamp module 212L Phase The Phase a button inverts the polarity of the signal The polarity is inverted when the green indicator is lit Leave the button off unlit for normal polarity Unison Impedance within the Apollo Console application the hardware input imped ance of the Apollo mic preamp is switched to 1 5k Q the value of the 212L hardware module for physical microphone to preamp resistive in teraction When API Vision Console Channel Strip is used in a PREAMP insert U UAD Powered Plug Ins Manual 57 Chapter 4 API Vision Console Channel Strip 215L High Low Sweep Filters The 215L offers two sweepable cut filters one each for low and high frequencies The original hardware is trans former coupled and uses a passive filter circuit design for smooth tone 215L Lo Pass The Lo Pass high cut filter has a continuous range of 643 Hz to 40 8 kHz The slope of this filter is 6 dB per octave Th
192. an standard with its own sound AES is truly standard ized for 30 IPS and is the sole EQ found on the Studer A800 for 30 IPS The Noise Enable buttons are a global enable disable control for the individual hum and hiss components of the A800 model The amount of hum and hiss noises are continuously variable eee ond are set with the Hum Noise and Hiss Noise controls Ee ocge 466 Click the Noise buttons to alternate between OFF and ON UAD Powered Plug Ins Manual 462 Chapter 47 Studer A800 Auto Cal Gang Controls While noise is historically considered a negative and was the attribute that pushed the technical envelope for better machines and formulas noise is still an ever present component of the sound of using tape and tape machines The Studer A800 has individual parameters for Bias HF Record EQ and Sync Repro EQ On the hardware tape ma chine these calibration controls are usually adjusted when ever Tape Type Tape Speed or Emphasis EQ is changed AUTO GAL When Auto Cal Automatic Calibration is ON in the plug in these calibration controls see Figure 145 on page 465 are automatically adjusted to the calibrated values whenever the Tape Type Tape Speed and Emphasis EQ are modified After Auto Calibration occurs the automatically adjusted parameters can then be modified to any value if desired When Auto Cal is OFF the calibration parameters do not change values when Tape Type Tape Speed and Emphasis EQ a
193. ance Delay Time Microphone Figure 92 Illustration of Distance Delay When set to aligned this extra time is eliminated Acoustic All rooms have frequency dependent resonances that impact the loudness Balancing and sonic balances within the room Furthermore microphone selections and their placement within the room as well as the audio source itself all impact the relative levels and timbres that are captured in a recording Although the studios at Ocean Way are beautifully designed and tuned they are naturally subject to the same acoustic principles Because the plug in ac curately models the ingredient interdependencies certain combinations of studios sources mic selections and mic placements may cause the level bal ances to seem too quiet or too loud or the balance may not be perfectly cen tered Microphone Gain and Balance controls are provided to compensate for these imbalances providing ample practical and creative flexibility to achieve the desired results UAD Powered Plug Ins Manual 297 Chapter 29 Ocean Way Studios Using Ocean Way Studios Best On Dry Sources Which Mode For details about how to operate the specific controls see Ocean Way Stu dios Controls beginning on page 304 Ocean Way Studios does not remove already recorded ambience from exist ing audio signals For optimum ambience control when using the plug in the source audio should be as dry as possible However Ocean Way S
194. ands at widely separated frequencies and not hearing much EQ as you might expect except for level this is a side effect of 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 well defined steep slope The Massive Passive may sound remarkably different from other high end EQs and completely different from the console EQs Yes this is quite delib erate Hopefully it sounds better sweeter more musical and it complements your console EQs We saw little need for yet another variation of the stan dard parametric with only subtle sonic differences We suggest using the Massive Passive before tape for the bulk of the EQ tasks and then using the console EQs for some fine tweaking and where narrow Q touch ups like notches are needed The Massive Passive is equally at home doing big powerful EQ tasks such as is sometimes required for tracking drums bass and guitars or for doing those demanding jobs where subtlety is required like vocals and mastering UAD Powered Plug Ins Manual 225 Chapter 21 Manley Massive Passive EQ Additional Information The original and rather lengthy user m
195. ange the studio room without altering the current microphone se lections press Shift on the computer keyboard while changing the studio se lection Studio Defaults When the studio is changed the default settings for mic selections and dis tances are loaded for the near mid and far microphones This menu does not change the mic filter polarity mute balance or level settings UAD Powered Plug Ins Manual 305 Chapter 29 Ocean Way Studios Source A variety of audio sources dispersion patterns were modeled for Ocean Way Studios The Source menu sets the optimum placement of the source within the room as determined by the expertise of Allen Sides Because an audio source s placement within a room de termines the dispersion pattern of sound waves through out the room the active source can have a significant im pact on the sound in the room Note Although the source placements are optimized for the source in the title drums strings etc any type of au dio source can be used with any Source selection Exper imentation is encouraged Source Menu To change the active source click the current source name then select the de sired source from the drop menu The current source is displayed in the menu and as an icon in the Position display panel The modeled sources dispersion patterns that are available in Ocean Way Studios are shown at right Cab is short for electric guitar amplifier speaker cabin
196. anual written by Manley Labs for the hardware unit contains a wealth of great information about the philosophy design decisions and use of the 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 htto www manley com manuals php g ote Pa F iF lt 4 T PT 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 permission from MANLEY LABORATORIES INCORPORATED Special thanks to EveAnna Manley UAD Powered Plug Ins Manual 226 Chapter 21 Manley Massive Passive EQ CHAPTER 22 Overview It UA were able to conceive a product with Moog what would it be The answer is revealed in the new UAD Moog Multimode Filter which delivers the first truly analog sounding VCF voltage controlled filter emulation made for mixing performing creating or destroying The Moog Multimode Filter is a digital only tabletop filter set that combines the best of Bob Moog s classic designs with select features from his final Voyager instrument UA modeled the analog behavior of the historical 4 pole ladder filter conceived by the world s most recognizable electronic instrument maker right down to the self oscillation saturation and non linearities of its analog counterpart As the name
197. apes size and materials may be performed in real time without 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 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 late field rever beration in your hands Capitalizing on the psychoacoustic technology that went into the design of RealVerb 5 1 we have incorporated some of those principals into RealVerb Pro Our proprietary Stereo Soundfield Panning allows you to spread and control the signal between stereo speakers creating an impression of center and width The ability to envelop your listener in a stereo recording is an en tirely new approach to reverb design Don t rely on your old standby Let RealVerb Pro bring new quality and space to your recordings UAD Powered Plug Ins Manual 396 Chapter 40 RealVerb Pro RealVerb Pro Background Direct Path Source Input Pan Gain Output Pans amp Mute Distance Late Field Reverb Figure 121 RealVerb Pro signal flow Figure 121 illustrates the signal flow for RealVerb Pro The input signal is equalized and applied to the early reflection generator and the late field re verberation unit The resulting direct path early reflection and
198. approximation of what really happens in the physical realm When Ocean Way Studios is in Reverb mode the plug in behaves like most artificial reverb processors The direct signal component is not in the pro cessed signal Instead the original dry signal is mixed back in with the wet re verb ambience For additional details about Reverb and Re Mic modes see Using Ocean Way Studios on page 298 UAD Powered Plug Ins Manual 293 Chapter 29 Ocean Way Studios Microphones Overview Microphone Selections In addition to the studio room acoustics the microphones used in the devel opment of Ocean Way Studios are a significant contributor to the tonality and tidelity of the plug in Ocean Way Studios contains 11 different mi crophone pairs Additionally some of these mi crophone pairs are available with cardioid and omnidirectional polar frequency response patterns The microphones that are available along with their descriptions are listed in Table 22 below Table 22 Available microphones in Ocean Way Studios Allen s incredibly clear and present C12s these large diaphragm tube condenser mics use a dual backplate design providing great off axis frequency response The next generation multi pattern tube condenser mic provides excellent close mic response and consistent low frequency response at further distances Noted for its far distance placement consistency the response of this medium diaphragm omnidirec
199. as ter equalizer It is a two band low and high shelving EQ that uses ana log sounding algorithms for great tonal shaping options The slope of both fil ters is 12 dB per octave The Master EQ section is independent from the reverb algorithms A graph of the current curve is displayed in the Master EQ display panel Tip To quickly return to the O dB position for either of the Master EQ Gain controls click the GAIN text label above the knob FREQ GAIN MASTEREO FREQ GAIN a l a l aly aly ai a z 5 2 a 2 a w j ko WE e oOo aa A ete D S T SHELF 20Hz 2kHz 12dB i2dB 200Hz 20kHz 12dB l dB lt T gt UNIVERSAL AUDIO The Master EQ is enabled with this switch The equalizer is active when the button is illuminated This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low shelf Gain setting The range is from 20 Hz to 2 kHz Because this is a shelving EQ all frequencies below this setting will be ef tected by the low shelf Gain value This parameter determines the amount by which the transition frequency set ting for the low band is boosted or attenuated The available range is 12 dB This parameter determines the high shelving band transition frequency to be boosted or attenuated by the high shelf Gain setting The range is from 200 Hz to 20 kHz Because this is a shelving EQ all frequencies above this setting will be af tected by the high shelf Gain
200. as elapsed UAD Powered Plug Ins Manual 323 Chapter 30 Precision Buss Compressor Toggling the Fade switch causes an already active fade to reverse direction without a jump in output level The Fade Set rate is constant even if an active tade is interrupted For example If the Fade Set value is 30 seconds and a fade out is initiated then Fade is clicked again after 20 seconds it will take 20 seconds to fade back in Note Shift click the Fade button to instantly return the level back to O dB this feature cannot be automated Input Level MARRA Input controls the signal level that is input to the plug in Increas A wee ing the input may result in more compression depending on the values of the Threshold and Ratio parameters The default value is O 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 O dB The available range is 20 dB Output controls both the dry unprocessed and wet processed signals as determined by the Mix control Generally speaking adjust the Output control after the desired amount of compression is achieved with the Threshold and Ratio controls Output does not affect the amount of compression Level Meters
201. ass filter adds to the others For example engaging the 15K filter will rolloff frequencies above 15 kHz but engaging 9K as well will also attenuate frequencies above 15 kHz even more than if 15K was used by itself Note See Figure 151 on page 478 and Figure 152 on page 480 when re ferring to the band parameters below 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 specitied by the horizontal slider control The available range is 15 dB The gain value is zero when the slider is in the center position The high mid EQ offers peak dip bell equalization for the high to middle frequencies High Mid Frequency The center frequency of the high mid filter is specified by this knob Four cen ter frequencies are available 9 kHz 7 kHz 5 kHz and 3 kHz High Mid Gain The gain for the high mid filter is specified by the horizontal slider control The available range is approximately 15 dB The gain value is zero when the slider is in the center position UAD Powered Plug Ins Manual 479 Chapter 49 Trident A Range EQ Low Mid Band Low Shelf Gain slider shortcuts The low mid EQ offers peak dip bell equalization for the middle to low fre quencies
202. associated algorithm is active See Lexicon 224 Programs on page 189 for an overview Eight reverb programs and one chorus program are available Click a reverb program button 1 8 to select that program To select the chorus program shift click any program button or click the CLK CHORUS text label The pro gram button LED indicates which program is active except in chorus mode when all eight program button LEDs are illuminated HEADROOM do CLE CHORUS PROGRAM 2 d Fi 5 Fi 4 SmHallB VoePlate LgHallB Chamber PerePlate SmHall A RoomA ConstPlate Figure 62 The Lexicon 224 Program Buttons When a program is loaded the original default Lexicon recommended fac tory settings for that algorithm are also loaded at the same time overwriting previous settings except when Immediate mode is active see page 196 for details Program settings can then be adjusted to taste using any available controls Program Descriptions on page 203 contains details about each program Important If the program is changed when Immediate mode is disabled settings from the previously selected program are lost To retain custom pro gram settings for future use save the settings as a plug in preset by using the UAD Toolbar or host application preset management techniques Reverb Time is the duration of the decay of the reverberant sound the reverb tail The reverb tail time is separated into two frequency component ba
203. asts You can also create a reverb effect that moves from one channel to the other Reverb presets with a long decay or a long pre delay and especially those that have flamboyant reflections set to appear after the beginning of the dif fuse reverberation tail are predestined for that Insert the left and the right UAD Powered Plug Ins Manual 429 Chapter 44 SPL Transient Designer Backings Keyboards amp Sampler Post Production Mastering channels of the reverb return through two separate Transient Designer in stances Turn the ATTACK fully right on one instance and reduce SUSTAIN slightly about 1 5 dB On the other instance turn the ATTACK fully left and the SUSTAIN to the 3 o0 clock position about 12 dB These settings preserve the original complexity of the reflections in the reverb but the maximum intensity of the effect will move from the left to the right in the mix while the reverb will maintain it s presence in both channels You can make this effect even more dramatic by setting all controls to their most ex treme positions but you run the danger of ending up with a lopsided effect that appears out of balance A common problem especially with tracks that are recorded and mixed in dif ferent studios Backings lack of ambience 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 to
204. ata is written and read by each channel separately Note When unlink is switched to link channel 1 controls are copied to chan nel 2 Control offsets between channels are lost in this case Link When set to link down position modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same po sition channel 1 amp 2 controls are ganged together in link mode When link is active automation data is written and read for channel one only In this case the automation data for channel one will control both chan nels Note When link is active changing channel two parameters from a control surface or when in controls only non GUI mode will have no effect The Neve 33609 can operate in true stereo or dualmono mode This switch determines the active mode In mono mode channels 1 and 2 are completely independent and the 33609 functions as a dual mono device each channel with its own compressor and limiter Note To read and write automation data for both channels independently when in mono mode link mode must be disabled UAD Powered Plug Ins Manual 267 Chapter 27 Neve 33609 Compressor 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 o
205. ate The Sweep LEDs illuminate in tandem with the current Sweep Speed provid ing a visual indication of the LFO rate The Width amount must be higher than O 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 mechanism to reset the Sweep LFO so the sweep cycle can be consistently controlled The LFO cycle is reset to begin sweeping downwards in pitch negative sweep by clicking either LED This function which is not available on the hardware unit can be automated for mixing or bouncing Normally the Sweep LFO is free running but this behavior is not always de sirable For example you may want playback to always sound exactly the same when bouncing or mixing To accomplish this sonic consistency the Sweep LFO must be started at a specific place in the LFO cycle by using the Reset function UAD Powered Plug Ins Manual 242 Chapter 23 MXR Flanger Doubler MXR Flanger Doubler Latency This plug in uses an internal upsampling technique The upsampling results in a slightly larger latency than most other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note Compensating for additional latency is not required if the host appli cation supports full plu
206. ate files that are written and provided by the plug in developers themselves The filenames for these plug ins are the same as the plug in names Installed Locations The UAD and Direct Developer manual files are copied to the hard drive by the software installer to the following locations e Start Menu gt All Programs gt UAD Powered Plug Ins gt Documentation e Applications Universal Audio Documentation 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 certain platform specific instructions will differ according to the host system you are using Instructions in this guide that are plattorm specific are indicated with a head ing in red letters Instructions that are identical regardless of platform are not differentiated Instructions specific to the Windows platform use this red Windows heading Instructions specific to the Mac platform use this red Mac heading Unless specified otherwise for descriptive purposes within this manual UAD 2 means all UAD 2 family products SOLO DUO QUAD OCTO UAD 2 Satellite and Apollo audio interface Screenshots in this manual may be taken from the Windows and or Mac ver sion of the software and are used interchangeably whe
207. ates seamless interactive control of 610 preamp plug in settings using Apollo s digitally controlled panel hardware and or the plug in inter face All equivalent preamp controls gain pad polarity etc are mirrored and bi directional The preamp controls respond to adjustments with precisely the same interplay behavior as the 610 hardware including gain levels and clipping points UAD Powered Plug Ins Manual 497 Chapter 51 UA 610 Tube Preamp amp EQ Collection Hardware Input Impedance All Apollo mic preamps feature input impedance switching in analog hard ware that can be physically switched by Unison plug ins for physical micro phone to preamp resistive interaction This impedance switching enables Apollo s preamps to physically match the emulated unit s input impedance which can significantly impact the sound of a microphone Because the elec trical loading occurs on input prior to A D conversion the realism is faithful to the original target hardware preamp Tactile Gain Staging Apollo s front panel preamp knob can independently adjust all gain and level parameters available within the Unison plug in via Gain Stage Mode The gain stage being adjusted can be remotely switched via Apollo so multiple gain levels and their associated colorations can be tuned from the hardware knob for precise physical tactile control all without using the Unison plug in s software interface Nofe Unison is active only when the plu
208. atio 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 T E E m The Attack range is from 0 10 milliseconds to 32 milliseconds The availability of relatively slow attack times as compared to other compres sors is one factor that can provide the in your face pumping quality that is so popular with large console VCA style compressors Release sets the amount of time it takes for compression to cease once the input signal drops below the threshold level RELEASE W The available range is trom 0 10 seconds to 1 20 seconds mp with Automatic release available at the full clockwise position The Auto release characteristic for Precision Buss Compressor has a unique quality that is optimized for program material UAD Powered Plug Ins Manual 322 Chapter 30 Precision Buss Compressor Slower release times can smooth the transition 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 sections of audio with lower signals Fade The Precision Buss Compressor provides a Fade function that upon activa tion automatically reduces the plug in outp
209. ation UAD Powered Plug Ins Manual 39 Chapter 2 Ampex ATR 102 Repro Level Calibration Repro EQ Calibration Record Bias Calibration To manually calibrate UAD Ampex ATR 102 1 Set the Manual Cal Knob to the MRL position The built in alignment tape tone will sound and its level can be viewed on the Meters 2 Set the Tones frequency to 1 kHz 3 Adjust Reproduce output so the Meters display O dB 4 Set the Tones frequency to 10 kHz 5 Adjust Repro HF not to be confused with HF EQ so the Meters display O dB 6 Set the Tones frequency to 100 Hz 7 Adjust Repro LF so the Meters display O dB or as close as possible Because the MRL alignment tapes we used have fringing compensation it may not be possible to increase Repro LF enough to make the meter reach O dB at low frequencies If a flat response is desired you can switch the Manual Cal knob from 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 8 Set the Manual Cal Knob to the tone level position in Table 3 below the tone level depends on tape speed 9 Set the Tones frequency to the value in Table 3 below the frequency de pends on tape speed Table 3 Record Bias Calibration Frequencies and Levels Tape Speed T
210. ations 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 the spacing between the reflections The Re cir control affects the amount of reflections that are fed back to the input and controls how many repeats you hear UAD Powered Plug Ins Manual 93 Chapter 7 CS 1 Channel Strip RS 1 Controls Sync Button Shape Pop up Menu Delay Knob Size Knob Delay Size Settings Interaction Recirculation RECIR Knob This button puts the plug in into Tempo Sync mode See Chapter 8 in the UAD System Manual for more information Determines the shape of the reverberant space and the resulting reflective patterns Table 11 Available RS 1 Shapes Sets the delay time between the original signal and the onset of the reflec tions Sets the size of the reverberant space from 1 99 meters and defines the spacing of the reflections You may notice that when Delay is set to its maximum value and the Size con trol is moved to its maximum value the Delay value is decreased and vice versa This occurs because the maximum delay time available to the plug in has been reached the available delay time is limited and is divided 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 already high its complementary setting may b
211. attack events negative values smooth out the attack envelopes of sound events For more information see The ATTACK Control Circuitry on page 431 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 the shape of the original curve and adapts perfectly to the dynamic gradi ent The second envelope generator produces an envelope with a longer sustain From the difference of both envelopes the VCA control voltage is derived The gradient of the control voltage matches the time flow of the original signal Positive Sustain values lengthen the sus tain negative values shorten the sustain For more information see The SUSTAIN Control Circuitry on page 433 Gain controls the signal level that is output from the plug in The available range is from 20 dB to 6 dB The default value is O dB UAD Powered Plug Ins Manual 425 Chapter 44 SPL Transient Designer Signal This 4 stage LED indicates the presence of audio signals at the Ree input of the plug in When the input signal is below 25 dB the indicator is off At 25 dB to 19 dB the indicator glows slightly At 18dBto 10 dB it lights with medium intensity At 9 dB to O dB it shines brightly Overload The Overload LED illuminates when the signal level at the out put of the plug in reaches O dBFS The indicator matches the be ha
212. ause it would be redundant the Reproduce control performs the same function e 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 this manual thorough resources are available from the MRL website at htto www mrltapes com e Tape Type 111 uses a calibration level of O dB This value is not available in the plug in but it can be emulated by setting the CAL level to 3 dB then reducing the input level Record knob by 3 dB and increasing the output level Reproduce knob by 3 dB e 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 O dBFS at the plug in in put will represent O dB on the plug in meters if the plug in is calibrated e The included artist presets demonstrate how manual calibration can be used to obtain sonic variations see Artist Presets on page 22 Tip For easy recall in future sessions save unique calibrations as a preset UAD Powered Plug Ins Manual 42 Chapter 2 Ampex ATR 102 Parameter Dependencies Available Some ATR 102 parameter value ranges depend on the value of other param Settings eters These dependencies are l
213. ay Cause Zippering Automation Artifacts OK Studio Select Microphone Distance Mode Re Mic Reverb Source Select Microphone Delay Master EQ Low Frequency Microphone Select Microphone High Cut Master EQ Low Gain Microphone Low Gut Master EO High Frequency _ J merophone Pointy Master EO hion Gan J ierophone ute Master UR Swap J erophone Gain Masters Mono Sum J mierophone Gain Master Wet Solo Faster utput tener instore Snapshot static automation between audio passages is recommended if automation is used UAD Powered Plug Ins Manual 303 Chapter 29 Ocean Way Studios Ocean Way Studios Controls Mode Studio Ocean Way Studios offers two modes of operation Re Mic and Reverb Click a mode control to activate the mode The button of the current mode is illumi nated For details about the differences between these two modes see Modes Over view on page 292 Re Mic In Re Mic mode the dry signal path is eliminated and the audio is processed as if it was recorded inside Ocean Way Recording Important For the intended design results and to minimize phasing when Ocean Way Studios is in Re Mic mode exercise caution to ensure the origi nal dry signal is not mixed with Ocean Way Studio s processed output Reverb In Reverb mode the plug in behaves like most reverb plug ins the modeled di rect signal component is not included Due to inherent nature of the Ocean Way Studios design changes
214. ay Optimization is active when the button LED is lit The default state is ON DECAY Note Decay Optimization is unavailable for P8 Constant Density OFT Plate A and P9 Chorus These two adjacent buttons control the amount of Decay Optimization Click the left lt button to decrement the value click the right gt button to increment the value The available range is 1 through 16 As in the original hardware lower values make the result more prominent OPTIMIZATION Note The Decay Optimization Amount controls have no effect unless the De cay Optimization Enable control is active The Dry Wet and Solo parameters control the effect mix in the plug in These controls are not available in the original hardware f lt DRY weT gt soa Note The Mix controls are global parameters their mas state does not change when different programs are se lected UAD Powered Plug Ins Manual 199 Chapter 18 Lexicon 224 Solo Dry Wet Hidden Controls When Solo is activated the Dry Wet mix is set to 100 wet and the Dry Wet controls are deactivated Solo mode is optimal when using Lexicon 224 in the classic reverb configuration placed on an effect group bus that is configured for use with channel sends When Lexicon 224 is used on a channel insert Solo should be deactivated The default state is ON Note Solo is a global per Lexicon 224 plug in instance control These two buttons control
215. ay extend to lengthy sections of audio with lower signals The available release time values are 0 05s 0 1s O s O 5s and Default un lit The unlit behavior is depends upon whether or not the compressor is ac tive These behaviors are described below Nofe 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 overridden with the Release button However when pure Spank mode is active Release cannot be mod ified When Spank mode is combined with another compressor mode Re lease can be changed but the results are typically very subtle Tip After experimenting with other time constants one can return to the de fault release setting of the FATSO Jr if desired by cycling the release control until NO LEDs are lit which indicates the default FATSO Jr time constant Release LED s Unlit Compressor Inactive When the compressor is disabled and all Release LED s are unlit the button is disabled Note This control has no effect when the compressor is inactive or when it is in pure Spank mode see Compressor Mode on page 121 UAD Powered Plug Ins Manual 127 Chapter 10 Empirical Labs E
216. below the point where THD reaches 3 referred to as the maximum operating level Therefore with a 1kHz test tone at 12dBFS sent to the plug in with Tape Type set to 456 Cal Level set to 6 and Auto Cal enabled output levels of the plug in will match the input level and fluxivity on the tape will be 355 nW m The manufacturer s recommended calibration settings for each Tape Type are as follows UAD Powered Plug Ins Manual 459 Chapter 47 Studer A800 e 250 3 Calibration 251 nWb m e 456 6 Calibration 355 nWb m e 900 9 Calibration 502 nWb m e GP9 9 Calibration 502 nWb m Note The noise floor is affected by Cal Level when Noise Enable page 462 is active Tip The UAD Studer A800 default bank offers a variety of preset Tape Type Tape Speed CAL level and EQ configurations that are commonly used for the recording of specific genres IPS 75 15 The IPS Inches Per Second control determines the speed of Tape Speed the tape transport and the associated head bump Head bump is bass frequency build up that occurs with mag netic tape the dominant frequencies shift according to trans IPS port speed 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 IPS is also available for an even more
217. bera tion panel Positioning Panel DreamVerb has the ability to separately position the direct path early reflec tions and late field reverberation The Positioning panel Figure 44 on page 111 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 soaces for instance listen ing at the entrance of an alley way where all resoonse components arrive trom the same direction or listening in the same alley next to the source where the early reflections and reverberation surround the listener Note When DreamVerb is used in a mono in mono out configuration all Positioning controls except Distance are unavailable for adjustment UAD Powered Plug Ins Manual 110 Chapter 9 DreamVerb Direct Early Late Positioning Direct iL Early 100 L Late 100 L Distance Figure 44 DreamVerb Positioning panel These two sliders control the panning of the dry signal The upper Direct slider controls the left audio channel and the lower Direct slider controls the right audio channel A value of lt 100 pans the signal hard left a value of 100 gt pans the signal hard right A value of lt O gt places the signal in the center of the stereo field Note If the DreamVerb Mix parameter page 2 is set to 100 wet or the Wet button is active these sliders have no effect This sli
218. beration panels To get a larger sound ing space increase the T60 reverberation time use proportionally more air increase the pre delays and slightly shift the Resonance transition frequencies to lower values Intimacy and remoteness are largely controlled by the pre delays Generally speaking use shorter pre delays for more intimate spaces Clear spaces have most of their energy in the first eighty milliseconds or so muddy spaces have a lot of late arriving energy In some sense Shape determines the spatial characteristics of the reverbera tor whereas Materials effects the spectral characteristics UAD Powered Plug Ins Manual 113 Chapter 9 DreamVerb DreamVerb Presets DreamVerb includes 100 presets in addition to the internal factory bank Presets in the internal factory bank are accessed via the host application s pre set menu The additional presets are copied to disk by the UAD installer and can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual Preset Design Tips Here are some practical tips for creating useful reverbs with DreamVerb These are not rules of course but techniques that can be helpful in designing the perfect sonic environment ER Early Reflections Hf High frequency LF Late field Reverberation Lf Low frequency General Tips a tour e Start by setting a general timing on the ER and LF graphs to give a
219. boosted by the ae ae amount set with the Amplitude control Frequencies below the current setting are attenuated by 24 dB per octave The available frequency range is determined by the Cen ter button settings and are shown in Table 19 on UAD Powered Plug Ins Manual 211 Chapter 20 Little Labs VOG Center Flat Power Like the original hardware increasing the Frequency value rotating clock wise actually lowers the target frequency increases the low end Changes to this setting are heard only if Amplitude is set above zero Note The control values for Frequency which range from O 10 are arbi trary and do not reflect a particular frequency value The two Center switches define the active center frequency center of the effect which in turn determines the available fre quency range The four available center frequencies and resulting frequency ranges are shown in lable 19 below 40 ae fae aU 2d A switch is ON when its LED is red A green LED indi GbE cates the switch is OFF Table 19 Center Switch Frequency Values 40 Button LED 100 Button LED Center Frequency Hz Frequency Range Hz 100 305 The EQ circuitry 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 th being modeled and DSP is used For true bypass use the Power switch
220. by engaging the Sync function UAD Powered Plug Ins Manual 240 Chapter 23 MXR Flanger Doubler Mix Regeneration Invert J This continuous control adjusts the blend between the original dry signal and the processed wet signal s The available range is O 100 When set to minimum only the dry signal is heard When set to maximum the signal is almost entirely wet _ ORY however a small amount of dry signal is present like the original hardware When Mix is set to the minimum dry position the input signal is colored by the electronics of the unit like the original hardware This is a feedback control for the delay processor The available range is O 100 When set above its minimum value the output of the effect is routed back to its input As the value increases a more resonant signal is produced Regeneration has a governor that prevents feedback runaway overload even when set to the maximum value of 100 mereg This switch sums the stereo output of the dry and wet signals to mono fm 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 stereo out or ste reo in stereo out configuration When used in a mono in m
221. by repetitive at tack release cycles The 1176 compressor employs a release mechanism that is heavily program dependent There are three features to a program dependent release A fast release time a slow release time and a transition time The fast release time is the effective release time after transients the slow re lease time is the release time after sustained high RMS signals The transition time expresses how long the signal must be in compression before the slow release time comes into effect The original Bluestripe and 1176AE has a different slow release time and transition time when compared to the Blackface revisions The four Ratio pushbutton switches to the left of the VU Meter determine the compression ratio of the plug in Ratios of 20 1 12 1 8 1 and 4 1 are avail able for all 1176 models except the UA 1176AE which has 20 1 8 1 4 1 and 2 1 modes The 20 1 ratio is typically used when peak limiting is desired while the lower ratios are typically used for general dynamic range compression One of the most unique features of the 1176 hardware is the ability to press multiple Ratio buttons in simultaneously to create unusual compression or lim iting behavior and increased compression distortion See Figure 158 on page 492 for available modes Engineers typically use All Button mode on drums or on ambience or room mics It can also be used to make a bass or guitar sound dirty or
222. c These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose circuits and sounds were studied during the sound development of the UAD 4K products Use of third party trademarks are for informational purposes only and do not imply an endorsement or sponsorship of Universal Audio s products UAD Powered Plug Ins Manual 453 Chapter 46 SSL G Bus Compressor CHAPTER 47 Studer A800 Multichannel Tape Recorder For more than 30 years artists and engineers alike have been drawn to the warm sound solid punchy low end and overall presence of the Studer A800 Multichannel Tape Recorder The sheer number of albums recorded on this legendary 2 analog tape machine including classics from Metallica Stevie Wonder Tom Petty and Jeff Buckley serve as shining examples of the musicality of analog tape Authenticated by Studer and modeled by UA s world renowned team of DSP engineers and AES magnetic recording expert Jay McKnight over a 12 month period the Studer A800 Multi Channel Tape Recorder plug in for UAD 2 is the first and only product of its kind This plug in faithfully models the entire multitrack tape circuit path and electronics of an A800 machine plus the distinct sounds of multiple tape formulas Put simply it s the world s most ac curate representation of professional analog tape recording now available on Mac and PC As the first microprocessor control
223. c reverberators The method employed by RealVerb Pro produces more faithful physically meaningful intermediate states Morphing C Cathedral Concert Hall Figure 129 RealVerb Pro Morphing panel Figure 129 depicts the Morphing 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 UAD Powered Plug Ins Manual 408 Chapter 40 RealVerb Pro When in Morphing mode Figure 130 on page 409 non user adjustable con trols will change their appearance and will no longer be accessible When ir serted on a Send effect the W button automatically turns on to keep the mix at 100 wet On an insert effect the Mix will change back and forth between the two mix values of each preset Preset Shape Material Levels CLIP i too L 100 F Morphing o Big Cement Room Dark Arnbience OE F AN Rez i tealVerb Pro Figure 130 RealVerb Pro in Morphing mode UAD Powered Plug Ins Manual 409 Chapter 40 RealVerb Pro RealVerb Pro Preset Management Factory Presets Using Host Application anagement In the preset menu there are t
224. can also be adjusted by using the Frequency Value param eters see Frequency Values on page 379 378 Chapter 38 Precision Multiband Frequency Controls Frequency Values The crossover frequency xF between the bands and the center frequency cF of the Mid bands is shown at the bottom of the EQ Display see EQ Display on page 377 The frequencies for each band can be moditied by entering the values directly and by manipulating the colored band curves All band frequency values are always displayed Values can be input directly using text entry If a value is entered that is outside of the minimum and maximum allowable value the entry field will not accept the change and the value for the entry tield 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 frequency value is desired i e the original center frequency value attempt the width of the band must be re duced first then the center frequency adjusted again It s easiest to see the cF limits at the given width by dragging the center frequency with the mouse To modify the frequency and gain values using the EQ Display see Curve Control Points on page 377 UAD Powered Plug Ins Manual 379 Chapter 38
225. cc cence nnn beeen ee ce nenenennes Chapter 51 UA 610 Tube Preamp amp EQ Collection cccece0 Historical to Modern Tube Amplification from Universal Audio 005 UA 610 SereGnshl icss ss lt ch0asensadwie syacteemnnsa aaaea raana The UA 610 Plug ins 0 0 ccc cece ete enn e ee enn eee ees Input Level Controls oasoawn cabo dune suds orsnenta usepaivenencateseensas4 Output Level Controls 2 0 0 een nett eben tee eens UAD Powered Plug Ins Manual 12 494 494 495 496 499 501 1 902 Table of Contents TABLE OF CONTENTS CVO NAISOBy sn aeaa ge gare ae ase Gee PUCE Whe neue eE EE ERER RTR EOE a ERE IR E EEEk 503 UAD Powered Plug Ins Manual 13 Table of Contents CHAPTER 1 Documentation amp Support UAD Documentation Overview ReadMe Windows Mac Operation anuals This section describes the various instructional and technical resources that are available for installing using and troubleshooting UAD Powered Plug Ins Documentation for the product line is available in written video and on line formats The ReadMe contains information that may not be available in other loca tions Please review all the information in the ReadMe before installing or us ing UAD Powered Plug Ins The ReadMe rtt file is presented for viewing dur ing the software installation process and installed to e Start Menu gt All Programs gt UAD Powered Plug Ins e Startup Disk Applications Universal Au
226. cccceccssssees 417 Ora E E E E E E E E 417 Roland RE 201 Screenshot nnana nnna 418 Roland RE 201 Interface 0 0 nunana 418 Roland RE 201 Controls 0 0 0 0 ccc cece eee 418 Chapter 44 SPL Transient Designer ssssecosososooosoooooooo 424 DENION enee eR NEEE R RER RE E 424 SPL Transient Designer Screenshot n nunun unnan ananena raaraa 424 SPL Transient Designer Controls nnana nananana nananana ereraa arare 425 Acknowledgement n n nanana ccc een ented eet eener 427 ApPplicaOnNS cers crcrs pon davsaeeenwds praias apeina os Sane E a aaiae aoe a 427 Eene Ce EE 431 Chapter 45 SSL E Channel Strip sssssssssososososooosoooooooo 435 Large Format Mix Module n nnnnn nannu naana e nnn 435 SSL E Channel Strip Screenshot o n ananunua nanana aeneae eannan 436 SSL E Channel Strip Controls n on aa annann nnana naaran earranan 436 FINCKS esee A E E EE RERE E EE REE 437 De e P E E E E E E hee eee nee atees eae oot 438 Compressor Limiter n cece eee eee renren eee een A38 Gate Expander 0 0 0 0 ccc ene eee nnn t ee enn nett een n nee 439 Oe ee ee ee ee E E ee ee ee ee 442 Coco ee err ee ree er ee rer 446 Caeci e E bn cee s cory ee hae bees bas we ba ee base ba ee oan bac bases 447 Chapter 46 SSL G Bus Compressor cccccccccccccccssssees 449 Large Format Console Dynamics nonon 00 ccc eee eee een 449 UAD Powered Plug Ins Manual 11 Table of Contents TABL
227. channel is 5 milliseconds to 2 5 seconds 2500ms When Sync is active beat values from 1 64 to 3 1 can be se lected When the beat value is out of range the value is displayed in parenthesis This occurs in Sync mode when the time of the note value exceeds 2500ms as defined by the current tempo of the host application See Temp Sync in Chapter 8 of the UAD System Manual 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 sets the amount of processed signal fed back into its input feedback At the minimum value one delayed repeat is heard Higher values clockwise increase the number of repeats and intensity of the processed signal with near infinite repeats available at the maximum setting Pan sets the position of the delayed wet signal in the stereo field it does not affect the unprocessed dry signal Tip Click the PAN label text to return the control to center Note When the plug in is used in a mono in mono out MIMO configu ration the Pan knobs do not function and cannot be adjusted UAD Powered Plug Ins Manual 84 Chapter 6 Cooper Time Cube Echo Volume This control determines the volume of the delayed signal Rotate the control A B clockwise for louder echo Up to 10 dB of gain is available at the maximum setting Reducing the control to its minimum value will mu
228. cies that occurs with analog lll tape saturation see Warmth Processor on page 118 for i detailed Warmth description Higher values increase the 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 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 he INPUT omees 5 12 10 Warming j 2 j OUTPUT i i j i ete Nofe At extreme settings the Warmth Meter may indicate activity even when Warmth is disabled This behavior is identical to the hardware unit UAD Powered Plug Ins Manual 122 Chapter 10 Empirical Labs EL7 FATSO Bypass Tranny Output This black button is a multifunction control Clicking the button re peatedly cycles through Tranny Bypass and Tranny Off modes The currently active mode is indicated by the adjacent LED s Tranny green LED The Tranny processor is active in this mode see The Tranny Processor on page 18 for a detailed description of this mode The Tranny circuit adds fre quency rounding low order clipping intermodular distortion and transient clipping On FATSO Sr the Tranny amount can be set with the Tranny Level control page 128 Note Disabling Tranny will yield a significant
229. components can be in dividually disabled adjusted and or exaggerated for creative purposes even though the servo controlled direct drive capstan tape transport of the original hardware provides excellent wow and flutter specifications The original hardware was manufactured with isolation transformers which can color the signal A common modification to the hardware tape machine eliminates the transformers from the signal path to produce a subjectively cleaner sound UAD Ampex ATR 102 simulates the behavior of the trans formers in the hardware circuit and can be optionally disabled in the plug in providing both sonic options 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 the recorder and the monitored signal When these signals are combined with mixer routings the classic slapback echo is mani test The UAD Ampex ATR 102 implements the ability to reproduce this classic effect with a simple set of controls and expands the capabilities by extending the available delay times beyond what is possible in the physical realm The ability of a magnetic tape recorder which has inherently non linear re sponse characteristics to accurately reproduce an audio
230. content Therefore as the sidechain filtering is increased higher frequencies are compressed more Note Emphasis is unavailable on the Teletronix LA 2A Legacy Side Chain Pre Emphasis R37 Background The LA 2A hardware was designed for use in broadcast applications The au dio signal in FM broadcasting undergoes pre emphasis and results ina 17 dB boost at 15 kHz Due to this increase in signal level transmitters are subject to over modulation The LA 2A hardware provides a control R37 which con trols the amount of high frequency compression This potentiometer is factory set for a flat side chain response clockwise Increasing the resistance of this potentiometer by turning it counter clockwise will result in compression which is increasingly more sensitive to the higher frequencies UAD Powered Plug Ins Manual 474 Chapter 48 Teletronix LA 2A Leveler Collection Historical Background In the 1950s while at Parsons Electronics Electrical Engineer Jim Lawrence was quietly asked to join the Titan Missile Program based at Cal Tech s Jet Propulsion Lab and was assigned to develop optical sensors for the program Fortunately for everyone the technology developed from Lawrence s work lead back to a more peaceful deployment of the optical sensor as the detec tor in his future Leveling Amplifier The interactions of the luminescent panel with the photo resistors in his T4 design are predominantly what gives the Teletronix Le
231. control key the dynamics module Sidechaining is typically used for de essing and similar frequency conscious techniques To listen to the sidechain key simply disengage DYN SC to hear the filtered signal The sidechain dynamics EQ implementations are true ste reo when used in a stereo in stereo out SISO configuration Note The Filters module must be active not at minimum value in conjunction with the Filters DYN SC button for the Filters sidechain to function An addi tional dynamics sidechain is available in the EQ section EQ to Sidechain DYN SC on page 445 UAD Powered Plug Ins Manual 437 Chapter 45 SSL E Channel Strip Dynamics Separate soft knee compressor limiter and expansion gate modules are available in the dynamics section Each module has their own set of controls Important Dynamics are not processed unless enabled by the Dynamics selector buttons Dynamics In DYN IN on page 441 Compressor Limiter Link Compress Ratio Compress Threshold When UAD SSL E Channel Strip is used in a stereo in stereo out configuration two separate dynamics processors are active one for each stereo channel When Link is engaged the two compres sors are constrained so that they both compress by the same amount at any instant This prevents transients which appear only on one channel from shifting the stereo image of the output Any big transient on either channel will cause bot
232. control can be low ered to compensate if unity gain operation is desired Reproduce Record Controls Arrangement Note that the Reproduce control is to the left of the Record control which is atypical of most signal flow designs where inputs usually precede outputs flowing from left to right This quirky arrangement of the Ampex ATR 102 I O controls where the input control follows the output control is true to the original hardware design In Controls View the Record input control pre cedes the Reproduce output control The secondary controls Figure 4 on page 31 are accessed by clicking the OPEN button beneath the AMPEX label Con mma mma versely the panel is closed by clicking the CLOSE button THT Link mode is a software only addition that enables controls Tl TE 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 is desired In other words left right channel controls are ganged together in link mode The Link parameter is stored within presets and can be accessed via automa tion Note Although 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 even if Unlink mode is active Link In Link mode modifying any left or right channel control causes its adjacen
233. ction Original Hardware UAD Powered Plug Ins Manual 51 Chapter 3 API 500 Series EQ Collection CHAPTER 4 API Vision Console Channel Strip Introduction The API Vision Console Channel Strip plug in for the UAD platform is based on API s flagship console found in studios and sound stages across the globe The plug in includes five indispensable modern production API modules avail able in the Vision console The custom 2520 op amp based 212L Preamp 215L Sweep Filters 550L EQ 225L Compressor Limiter and the 235L Gate Expander The tone of the 212L mic preamp has its roots in the classic API 2488 series all discrete recording consoles best known for the famed LA sound The API 212L incorporates the API 2520 op amp and the same circuit as the legend ary API console input modules dating from the 1970s This mic preamp artic ulates high frequencies with great detail while delivering the big sounding warm bottom end that API is famous for With identical features as the modern API 550B EQ the API 550L L for long frame is a continuation of the 550A EQs that have played a major role in the history of record making but with an additional filter band and sev eral new frequencies The 550L artfully blends the past with the present and is only available in modern API consoles Making use of API s Proportional Q innovation the 550L intuitively widens the filter bandwidth at minimal set tings and narrows it at highe
234. d when the EXP IN LED is illuminated This button has no effect when DYN IN is disabled Compressor In CMP IN The CMP IN button enables the compressor limiter module The module is en abled when the CMP IN LED is illuminated This button has no effect when DYN IN is disabled The Expansion Meter uses green LED s left column to display the amount of downward expansion occurring in the expander gate module Higher values indicate more gain reduction The Compression Meter uses amber LED s right column to display the amount of gain attenuation occurring in the compressor limiter module Higher values indicate more dynamics compression UAD Powered Plug Ins Manual 441 Chapter 45 SSL E Channel Strip EQ EQ Type The UAD SSL E Channel Strip EQ module is divided into four frequency bands High Frequency HF blue knobs High Midrange Frequency HMF green knobs Low Midrange Frequency LMF yellow knobs and Low Fre quency LF orange knobs The high and low bands can be switched from shelving mode into bell peak dip mode The two midrange bands are fully parametric The EQ module can be disabled altogether or routed for dynam ics sidechain keying zea vo different types of SSL EQ are available The EQ Type but ton selects between the two types either Black or Brown The knob color of the LF band controls changes to reflect the cur rent setting BLE BRN The Black and Brown EQs sound different Black is
235. d Compressor EQUALIZER _ A ENBSLE S BYPASS i 17001 as a an COMPRESSOR ATTACK a a giria g BYPASS ee The EX 1 plug in consists of a five band parametric EQ and compressor EX 1 Equalizer Controls The Equalizer portion of the EX 1 is a five band fully parametric EQ Each band has its own set of controls The first two bands can also be enabled to 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 Each band can be individually deactivated with the Band Disable button All Button 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 compare the band settings to that of the original signal or to bypass the individual band UAD Powered Plug Ins Manual 87 Chapter 7 CS 1 Channel Strip Gain G Knob fc Bandwidth Q Knob Enable Bypass Switch n Output Knob The Gain control determines the amount by which the frequency setting is boosted or attenuated The available range is 18 dB Determines the center frequency to be boosted or attenuated by the Gain set ting The available range is 20 Hertz to 20 kiloHertz When operating at sample rates less than 44 1kHz the maximum frequency will be limited Sets the proportion of frequencies surrounding the cen
236. d all arti facts of tape such as self chorusing due to speed variations caused by random friction in the tape path plus pinch roller wow and flutter The EP 34 includes the metering and unusual but uniquely musical tone controls found on the EP 4 but removes its undesirable in line noise reduction circuit that users often electronically disabled Maestro removed this circuit soon after the product s release Extras not found on the original hardware include Tempo Sync Input Select allows for a cleaner sound LO or a dirtier sound HI Tension the Echoplex has an adjustable tension nut underneath the delay time slider for a snappy or sludgy response time Echo Send identical in function to RE 201 dub switch Wet Solo Pan wet signal only and Power plug in bypass EP 34 Tape Echo is not affiliated with sponsored nor endorsed by any companies currently using the Echoplex name The EP 34 Tape Echo name as well as the EP 3 and EP 4 model names are used solely to identify the classic effects emulated by Universal Audio s product UAD Powered Plug Ins Manual 149 Chapter 13 EP 34 Classic Tape Echo EP 34 Tape Echo Screenshot INPUT Teng ON SHORT ECHO DELAY LONG z350 RECORDING ECHO TONE gt RECORDING LEVEL S Ag q u OLUME VOLUME has iY TREBLE z Tn Figure 50 The UAD EP 34 Tape Echo plug in window EP 34 Controls Echo Delay Echo Delay controls the delay time of the
237. d has a Solo button The Solo button for the band is just below its Enable button When one or more bands are in Solo mode only the soloed bands can be heard and the other bands are muted UAD Powered Plug Ins Manual 380 Chapter 38 Precision Multiband The band is soloed when its Solo button is red Click the button to toggle the solo state of the band Soloing bands does not reduce UAD CPU usage Solo Display When a band is in Solo mode its curve in the EQ Display is highlighted Note In addition to the Solo buttons you can also control click a band in the EQ Display to put any band or bands into Solo mode Global Controls Input Level The stereo INPUT LEVEL Meter peak hold Input fF or 7 ee Mi displays 301 271 241 21 HB HS Hal 8 B H311 Od PEAK the signal level ct pgs iia tam len nen ean a a a a the input of the plug in Signal peaks are held for 3 seconds before resetting 20 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 O 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 no dynamics processing to 100 wet processed signal only The default value is 100 w E O00 Fe Note that at O the signal is still be
238. d 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 e For taming sibilance for a full mix mastering best results will usually be ob tained by enabling Highpass and Split modes e Generally female ess and shh sounds vary more in frequency than those of males Due to this situation you may find that using the sidechain filter in Highpass mode or Bandpass mode with a large width may be more responsive e Over de essing can degrade the natural sound of a vocal UAD Powered Plug Ins Manual 329 Chapter 31 Precision De Esser CHAPTER 32 Precision Enhancer Hz Overview The Precision Enhancer Hz allows the user to selectively add upper harmonics to bass fundamentals sometimes referred to as phantom bass This signifi cantly enhances the perception of low end energy beyond the conventional trequency response of small speakers These harmonics stimulate a psychoa coustic bass enhancing effect in the listener giving even the smallest speakers greater translation of low frequency sources Universal Audio s unique ap proach to this common problem combines a simple control set that yields ex acting 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 filte
239. d interactions and in ternal clipped filter nonlinearities The API 550A provides reciprocal equalization at 15 points in five steps of boost or cut fo a maximum of 12 dB of gain at each point The fifteen fixed equalization points are divided into three overlapping band ranges The high and low frequency bands are individually selectable to function as either peaking or shelving filters A bandpass filter may be inserted independently of all other selected equalization settings The 10 precision EQ bands make the 560 ideal for signal sweetening and mix tuning The boost and cut characteristics are identical allowing previous actions to be undone if desired The 550A and 560 filters feature API s Proportional Q which continuously narrows the bandwidth of the filter as band gain is increased providing as stated by API an uncomplicated way to generate acoustically superior equalization The API 500 Series EQ Collection includes artist presets from prominent API users The artist presets are in the internal factory bank and are accessed via the host application s preset menu The artist presets are also copied to disk by the UAD installer so they can be used within Apollo s Console application The presets can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual These plug ins use an internal upsampling technique to achieve sonic design goals The up
240. d level are processed by the module Signals above the threshold are unaffected Ro tate this control clockwise to increase the gate expand effect 235L Depth Depth controls the difference in gain between the gated expanded and non gated expanded signal Higher values increase the attenuation of signals be low the threshold When set to zero no gating or expansion occurs The available range is O dB to 80 dB The default value is 80dqB Scaled Control Although the Depth control has a full range of 80 dB the scale is expanded in the first half of rotation so O to 9 dB is available for fine tuning of subtle undetectable gating The second half of rotation is from 10 to 80 dB for more drastic noise reduction 235L Attack This two position switch determines how quickly the onset of gating ex IR pansion occurs when the signal exceeds the threshold Normal 25 mil liseconds and Fast 100 microseconds settings are available The de Hi fault setting is Normal 235L Release Hold Knob The function of Release Hold knob R H depends on the setting of the Re lease Hold switch Rel Hld With both switch settings the available range of the knob is 50 milliseconds to 3 seconds The default value is 0 5 seconds Note Hold mode is only available when the 235L module is set to Gate mode with the Gate Expander switch UAD Powered Plug Ins Manual 59 Chapter 4 API Vision Console Channel Strip Release When t
241. d mode descriptions Note This control is unavailable on the Fairchild 660 Left Right If Left Right is selected and Sidechain Link is off the compressor is in dual mono mode If Sidechain Link is on the mode is stereo left right Lat Vert If Lat Vert mid side is selected and Sidechain Link is off the compressor is in dual lateral vertical mode If Sidechain Link is on the mode is stereo lat eral vertical When this control is set to Link it causes the two channels of the com pressor to compress in equal amounts This does not mean that the compressor will be equally sensitive to either channel however that A depends on the settings of the other controls Note This control is unavailable on the Fairchild 660 Linking the sidechains simply means that the instantaneous amount of com pression for the two channels will always be the same thereby preventing left right image shifting at the output Threshold and input gains can be set inde pendently to cause the compressor to be more sensitive to instruments which are panned to one side or the other Output controls can be set separately in order to correct an overall image shift at the output Tip In conjunction with the AGC Switch switch the Sidechain Link switch de termines the operating mode of the Fairchild 670 This switch allows the two sets of controls for the interface to be ste F reo linked The control is unavailable on the Fairchild 660 Important
242. d right and is a true stereo processor Like the hardware when the UAD Lexicon 224 plug in is used in a stereo in stereo out configuration the left and right channel sig nals are both processed When used in a mono in stereo out configuration the mono input is sent to both channels of the stereo processor UAD Powered Plug Ins Manual 190 Chapter 18 Lexicon 224 Primary amp Hidden Controls Parameter Ranges amp Default Values Display Panel When configured as mono in mono out MIMO output A is used exclu sively except in programs 2 4 and 9 where outputs A and C are summed into one monophonic signal This implementation is recommended in the orig inal hardware manual If Rear Outs is enabled in MIMO mode outputs B and D are used instead of A and C See Table 17 on page 205 for a list of outputs used with each program in this configuration The primary controls those that are most typically used are on the main re mote control panel interface Additional less typically used controls are available in a hidden control panel The hidden control panel Figure 63 on page 200 is accessed by clicking the OPEN text label to the right of the Display Panel For detailed descriptions of all parameters see Primary Controls on page 193 and Hidden Controls on page 200 The parameter value ranges default values and availability of particular pa rameters within a given program may vary depend
243. dB UAD Powered Plug Ins Manual 284 Chapter 28 Neve 88RS Channel Strip HMF Q LMF Freq LMF Gain LMF Q LF Freq LF Gain LF Shelf Enable LF Hi Q Enable The Q bandwidth control defines the proportion of frequencies surrounding the HMF band center frequency to be affected by the band gain control The filter slopes get steeper narrower as the control is rotated clockwise The available range is 0 4 to 10 This control determines the LMF band center frequency to be boosted or at tenuated by the LMF Gain setting The available range is 120 Hz to 2 kHz This control determines the amount by which the frequency setting for the LMF band is boosted or attenuated The available range is 20 dB The Q bandwidth control defines the proportion of frequencies surrounding the LMF band center frequency to be affected by the band gain control The tilter slopes get steeper narrower as the control is rotated clockwise The available range is 0 4 to 10 This parameter determines the LF band center frequency to be boosted or at tenuated by the band Gain setting The available range is 33 Hz to 440 kHz This control determines the amount by which the frequency setting for the LF band is boosted or attenuated The available range is 20 dB 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 illuminat
244. dB octave UAD Powered Plug Ins Manual 222 Chapter 21 Manley Massive Passive EQ Mastering Filters Other Controls Power Link rewlewhihs 1 198 Smel Signal AC F Fr quency Fz 10 000 31 623 100 000 316 228 1 000k 3 162k 10 000 3 1 625k i i i I i I a ae l l l i BK 55 95 42 777 6 190 59 487 78 60m 78 607m 120 70 T 49 Trn i 35 74 7E Figure 70 High Pass and Low Pass filter response curves standard version The Low Pass High Pass filter frequencies in the mastering version are tuned specifically for mastering and the slopes are flatter until the knee The slopes are 18 dB per octave on the mastering filters except for the highest value 52K which is 30 dB octave The Power and Link controls are global to both channels ER Power is a two state knob that determines whether the plug in is ac 2 4 d Fa tive When the 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 is enabled 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 operation is desired The Link parameter is stored within presets and can be accessed via automation Important When unlink is switched to link channel 1 controls ar
245. de En hancement works by continuously modulating certain delay lines taps within the program algorithms which increases the effective density without thicken ing the reverb itself Mode Enhancement is factory optimized for each program and should not re quire adjustment in typical use For this reason it was deliberately made dif ticult to access in the original hardware However creative use of the param eter is encouraged by making it easier to access in the plug in Mode Enhancement has three control elements Enable Amount and Pitch Shift As in the original hardware lower values of Mode Enhance Amount and higher values of Pitch Shift increase movement and make the result more prominent Note The Mode Enhance Amount and Pitch Shift controls have no effect un less the Mode Enhance Enable control is active i 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 MODE I Tips This control just as with the original hardware resets the algo ENH rithm Therefore Mode Enhance Enable can be used to quickly kill the reverb tail while staying in the same program These two adjacent buttons control the amount of Mode Enhancement or technically speaking the amount of time between delay line updates Click the left lt but ton to decrement the value click the right gt button to incr
246. der which contains two control handles adjusts the stereo width of the early reflections This slider which contains two control handles adjusts the stereo width of the late field reverberations Early amp 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 all the way to the right When the slider handles are not set fo maximum width the center of the slider can be dragged left or right to set the positioning of the signal To pan a mono signal hard left or right drag the slider all the way to the left or right UAD Powered Plug Ins Manual 111 Chapter 9 DreamVerb Distance Levels Panel Input Output DreamVerb allows you to control the distance of the perceived source with this slider In reverberant environments sounds originating close to the lis tener have a different mix of direct and reflected energy than those originat ing 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 This panel is where DreamVerb input output levels wet dry mix and reverb mute controls can be modified Figure 45 DreamVerb Levels panel Modifies the signal level at the input to DreamVerb A value of zero is unity gain Modifies the signal level at the output of DreamVerb A value of zero
247. design To sum up the musical results of the Tranny circuit there will be a little more edge in the midrange and the super low frequencies will have been harmon ically altered in a way that allows them to sound louder even though the peaks are less than the original Playback on small speakers will show an im proved audibility of low end from the result of the psycho acoustically pleas ing distortion the Tranny adds 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 in the FATSO Buss General Purpose G P Tracking and Spank Switching modes simultaneously sets the compressor threshold ratio attack and decay This was done to provide an easy to set yet versatile group of curves The release curve of all types is logarithmic meaning it lets off quickly at first and then slows This release curve is a big part of the FATSO s compressor sound Note Threshold attack and decay values can be modified in the FATSO Sr Buss Buss mode green LED is a very gentle 2 1 type ratio with slow attack fast re lease and very soft knee One to four dB of gain reduction is typical for this compressor type Five or more dB of Buss compression is hitting it hard G P G
248. determines the high shelving band transition frequency to be boosted or attenuated by the high band Gain setting The range is 200 Hz to 20 kHz Because this is a shelving EQ all frequencies above this setting will be af tected 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 and depth controls The effect is subtle but it can increase dispersion and reduce ringing on some source ma terial such as loud signals with sudden endings and percussive content Mod Rate Mod Rate controls the rate of reverb time modulation The avail able range is from 0 01 Hz to 1 0 Hz Mod Depth This parameter controls the amount of reverb time modulation The available range is from O 10 cents UAD Powered Plug Ins Manual 133 Chapter 11 EMT 140 Plate Reverb Output Meter Blend Controls Predelay Mix Wet Solo The vintage style VU Meter represents the plug in output level It is active when the Power switch is on and slowly returns to zero when Power is switched off The amount of time between the dry signal and the onset of the reverb is controlled with this knob The range is 0 0 to 250 mil liseconds PRE DELAY S
249. dio Documentation for UAD 2 and Powered Plug Ins are separated by areas of functionality as described below The user manuals are on the software disc and also placed inside the Powered Plug Ins Documentation folder on the hard drive during software installation All manuals are in PDF format PDF files require a free PDF reader application such as Adobe Reader Windows or Preview Mac UAD System Manual The UAD System Manual is the complete operation manual for UAD function ality and applies to the entire UAD product line It contains detailed informa tion about installing and configuring UAD devices the UAD Meter amp Control Panel application how to use UAD Powered Plug Ins within a DAW obtain ing optional plug in licenses at the UA online store and more It includes ev erything about UAD except Apollo specific information and individual UAD Powered Plug In descriptions UAD Plug Ins Manual The features and functionality of all the individual UAD Powered Plug Ins is de tailed in the UAD Plug Ins Manual Refer to this document to learn about the operation controls and user interface of each plug in UAD Powered Plug Ins Manual 14 Chapter 1 Documentation amp Support Windows Mac Manual Conventions Platforms Windows Mac UAD Nomenclature Screen Shots Direct Developers UAD Powered Plug Ins includes plug ins from our Direct Developer partners Documentation for these 3rd party plug ins are separ
250. dorsed by any companies currently using the Echoplex name The EP 34 Tape Echo name as well as the EP 3 and EP 4 model names are used solely to identify the classic effects emulated by Universal Audio s product UAD Powered Plug Ins Manual 155 Chapter 13 EP 34 Classic Tape Echo CHAPTER 14 Fairchild Tube Limiter Collection The Gold Standard in Vintage Tube Limiters In the annals of compressor history the products produced by Fairchild are some of the best built and most highly prized on the vintage market The most famous Fairchild products produced were the 660 and 670 limiters which are famous for their fantastic sound quality The stereo Fairchild 670 is prob ably the Holy Grail of limiters in studio gear esoterica not only because of its price but also its extreme rareness and the difficulties in maintaining such a unit With its 14 transformers 20 vacuum tubes including 8 of the vener ated 6383 gain reduction tubes and weighing 65 pounds the Fairchild 670 is truly the heavyweight champion of compression Originating from the late 1950 s the design of the 670 uses a single push pull stage of amplification with an exceptionally high control voltage Tube 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 di rectly in the audio path rather than sending out to a separate compression circuit The unit can be used as a limit
251. drum submix is being used for Re Mic mode while send return routing is being used for guitar and vocals in Reverb mode Re Mic Reverb mode mode Bus 1 Bus 2 Aux 1 Aux 2 Return Return Insert Insert Output Drum submix Figure 95 DAW signal routing in a workflow with two Ocean Way Studios plug in instances One uses Re Mic mode for the drum submix and the other uses Reverb mode for the guitar and vocals When recording in the physical world it is possible for phase issues to man ifest when more than one microphone is used on a source The sonic charac teristic of phasing more accurately called comb filtering results when fre quencies that are being captured by more than one microphone are emphasized because they are summed signals in phase or de emphasized because they are canceled signals out of phase Phase issues resulting from the use of multiple microphones can usually be di minished by simply adjusting the placement position s of the microphone s or switching its signal polarity Phasing with Ocean Way Studios Phasing is intrinsic when recording with multiple microphones Because Ocean Way Studios accurately models the acoustic space and the micro phones within the space it is possible for the plug in to sound phasey due to phase issues if the controls are not properly set especially in Re Mic mode phasing is generally not an issue in Reverb mode UAD Powered Plug Ins Manual
252. dual concentric control The available range is approximately 18 dB UAD Powered Plug Ins Manual 251 Chapter 25 Neve 1081 Equalizer Low Mid Band High Mid Frequency The high midrange 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 directly on the silkscreen text to specify a frequency or disable the band Note You can also click the midrange symbol below the knob to cycle through the available values or shift click to step back one frequency The available high mid band center frequencies are 1 5 kHz 1 8 kHz 2 2 kHz 2 7 kHz 3 3 kHz 3 9 kHz 4 7 kHz 5 6 kHz 6 8 kHz 8 2 kHz and OFF When OFF is specified the band is disabled UAD DSP usage is not re duced when the band is OFF High Mid Q Select 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 The High Q button switches the response of the high mid band from The low midrange band delivers smooth low mid fre TE quency peak equalization with a choice of two band Weer widths The inner knob controls the band gain and the mal outer ring selects the frequency or band disable Low Mid Gain The equalization gain for the low midrange band is se lected with the inner knob of the dual concentric control The available range is approximately 18 dB
253. duc ing bass content of the audio signal itself Auditioning the Sidechain Filter To quickly switch back and forth between OFF and the last set value click the OFF label This feature is handy for comparing the filtered and unfiltered sidechains Note The Sidechain Filter affects the control signal of the compressor only It does not filter the audio signal UAD Powered Plug Ins Manual 168 Chapter 14 Fairchild Tube Limiter Collection DC Threshold Output Gain DC Threshold controls the ratio of compression as well as the knee width As the knob is turned clockwise the ratio gets lower and the knee gets broader The threshold also gets lower as the knob is turned clockwise It s more technically accurate to say that this con trol simply changes the knee width since no mat ter where it s set the ratio always approaches true limiting eventually How ever the knee becomes so broad that it becomes more practical to speak of the ratio changing because for reasonable amounts of compression less than 25 dB this is the case Note This control is labeled DC Bias on the Fairchild 670 Legacy CAL To calibrate the plug in to factory specifications the default value align the white CAL mark with the black dot on the adjustment screw Tip Click the CAL text label to return the control to the factory calibrated position OWR To calibrate the plug in to the setting used by Ocean Way Reco
254. duce the Mises ae UAD DSP load load is not reduced if UAD 2 DSP Load PRECISION MASTERING SERIES A MAXIMIZER Lock is enabled OFF LEE 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 UAD Powered Plug Ins Manual 368 Chapter 37 Precision Maximizer Operating Tips e As a starting point for general loudness enhancement set Precision Maxi mizer to one band mode with Limit engaged with Mix at 100 and Shape at 50 Then set Input so signals peak at around O dB on the Input Meters These settings offer good results under most conditions producing more presence with a warmer sound and enhanced detail especially with lower frequencies while retaining the apparent dynamic range of the original signal e The most natural warmth and tube style distortion can be obtained with Shape at 50 in one band mode with Limit off and signal peaks just touch ing O dB at the input Shape at 50 delivers the lowest amount of higher or der harmonics and most closely emulates a tube characteristic e More overdrive may be obtained by disengaging the Limit function Up to 6 dB of additional headroom is available before clipping occurs when Limit is off This can cause clipping at the output so reduce the Input and or Output control to compensate if necessary e Input c
255. dware the plug in s compensated makeup gain levels are not per fectly linear UAD Powered Plug Ins Manual 61 Chapter 4 API Vision Console Channel Strip 225L Ratio Ratio defines the amount of gain reduction applied to signals above the threshold For example a value of 2 expressed as a 2 1 ratio reduces the signal level above the threshold by half with an input signal level of 20 dB be ing reduced to 10 dB A value of 1 yields no gain reduction When the control is at maximum c the ratio is effectively infinity to one yielding the limiting effect The available range is 1 1 to infinity The default value is 4 1 225L Attack This three position switch defines the attack time of the compressor Available values are Fast 2 milliseconds Medium 18 milliseconds and Slow 75 milliseconds The default value is Medium 225L Release Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level The available control range is 50 mil liseconds to 3 seconds Nofe Actual release times are program dependent Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks However if the release is too long compression for sections of audio with loud signals may extend to sections of audio with lower signals Fast release times are typically only suitable for certain
256. e UAD Powered Plug Ins Manual 451 Chapter 46 SSL G Bus Compressor Fade Rate Auto Fade Button Fade Rate determines the amount of time that will pass between the Fade but ton being activated and the plug in output level being reduced to minimum or being raised to O dB in the case of a fade in The available range is from 1 0 second to 60 seconds Fade times immediately reflect the current Fade Rate value Therefore a fade out that has already been initiated can be accelerated by changing Fade Rate during the fade out Conversely a fade in can be accelerated by changing Fade Rate during the fade in Activating the Auto Fade button initiates a fade out The fade out time is de termined by the Fade Rate parameter The Fade button blinks when a fade out is in progress and is continuously lit when the fade out is complete when the Fade Rate time has elapsed Deactivating Fade clicking the solid lit button initiates a fade in During a fade in the signal level is increased from the current level of attenuation to O dB of attenuation The Fade button flashes when 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 initia
257. e The Fairchild 660 controls are identical to one of the channels of the Fairchild 670 UAD Powered Plug Ins Manual 158 Chapter 14 Fairchild Tube Limiter Collection Fairchild 670 The Fairchild 670 is the two channel stereo workhorse revered by engineers and producers worldwide Second Generation Algorithms The newer state of the art algorithms in the Fairchild Tube Limiter Collection take full advantage of the extra processing power available on UAD 2 de vices along with the design sophistication and expertise gained since the original Fairchild Legacy plug in was developed Sonic Differences Like the differences between the original Fairchild 660 and 670 hardware units the UAD models in the Fairchild Tube Limiter Collection offer variations in threshold behaviors total gain input attenuation range distortion amount distortion structure program dependence time constant subtleties and more These differences provides an expanded palette within the Fairchild sound Artist Presets The Fairchild Tube Limiter Collection includes artist presets from prominent Fairchild users The artist presets are in the internal factory bank and are ac cessed via the host application s preset menu The artist presets are also copied to disk by the UAD installer so they can be used within Apollo s Console application These presets can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chap
258. e amp For details about the band enable and solo controls see Dynamics Meters Solo on page 380 UAD Powered Plug Ins Manual 376 Chapter 38 Precision Multiband EQ Display Band Curves EQ Response Curve Control Points In the EQ Display the entire audio spectrum from 20 Hz to 20 kHz is dis played along the horizontal axis Gain and attenuation of the five band fre quencies up to 12 dB are displayed along the vertical axis rr 4 Ca i F 1 UK EUR 49 i b ll 20H 50 100 M o Figure 113 Precision Multiband EQ Display The Band Curves show the relative frequency and gain settings of the bands The sides of the colored curves are a representation of each band s frequency settings and the top of each curve represents the band s gain setting Note The currently selected band is displayed with a thicker bold line Dis abled bands see Band Enable amp Solo on page 376 are displayed with a thinner line 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 382 Band gain center frequencies cF crossover frequencies xF and band width can be modified by manipulating the colored band curves in the EQ Display with the cursor When the cursor is moved over the pre defined hot spots in the EQ Display the cursor changes shape to indicate that adjustment
259. e 12 unlink mong 22 dB aie Be ee r lia gt vs P s A 18 hie 35 U J li 5 2 E ER merod 1 OUTPUT 2 33bud 0 PRECISION S1ERED LIMITER COMPRESSOR Figure 81 The Neve 33609 plug in window Operation The UAD Neve 33609 is a two channel device capable of running in stereo or dual mono modes The active mode is determined by the mono stereo switch see Mono Stereo on page 267 When the 33609 is used in a mono in mono out configuration the channel 2 controls are disabled Each channel consists of a compressor and a limiter Each of these functions has its own separate group of controls Since the controls for each of the two channels are identical they are detailed only once 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 82 below Figure 82 Signal flow within UAD Neve 33609 UAD Powered Plug Ins Manual 263 Chapter 27 Neve 33609 Compressor Modeling Technical Article The UAD Neve 33609 models all aspects of the original 33609 hardware including the desirable harmonic distortion characteristics These qualities are more prominent at higher input levels see Headroom on page 269 for more info When the compressor and limiter are both disabled some good
260. e 33609 Compressor Note Compensating for Neve 33609 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 All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS NEVE s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 272 Chapter 27 Neve 33609 Compressor CHAPTER 28 Neve 88RS Channel Strip Overview In 2001 Neve launched the 88 Series A new large format analog console that represented the best of all Neve designs that came before it Considered the ultimate console for modern features and reliability it is also heralded as one of the best sounding consoles ever made by veterans of both the audio and film communities The 88RS has found a home in some of the finest rooms and scoring stages around the world including Ocean Way Abbey Road AIR The Village Sony Pictures 20th Century Fox and Skywalker Sound With a rich palette of modern sound sculpting tools the Neve 88RS Channel Strip captures the 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
261. e 39 Ampex ATR 102 Operational Overview 20 210 243 Ampex ATR 102 Parameter Dependencies 43 Ampex ATR 102 Primary Controls 23 Ampex ATR 102 Screenshots 19 Ampex ATR 102 Secondary Controls 31 Amplitude amp Slope 110 API 500 Series EQ Collection 45 API 500 Series EQ Screenshots 46 API 550A Controls 47 48 55 API 560 Controls 50 68 API Vision Console Channel Strip 52 API Vision Console Channel Strip Controls 57 API Vision Console Channel Strip Screenshot 53 Attack 489 UAD Powered Plug Ins Manual Attack Knob 88 Attenuation Knob 390 391 Auto Mode 358 Balance 168 Balance Control 132 Band Controls 271 342 414 416 422 Band Curves 377 Band Disable Button 87 Band Enable Button 342 Band Parameters 373 Bands 366 Bandwidth Q Knob 88 Bandwidth Knob 342 Bass 180 Blending Bar 104 Blending Bars 107 Boost Knob 390 391 392 393 Boss CE 1 Chorus Ensemble 41 1 Boss CE 1 Controls 412 Boss CE 1 Screenshot 41 1 Bypass 108 109 Cambridge EQ Controls 70 Cambridge EQ Screenshot 69 Cambridge Equaliser 69 CE 1 Chorus Intensity Knob 413 CE 1 Clip LED 412 CE 1 Depth Knob 414 CE 1 Normal Effect Switch 412 CE 1 Output Level Knob 413 CE 1 Rate Knob 414 CE 1 Rate LED 412 CE 1 Stereo Mode Switch 412 CE 1 Vibrato Controls 414 CE 1 Vibrato Chorus Switch 412 Channel Input Gain 164 Classic Mode 413 506 Index INDEX Compressor Output Knob 89 Control Bats 71 Control Grouping 340 Controls Link 166 171
262. e 610 A module in the original Wally Heider Green Board console The 610 B is the modern Universal Audio preamp design used in our popular hardware products such as the 2 610 LA 610mkll and 6176 The UA 610 B plug in is modeled from the Universal Audio 2 610 Dual Chan nel Tube Preamplifier hardware including all the expanded features opti mized for modern use A primary use for either 610 plug in is for individual vocal or instrument tracks where colorful tube character and broad EQ strokes are desired The 610 is widely used as a vocal bass horn or strings channel by many modern users but it sounds great on any source signals as proven by over five decades of record making From clean to clipped with a broad sweet spot between extreme tonal flex ibility is possible with the 610 A and 610 B The input and output circuits each have their own tube driven gain stage and because each stage imparts its own color many variations can be obtained by tuning the I O gain struc tures The UA 610 equalizers can also add lots of flavor Because the EQ has a feedback style design it effects the distortion characteristics of the output stage UAD Powered Plug Ins Manual 496 Chapter 51 UA 610 Tube Preamp amp EQ Collection Control Differences Presets UA 610 Latency Unison Integration The UA 610 A and UA 610 B plug ins Figure 159 on page 495 have simi lar controls and layouts For some parameters the functi
263. e coarse delay time range is O to 300ms selectable via 16 steps The green LEDs on right side of lever 1 display the current value the red LEDs on the left side of lever 1 are inactive Fine Echo Time Lever 2 Lever 2 controls the fine delay time Fine delay times of Oms 5ms 10ms and 15ms are available The green LEDs on right side of lever 2 display the cur rent value the red LEDs on the left side of lever 2 are inactive UAD Powered Plug Ins Manual 145 Chapter 12 EMT 250 Electronic Reverberator Space Note Levers 1 and 2 both control the echo time but these parameters are not individually exposed for external control surfaces and automation In stead a single echo time parameter is exposed and levers 1 and 2 in the plug in interface are both updated to match the value HF Decay Lever 3 Lever 3 controls the high frequency damping in Echo mode The red LEDs on left side of lever 3 display the current value the green LEDs on the right side of lever 3 are inactive Four multipliers are available x 0 25 x 0 33 x 0 5 and max Higher values upper lever positions result in more feedback Predelay Lever 4 Lever 4 is used as a predelay to the echo processor in this mode The predelay time is added to the echo times but not to the HF decay feedback loop See Lever 4 Predelay on page 138 for more information Front Rear The Front Rear Outputs switch is not illuminated in Echo mode the same monophonic
264. e compressor to stop processing of ter the signal drops below the threshold value The available values in milli seconds are 100 400 800 1500 al and a2 The automatic settings al and a2 are program 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 1 500ms UAD Powered Plug Ins Manual 265 Chapter 27 Neve 33609 Compressor Compressor Gain Ratio Compressor In Other Controls Output Gain Gain Reduction Meters This makeup gain control increases the signal level out of the compressor to compensate for reduced levels as a result of compression The available range is O to 20 dB in 2 dB increments Make sure to adjust the Gain control after the desired amount of compression is achieved with the Threshold control The Gain control does not affect the amount of compression Note If the limiter is also enabled this gain is applied before the limiter stage This control determines the compressor ratio The available values are 1 5 1 2 1 3 1 4 1 and 6 1 selectable in discrete increments This toggle switch enables the compressor portion of the plug in The compres sor has no effect unless this switch is in the In down position i gain raduction 1 6 12 RENE x t 14 7 i E POWER 0 gain reduction
265. e copied to channel 2 Control offsets between channels are lost in this case UAD Powered Plug Ins Manual 223 Chapter 21 Manley Massive Passive EQ When set to Link up position modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same po sition channel 1 amp 2 controls are ganged together in Link mode When Link is active automation data is written and read for channel one only In this case the automation data for channel one will control both chan nels Note When Link is active changing channel two parameters from a control surface or when in controls only non GUI mode will have no effect When set to unlink down position the controls for channels one and two are completely independent Unlink is generally used in mono mode When un linked automation data is written and read by each channel separately Note If disparate values are set under the unlinked state the left 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 Chapter 9 UAD Delay Compensation in the UAD System Manual for more informa tion Note Compensating for Massive Passive is not required if the host applica tion support
266. e default value is 40 kHz 215L Hi Pass The Ho Pass low cut filter has a continuous range of 12 Hz to 596 Hz The slope of this filter is 12 dB per octave The default value is 12 Hz 215L SC Dynamics Side Chain This button enables the side chain function for the 215L Sweep Filters When the 215L side chain is active signal output from the 215L module is removed from the audio path and is instead routed to control the 235L and 225L dy namics modules in parallel as shown in the diagram below eae 235L 220 Filters Gate Exp Comp Lim ee ee Out Figure 9 Signal flow with 215L Sweep Filters SC enabled To listen to the side chain key simply disengage SC to hear the equalized sig nal Note The 215L module must be enabled for the 215L side chain to function 215L On This button enables the 215L module The module is active when the button s green indicator is lit Note UAD DSP load is reduced when this module is inactive unless DSP LoadLock is enabled UAD Powered Plug Ins Manual 58 Chapter 4 API Vision Console Channel Strip 235L Gate Expander The 235L Gate Expander module operates in either gate or expansion mode Two attack speeds and a continu ously variable release time are available in both modes 235L Threshold Threshold defines the input level at which expansion or gating occurs The available range is from 25 dB to 45 dB The default value is O dB Signals below the threshol
267. e detailed in this section The switch positions required for each operating mode is shown in Table 14 below See Lateral Vertical on page 161 for an overview of these terms Table 14 Fairchild Operating Modes AGC Switch Setting Sidechain Link Setting Operating Mode Lat Vert Unlinked Dual Lateral Vertical Left Right Stereo Left Right Lat Vert Stereo Lateral Vertical In dual mono mode the Fairchild 670 operates as two separate monophonic compressors with independent control of the left and right channel signals There is no interaction between the two compressors In dual lateral vertical mode the Fairchild 670 operates as two monophonic compressors with independent control of the middle and side components of the two input signals The input signals are processed by the sum difference mid side matrix before and after the compressors but there is no interaction between the two compressors In this mode the Fairchild 670 operates as a typical stereo dynamics proces sor The left input is fed to the one compressor and the right input is fed to the other The dynamics control signal sidechain of the two compressors are linked so that they both compress the same amount at any instant preventing transients which appear on only one channel from shifting the stereo imaging of the output Any transient above the threshold on either channel will cause both channels to compress and the amount of compression will be similar to t
268. e ee ven nennennnes 365 peraiing IWS en ceuncaus easneagy chins ann veeneaduo i uneags E 369 Precision Maximizer Latency 000 ete ttt teen e ee ee 369 Chapter 38 Precision Multiband ccccccccssssccccccsssess 370 OVEN W era once ee oon Bae aes Sacks Boe paste Ea Bee Bese ase bee ee ee ee 370 Precision Multiband Screenshot 0 0 cece cece eee eee eee e eben ee en eees 370 Precision Multiband Interface 0 0 cece cece eee eee ene e een eneneees 371 Band Controls 0 00 cece eee ene e tne e beeen ebb b beeen eneees 372 Band Parameters 0 0 0c cece ete eee e eee e need beet ebb eben ee ennees 373 EOD ea a E E E E es 377 Frequency Controls n a danadnesnenss aes dave koos ances nos danteaen mata hee das 379 Dynamics Meters na 00 c cette net tee eens 380 Global Controls 0 eee et eect ened eben beens 381 Precision Multiband Latency 0 ccc ccc eee nee teen 383 Chapter 39 Pultec Passive EQ Collection ccccccccccccsseees 384 Introduction 0 cece cnet eben ene tenet need bebe nnnes 384 Pultec Passive EQ Collection Screenshots 000 cece eee cece ee eee e eee eee 385 Pultec Plug In Family 0 0 enn nee e nee t eee en beeen 386 Operational Overview 0 66 e nnn e eee enn nes 387 Pultec EQP 1A Controls 0000 cect cnet eee en been eees 388 Pultec MEQ 5 Controls 2 0 0 0 cece eee t eee tenet eneees 391 Pultec HLF 3C Controls 2 0000 e eee n eet beeen en eee
269. e exact same algorithm as P2 Vocal Plate but with slightly dif ferent inherent diffusion This program is similar to P1 Small Concert Hall B except it is brighter overall and the Treble Decay control is more gentle The original hardware manual recommends equalizing this reverb return about 3 dB below 200 Hz to add to the richness and naturalness of the reverb Program 7 is a room simulator with moderate to high initial density and low to moderate coloration It sounds great on speech and many types of music This program presents an especially wide output when used with a stereo in put source UAD Powered Plug Ins Manual 203 Chapter 18 Lexicon 224 P8 Constant Density Plate A P9 Chorus A MIMO Program Outputs In naturally occurring reverb new reflections are continuously added to the decaying sound over time This sonic build up increases density and colora tion in the reverb tail P8 Constant Density Plate A has high initial density and coloration giving a plate type of sound however the density does not in crease over time and remains inherently constant This can result in less swoosh in the reverb tail and provides another creative option Decay Op timization and true stereo input are unavailable in this program inputs are al ways summed to mono even in stereo in stereo out configurations The Chorus A program is an eight voice chorus with four voices on each ste reo channel Each voice has
270. e first plug in available for the UAD platform This first generation plug in runs on UAD 1 and UAD 2 devices It still has a great sound and is very usable especially when there are not enough DSP resources to use the second generation models in the newer Teletronix LA 2A Leveler Collection To accommodate the limited DSP resources of the UAD 1 the transformer and I O distortion characteristics were not modeled in this plug in This makes the Teletronix LA 2A Legacy especially useful in situations where less distortion and less DSP usage is desirable UAD Powered Plug Ins Manual 470 Chapter 48 Teletronix LA 2A Leveler Collection Operational Overview Applications Parameters Artist Presets In the 60s and 70s the LA 2A and 1176 became inextricably linked as the must have dynamic tools of the day If the 1176 is to the Stratocaster in terms of immediacy and flexibility then the LA 2A is to the Gibson Les Paul in terms of warmth and one of a kind magical sonic distinction An important charac teristic of the T4 photocell response is that it is both program and frequency dependent The T4 cell has a multi stage release and can take a few minutes to fully recover from the incoming signal The primary use is as individual inserts for sources that require nominal trans parent gain reduction such as vocals bass strings or horns These tools can also be used to isolate the color of the output amplifier by turning off the P
271. e ideal for a pristine vocal track while older tape could be described as having more character and might be more appropriate for sources where greater chaos may be musical UAD Powered Plug Ins Manual 422 Chapter 43 Roland RE 201 Space Echo Splice Wet Solo Caution D Normally the splice on the tape loop comes around at regular in tervals This interval varies and is determined by the selected Re peat Rate Depending on what Tape Quality is selected the splice can be subtle or obvious and can work as a catalyst for chaos es pecially when the RE 201 is in a state of self oscillation This switch resets the location of the tape splice when the switch is actuated It is a momentary switch that pops back into the off position immediately after it is activated allowing the user to trigger the splice point at will Note that the splice effect isn t immediate It drops the splice at the write head and it needs time to go over the read heads at which point there will be a dropout and then the tape capstan where it will create some wow and flut ter 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 control should generally be OFF Note
272. e knob position indicator is pointing straight down High Shelving Frequency The high shelving frequency is specified with the outer ring of the dual con centric knob The ring knob pointer can be dragged with the mouse or click the shelving symbol above the knob to cycle through the available frequen cies shift click to step back one frequency The available high shelving frequencies are 16 kHz 12 kHz 10 kHz and off When off is specitied the high shelf band is disabled UAD DSP usage is not reduced when the band is off UAD Powered Plug Ins Manual 257 Chapter 26 Neve 31102 Console EQ Midrange Band The midrange band is controlled by dual concentric knobs delivering smooth semi parametric midrange equalization with a choice of two bandwidths The inner knob controls the band gain and the outer ring selects the frequency or band disable Midrange Gain The equalization gain for the midrange band is selected with the inner knob of the dual concentric control The available range is approximately 15 dB The gain value is zero when the knob position indicator is pointing straight down Midrange Frequency The midrange frequency is specified with the outer ring of the dual concentric knob controls The ring knob pointer can be dragged with the mouse or click the peak dip symbol above the knob to cycle through the available frequen cies shift click to step back one frequency The available midrange center frequenc
273. e level this mode will more readily result in the tube color saturation and or clipping as sociated with overdriving the input Important Use caution when switching to Mic from Line as signal output levels can increase significantly as they would with a hardware preamp UA 610 A MIC Mic and Line inputs are available The mic input impedance of the T 10 A hardware is 600Q UA 610 B Mic and Line inputs are available with the additional availability of input impedance selections for the Mic input The Mic input can be switched to 500Q or 2KQ the different input impedances have subtle effects on the signal color and response UAD Powered Plug Ins Manual 499 Chapter 51 UA 610 Tube Preamp amp EQ Collection Input Pad Gain Unison Impedance Apollo Console application the hardware input impedance of the Apollo mic preamp is switched to match the value in the plug in for physical microphone to preamp resistive interaction When UA 610 A or UA 610 B is used in a PREAMP insert within the U With UA 610 B matching the microphone to the closest impedance value is generally recommended but this parameter can be used creatively and will not harm equipment connected to the Apollo mic preamp Note For complete Unison details see the Apollo Software Manual In addition to the Input Select switch both plug in models have Pad and Gain parameters that control the signal level at the tube input stage T
274. e of the stereo signal can have different EQ settings Note that this mode is infrequently used during mastering be cause phase imaging and level inconsistencies may be induced in the result ing stereo signal Mode Selection Any of the below methods may be used to modify the Mode value e Click the Stereo button to cycle through modes A and B e Click the Dual button to activate dualmono mode e Click the indicator light above each mode e Click hold drag the indicator light above each mode The Parameter Copy buttons provide an easy method for copy ing parameter values The behavior 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 340 clicking A gt B cop ies the left AND right parameter values from parameter set A to parameter set B and clicking the A lt B button copies all the values from parameter set B to parameter set A This feature is useful when you want to make an EQ change to a stereo signal while maintaining the original values so the two settings can be easily com pared Note The high pass filter parameter is global per preset and is not affected by this control Parameter Copy in Dual Mode When in Dual mode the A and B buttons behave as left and right channel copy buttons Clicking A gt B copies all the values from the left channe
275. e reduced Sets the amount of processed signal fed back into its input Higher values in crease the number of reverberations delays and intensity of the processed signal UAD Powered Plug Ins Manual 94 Chapter 7 CS 1 Channel Strip Damping Knob Wet Dry Mix Knob L Pan Knob R Pan Knob Enable Bypass Switch Output Knob Recirculation allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If Recirculation dis plays a positive value all the delays will be in phase with the source If it dis plays a negative value then the phase of the delays flips back and forth be tween in phase and out of phase This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness Higher values yield a brighter sig nal Damping also mimics air absorption or high frequency rolloff inherent in tape based delay systems This control determines the balance between the delayed and original signal Values greater than 50 emphasize the wet signal and values 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 SOUICE Se
276. e used in recording and mixing where the 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 Precision Equalizer is upsampled to 192 kHz Precision Equalizer Screenshot et ee iil hs r j aT Wl id HU FF 7 jit alee STEREO UAL H Arh TNEI UNIVERSAL AUDIO EQUALIZER Figure 102 The UAD Precision Equalizer plug in window UAD Powered Plug Ins Manual 339 Chapter 34 Precision Equalizer Precision Equalizer Controls Control Grouping Modes Stereo Mode The easy to use Precision Equalizer features stepped controls throughout for easy recall Both the left and right channels feature four bands of EQ grouped in two overlapping pairs There are two bands for low frequencies L1 and L2 and two for highs H1 and H2 There is also a shelving or peak notch filter available for each band along with five peak notch Q re sponses per band The high pass filter is a far reaching 18 dB per octave which enables precise filtering of power robbing sub harmonic content or other creative uses The Precision Equalizer also features flexibility in auditioning T
277. eak Reduction control even to extreme distortion settings An interesting sidechain distortion can be achieved at the most extreme Peak Reduction set tings which primarily affects low frequencies No compressor is as easy to operate or instantly satisfying to use as the Teletronix Levelers Peak Reduction applies the compression threshold to the incoming signal up to 40 dB while Gain amplifies the signal for level match ing post Peak Reduction Set the metering view on any of the units with either 4 or 10 dB Output Gain or Gain Reduction Both LA 2A Gray and Silver expose the hardware s rear Limit Compress switch as well as the unit s R37 FM Broadcast Emphasis filter as front panel parameters Although not present on the unit originally the LA 2 was hot rodded to include Emphasis which is exposed on the front panel Lastly Power bypasses all DSP process ing providing a handy level matching tool not found on the original hard ware The Teletronix LA 2A Leveler Collection includes artist presets from prominent LA 2A users The artist presets are in the internal factory bank and are ac cessed via the host application s preset menu The artist presets are also cop ied to disk by the UAD installer so they can be used within Apollo s Console application The presets can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual Note Presets created w
278. ecent rejection Butterworth filters offer even stronger rejection The Elliptic setting is about as brick wall as you can get Generally speaking more phase shifting occurs as the response gets steeper Note UAD DSP usage does increase some as the filters get stronger unless UAD 2 DSP LoadLock is enabled Cut Enable This button activates the cut filters The filters are enabled when the In button Button is green UAD DSP usage is slightly reduced when the cut filters are disabled unless UAD 2 DSP LoadLock is enabled UAD Powered Plug Ins Manual 73 Chapter 5 Cambridge EQ Cut Frequency Knob EQ Bands Enable Button Frequency Knob This knob determines the cutoff frequency for the Cut filters The available range is from 20 Hz 5 kHz for the low cut filter and 20 Hz 20 kHz for the high cut filter All five of the EQ bands can be used in parametric or shelf mode Each band has identical controls the only difference is the frequency range values The function of the controls is similar in both parametric and shelf modes The two modes are described separately see Parametric EQ on page 75 and Shelf EQ on page 78 Figure 18 The EQ Band controls 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
279. echanical Delay Line 2 0 000 neeennn eee 80 Cooper Time Cube Screenshot 2 0 0 0 ccc cnet enn ent enn nae 80 UAD Powered Plug Ins Manual 3 Table of Contents TABLE OF CONTENTS Design Overview 0 ete tenet ett tenets 81 Cooper Time Cube Controls 0 00 00 n nent 81 Channel Controls o n era naee tan deoneen eueeeanaimen thea waretere aes Gans 84 Cooper Time Cube Hardware 0 00 cece enn nnn 85 Chapter 7 CS 1 Channel Strip 2 cc ccc cccccccnsvvccsccees 86 Orel a a E E E ee ee E E ee ee 86 EX 1 Equalizer and Compressor 000 c cece net een eee arrar 87 EX 1 Equalizer Controls 0 0 0 0 ccc ccc ene nent e eben eens 87 EX 1 Compressor Controls 0000 ccc anara raene aanraai 88 EX IM OVV EW cates aeeGheanenes Sons neenbeenehon eas nee ebeanneen E ep eg ses 89 DM 1 Delay Modulator 0 000 e nee tee een 90 DIMA CGnWOlSs onic E E patunuencats nsapasvouencateeeenoeeeeu 90 0 ee ee ee ee ee ee ee ee 92 RS 1 Reflection Engine 0 2 6 eee naerenn rere 93 RSI COIN GlSdo c aga went aire Smt adn gates ade Soe bobo oot ab Spe ads aie nee ems 94 Chapter 8 dbx 160 Compressor Limiter ccccccccccccccccsees 96 Overview 2 0 cence bebe beeen eee e eee bennennnnnnennnas 96 dbx 160 Screenshot 0 00 ccc ccc ccc cence eet e bebe cence nen enneneneas 96 dbx 160 Controls 2 00 a 97 Chapter 9 DreqmVerMm sss arrssrssrnr sreka 99 Sra a SE EE E E E E e oon news 99 SI
280. ecision Maximizer Limit Mix The crossover frequencies in three band mode are 200 Hz and 2 45 kHz Click the Bands button to change the mode Alternately you can click hold the LED area and drag like a slider to change the value Note UAD DSP usage is increased when three band mode is active unless UAD 2 DSP Loadlock is enabled The Limit function provides a second stage of soft saturation just be fore the output control for the plug in It prevents digital overs by a protecting the plug in output from exceeding O dBFS Limit enters into clipping range gradually instead of hard clipping at O dB LIMIT The Limit function has the same saturation form as the Shape parameter but the effect is milder Limit is especially useful for three band mode where out put peaks over O 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 area and drag like a slider to change the value Note UAD DSP usage is slightly decreased when Limit mode is inactive un less UAD 2 DSP Loadlock is enabled The Mix knob is a mix control for the plug in Mix deter mines the balance between the original and the pro cessed signal The range is fr
281. ectrum Bell Gain Bell Gain determines how much boost or cut is applied to the bell filter The available range is 10 dB To quickly return to the O dB setting click the GAIN text label Note The two other Bell parameters Frequency and Q have no effect when Bell Gain is set to O dB UAD Powered Plug Ins Manual 350 Chapter 35 Precision K Stereo Ambience Recovery Mid Side Controls The Mid Side controls allow for level adjustments to the middle center and side portions of signals within a stereo field Mid Side adjustments can be made when ambience recovery is active or disabled Note that the ambience recovery process does not use or require mid side techniques to achieve am bience recovery or enhancement Note The Mid Side controls are disabled when the plug in is used in a mono in mono out configuration Refer to Figure 106 below for the controls in this section 0 0 dE Moa This switch enables disables the Mid Gain and Side Gain controls Enable Mid Gain Mid Gain adjusts the level of signals in the middle of a stereo signal The available range is 12 dB to 6 dB available in 0 1 dB steps To quickly re turn to the O dB setting click the MID text label Side Gain Side Gain adjusts the level of signals at the sides of a stereo signal The avail able range is 12 dB to 6 dB available in 0 1 dB steps To quickly r
282. ed while Auto Cal is ON the ON LED illuminates in red instead of green indicating that the sys tem is no longer in the calibrated state If the moved controls are subsequently returned to their original position the LED will return to its green state indi cating the unit is back in calibration Tip To return any of the individual calibration controls to their flat cali brated position click the label text adjacent to the control or simply re click Auto Cal to return all calibration controls to their flat position The Manual Calibration Procedure on page 39 has instructions for perform ing system calibration manually 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 EQ is another control in addition to HF EQ provided to compensate for tape non linearity Although adjustment of this control is not part of the Ampex factory calibration procedure it can be used for customized manual calibra tions or creative purposes The Repro EQ controls Repro HF and Repro LF are post head controls for tape playback calibration They affect the signal coming out of the tape circuit
283. educe the UAD DSP load load is not re UAD Powered Plug Ins Manual 181 Chapter 16 Helios Type 69 Equalizer duced if UAD 2 DSP Loadlock is enabled Click the switch to toggle the state the switch is illuminated in green when the plug in is active Helios 69 Latency The Helios 69 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 Chapter 9 UAD Delay Compensation in the UAD System Manual 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 UAD Powered Plug Ins Manual 182 Chapter 16 Helios Type 69 Equalizer oe ee TTII Tr Tite L a T i 7 gt Basing Street Home of the original Type 69 Helios desk y lt i Are he n aa ata 4 v gt 1A eg aes y ha i a j el The same desk now in Berkeleys Morningwood nearly 40 years later UAD Powered Plug Ins Manual 183 Chapter 16 Helios Type 69 Equalizer CHAPTER 17 LA 3A Compressor Overview The original Teletronix LA 3A Audio Leveler made its debut at the 1969 New York AES show Marking a departure from the tube design of the LA 2A Lev eling Amplifier the solid state LA 3A offered a new sound in optical gain re duction with
284. ee 157 Fairchild Plug In Family cicverccsutteakeeeedter nods maneeowseseedseenanehe 158 Fairchild 670 Operational Overview 00 e eens 160 Fairchild 670 Modes 0 0 0 een nnn eee nnnes 162 Fairchild Conois see uca oeeecuse enon eeee onesies caeeouse ooseereeuaseouse eases 163 Historical Background 2 cece earannan aaaeeeaa i71 Chapter 15 Harrison 32C EQ ssssssecoesosososooosoooooooo 173 OVEIVIEW EE gaint gos E ain ete EE E E TEE 173 Harrison 32C EQ Screenshot nnna naana 173 Harrison 32C EQ and Harrison 32C SE Controls o oo anaana aeea 174 POISON 926 EEE E E E sean adeeecnegse ses 176 UAD Powered Plug Ins Manual 5 Table of Contents TABLE OF CONTENTS Harrison 32C Latency 2 0 0 022 ett ete tees 177 Chapter 16 Helios Type 69 Equalizer sssssssosososoooooooooo 178 WENIEW o 55 555 es wees so oes os Bn ee en ee ee ee 178 Helios Type 69 Screenshot 0 0 6 nnn nee arraren 178 Helios Type 69 Controls 2 0 0 ened ararnar 179 Heligs 6 LGteNGy sn cauneaveaweneabesuen sats ousncateeuse padseueaontaereacaeeat 182 Chapter 17 LA 3A Compressor ccccccccccssscccccccsscess 184 OWEIVICW a5 2 one eee teen nes Bee ames ena kos ene Read ee ees ee ane aes 184 LA 3A Screenshot n n nannan ananunua een nnn eee runearen 184 LAOS A COn aee ces ru ncecusecnsgsueesasecusecnsesuseeasesusasesecusee acess 185 Chapter 16 Lexicon 224 60520250090 sesdeeeseeceoeweagaweaacee 186 Classic Digit
285. egment from 6 to O 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 a linear response of 0 5 dB per segment In Zoom mode the range is 10 dB to 14 dB with lin ear response of 0 2 dB per segment K 12 In Normal mode the meter range is 48 dB to 12 dB with a linear response of 0 5 dB per segment In Zoom mode the range is 12 dB to 12 dB with lin ear response of 0 2 dB per segment UAD Powered Plug Ins Manual 362 Chapter 36 Precision Limiter Hold The meter Hold Time switch determines how much time will pass before the peak values for the main meter and the gain reduction meter are reset It af fects both the peak LED s and the peak text display Values of 3 seconds 10 seconds or Infinite indicated by the lazy 8 symbol can be selected Clear The meter Peak Clear switch 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 Chapter 9 UAD Delay Compensation in the UAD System Manual
286. el Precision Limiter Meters Overview K System The Precision Limiter has precise calibrated stereo metering It offers the op tion to use K System metering which is a method devised by renown audio engineer Bob Katz http digido com The K System is essentially a method of integrating metering and monitoring levels to standardize the apparent loudness of audio material while providing useful visual feedback of average and peak levels Integrated Meter Monitor System The K System is not just a metering system it is designed to be integrated with calibrated monitoring system levels In a full K System implementation O dB on the level meter yields 83 dB sound pressure level SPL per channel in the monitor output level 86 dB running two channels in stereo when measured UAD Powered Plug Ins Manual 358 Chapter 36 Precision Limiter Type with 20 20 kHz pink noise on an SPL meter set to C weighted slow i e aver age response It is this calibrated meter monitor relationship that establishes a consistent average perceived loudness with reference to O dB on the meter Sliding Meter Scale With the K System programs with different amounts of dynamic range and headroom can be produced by using a loudness meter with a sliding scale because the moveable O dB point is always tied to the same calibrated mon itor SPL The Precision Limiter provides several meter ranges for various types of program material see Type
287. el detection circuit For this reason the Intensity control will affect the level readings Echo Pan determines the placement of the echo signal in the ste reo panorama when the plug in is used in mono in stereo out and stereo in stereo out configurations When the RE 201 is used in a mono in mono out configuration this control is dis abled Reverb Pan determines the placement of the reverb signal in the stereo panorama when the plug in is used in mono in stereo out and stereo in stereo out configurations When the RE 201 is used in a mono in mono out configuration this control is dis abled 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 induced However if a cleaner sound is desired reduce the input vol ume below unity and increase the plug in output volume to compensate Woes The RE 201 is a combination of a tape echo and a spring reverb effect Echo reverb or both can be se lected with the Mode Selector to determine which ef fect s are active The original Space Echo has three tape playback heads By changing the combination and positions of the heads a total of 12 different echo variations can be obtained 4 echo only 7 echo reverb and 1 r
288. el of approximately 26 dBu on the 33609 hardware where the coloring is more prominent The result is that a typical signal within a DAW will drive the UAD Neve 33609 into these virtual higher levels resulting in fairly high amounts gain reduc tion Headroom Switch The Headroom switch is provided to accommodate applications where high amounts of gain reduction are not desired Headroom simply lowers the in ternal operating level so that the plug in is not pushed into gain reduction as much Headroom can be set to 22 dB 18 dB or 14 dB At 22 dB signals will push the plug in into gain reduction and more non linearity and good harmonic distortion more easily Set the switch to a lower value when less gain reduc tion and color is desired The numbers on the switch indicate where O dBFS falls relative to nominal 4 dBu For example with 22 dB of headroom O dBFS corresponds to 4 dBu 22 dB 26 dBu With 18 dB of headroom O dBFS corresponds to 4 dBu 18 dB 22 dBu The headroom selected will cause the 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 Headroom swi
289. elay compensation en gines a delay that is correct for all frequencies The value we report is good at low frequencies but becomes off at high frequencies For example when the plug in is in Delay program mode and set with zero delay time and predelay values the plug in output will not be completely can celled when mixing with flipped phase against an unprocessed track high frequencies will leak 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 147 do not have this issue and will be fully compen sated by the DAW UAD Powered Plug Ins Manual 139 Chapter 12 EMT 250 Electronic Reverberator Program Mode Controls The details of each unique program mode are below followed by descrip tions of the global controls which affect all program modes Control Table 13 displays the parameter that each control is mapped to for each of Functions the EMT 250 program modes See Variable Control Functions on page 137 for details Table 13 The variable control functions of the EMT 250 Reverb Decay LF Decay HF Decay damping Predelay Output Pair Delay Coarse Delay Time Fine Delay Time Selects L R channel Predelay Stereo Mono for time adjustment Coarse Delay Time Fine Delay Time HF Decay damping Predelay Input Mute Note The parameter values of lever positions marked with an asterisk are not saved in sessions or pres
290. elay processors one with a fixed de lay time of 15ms and the other which is variable from O 15ms controlled by lever 1 By changing this variable time shift the phase shape of the comb tilter and therefore the timbre of the output signal is changed Note Unlike many phasors the EMT 250 does not modulate the variable time shift with a low frequency oscillator LFO which results in the contin uously varying swooshing effect that is often associated with the process name This conventional phasor effect can be reproduced with outstanding results by moving lever 1 back and forth either manually or with automation Phase Lever 1 In Phase program mode lever 1 controls the delay time the phase time shift between the two signals that create the comb filter Phase values of Oms to 15ms are available selectable via 16 steps UAD Powered Plug Ins Manual 143 Chapter 12 EMT 250 Electronic Reverberator Chorus In Phase mode the green LEDs to the of right lever 1 are active but the panel markings O 300ms do not represent the actual phase delay time values In stead the LEDs indicate the relative value between O 15ms Predelay Lever 4 Lever 4 can be used as a common predelay to both phase delays See Lever 4 Predelay on page 138 for more information Nofe Levers 2 and 3 have no effect in Phase program mode Front Rear The Front Rear Outputs switch is illuminated in Phase
291. elope shaping of the reflec tions This allows the ability to fade in or fade out the reflections to more ac curately emulate acoustic environments or for special effects Note The values for the Start and End bats are displayed in the text fields at the bottom of the Reflections panel These values can also be entered directly using the text entry method UAD Powered Plug Ins Manual 107 Chapter 9 DreamVerb Bypass switch ER Start control bat predelay amp amplitude bat time amp Re ari ERE Reflections Filtering nd contro es CARLY TIMING amplitude Dot 10 Materials Filtering control bat Late field relative timing display 10 me 100 me 4 ns 8 0 dB 117 ms Figure 42 DreamVerb Reflections panel Bypass Reflections Start Reflections End Filtering The early reflections can be disabled with this switch When the switch is off black instead of grey the other Reflections controls have no effect This switch has no effect on the direct signal path This bat controls two early reflections start parameters Dragging the bat hor izontally controls the ER predelay the delay between the dry signal and the onset of the ER Dragging it vertically controls the amplitude of the reflections energy at the ER start time 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 vertica
292. ement the value The available range is 1 through 16 Lower values increase the effect lt MODE gt EM HAM CEMENT Maia Pitch Shift is a secondary parameter of Mode Enhancement iS that controls the size of the delay line update steps Lower val ee aa d hile higher val duce ues produce smaller steps while higher values produce larger steps Click the left lt button to decrement the value click the right gt button to increment the value The available range is 1 through 16 Higher values increase the effect UAD Powered Plug Ins Manual 198 Chapter 18 Lexicon 224 Decay Optimization Decay Optimize Enable Decay Optimize Amount Mix Controls The Pitch Shift controls are accessed in the Hidden Controls panel See page 200 for access details Decay Optimization improves the Lexicon 224 reverb clarity and naturalness by dynamically reducing reverb diffusion and coloration in response to input signal levels However if set too high it can make the decay less even Decay Optimization has two control elements Enable and Amount Decay Optimization is factory optimized for each program and should not re quire adjustment in typical use For this reason it was deliberately made dif ticult to access in the original hardware However creative use of the param eter is encouraged by making it easier to access in the plug in This button enables Decay Optimization for the active program De c
293. emulations available today bar none UAD Powered Plug Ins Manual 435 Chapter 45 SSL E Channel Strip SSL E Channel Strip Screenshot 1 0 RATIO z COMPRESS 5 A 10 BELL Solid State Logic SSL E SERIES CHANNEL STRIP GAIN FILTERS W aoe J 300 i 2a a 4 UAD 4K CHANNEL STRIP OUT Sp A UNIVERSAL AUDIO He 120 i f g 70e 299 0UT i Be 40 Am kH d a ie DYNAMICS COM Ps 5 has E 0 THRESHOLD lL rn As i ee a 20 R f F THRESHOLD i S e i a 12 s ASE e 5 200 i an De 900 BON p EG UALISER rs PRE DYN Figure 141 The UAD SSL E and 4K Channel Strip plug in windows SSL E Channel Strip Controls The SSL E Channel Strip controls are divided into four main sections filters dynamics EQ and global Note that knob settings when compared to the graphical user interface silk screen numbers may not match the actual parameter values This behavior is identical to the original hardware which we modeled exactly When the plug in is viewed in parameter list mode Controls View 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 response when using multiple instantiations of the SSL E Chan nel Strip
294. ency value for the band is boosted or at tenuated The available range is 15 dB in both Black and Brown modes Tip Click the O to return the Gain knob to its center position HF Frequency This control determines the band frequency to be boosted or attenuated by the band Gain setting The available range is 1 5 kHz to 16 kHz in both Black and Brown modes HF Bell The Bell button switches the HF band from 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 HMF Gain This control determines the amount by which the frequency value for the band is boosted or atten uated The available range is 15 dB in both Black and Brown modes Tip Click the O to return the control knob to its FR l center position 15 2s d dh HMF Frequency TEBE This control determines the HMF band center fre im quency to be boosted or attenuated by the band Gain setting The available range is 0 6 kHz to 7 kHz in both Black and Brown modes UAD Powered Plug Ins Manual 443 Chapter 45 SSL E Channel Strip HMF 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
295. eneral Purpose mode yellow LED is medium attack slow release type that sounds pretty invisible while able to maintain a consistent RMS level The slow release will not pull things into your face unnaturally UAD Powered Plug Ins Manual 119 Chapter 10 Empirical Labs EL7 FATSO Tracking Tracking mode green and yellow LED is an 1176 type compressor that is great for tracking instruments and vocals during the recording process or dur ing mixdown Spank Spank mode red LED is a radical limiter type compressor that was specifi cally designed to emulate the nice squeeze of the older SSL talkback compres sors from the 70 s amp 80 s but with quite a bit of higher fidelity Note that Spank s aggressive nature will tend to dominate when combined with any of the other modes FATSO Controls General notes about FATSO controls are below followed by a detailed de scription of each channel specific control the global controls and the FATSO SR controls Mono Stereo The FATSO is a two channel device capable of running in stereo or Operation 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 24 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 are det
296. ent The kHz Frequency parameter is disabled in this mode UAD Powered Plug Ins Manual 336 Chapter 33 Precision Enhancer kHz Speed kHz Frequency Output Mode C Mode C dynamically enhances the high frequency content The enhancement amount is increased as the input signal level increases Mode D Mode D dynamically enhances both high and low frequency content The en hancement amount is increased as the input signal level increases The kHz Frequency parameter is disabled in this mode All Mode All mode is selected by shitt clicking Mode letters or LEDs All Mode ex pands all frequencies of the input signal The enhancement amount is in creased as the input signal level increases The kHz Frequency parameter is disabled in this mode eum The Speed parameter defines the attack and release char Mem acteristic of the enhancement process SPEED 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 overall The kHz Frequency parameter defines the cutoff fre quency for the enhancement process in Mode A and Mode C Frequencies above this value are enhanced by the processor The available range is 1 00 kHz to 10 0 kHz Note kHz Frequency is disabled in Modes B D AIl Output controls the signal level that i
297. er 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 and 10 1 and Attack and Release controls with program depen dent Auto Release function Continuous Threshold Control and Make Up Gain compressor bypass and the original Auto Fade 1 60 seconds feature provide full operational authenticity SSL G Bus Compressor Screenshot Solid State Logic me aN ne a 15 is 0 E THRESHOLD MAKE UP 13 3 812 gt s _10 3 ag Auto ae 230 Y Nt ATTACK mS RELEASE S 2 4 10 a RATIO UAD 4K BUSS COMPRESSOR SSL G SERIES UNIVERSAL AUDIO STEREO COMPRESSOR 10 Se 20 y AUTO 3 40 FADE 1 2 RATE S Figure 142 The SSL G and 4K Bus Compressor plug in windows UAD Powered Plug Ins Manual 449 Chapter 46 SSL G Bus Compressor SSL G Bus Compressor Controls Threshold Make Up Attack Release Threshold defines the signal level at which the onset of compression oc curs Incoming signals that exceed this level are compressed Signals below the level are unaffected The O NaF control range is 15 dB THRESHOLD Solid State Logic As the Threshold control is de creased and more compression oc cur
298. er when the plug in is used on a stereo track the mono controls affect both channels of the stereo signal identically 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 the OFF position in the IPS control page 460 Note DSP usage is reduced only when DSP Loadlock is disabled If DSP LoadlLock is enabled the default setting activating Thru will not reduce DSP usage Input Input mode emulates the sound of the A800 through the machine electronics only without tape sonics This is the scenario when the machine is in live mon itoring mode but the tape transport is not running Sync Sync mode models the sound of direct recording and playback via the sync record head plus all corresponding machine electronics UAD Powered Plug Ins Manual 458 Chapter 47 Studer A800 Tape Type Cal Level Repro Repro mode models the sound of recording through the record head and playback through the reproduction head plus all corresponding electronics Tape Type selects the active tape stock formulation Four of the most popular 2 magnetic tape formulas are modeled in the A800 plug in 250 456 900 and GP9 Each type
299. er or compressor depending upon per sonal taste and program material It can go from a 2 1 ratio as a compressor to a peak limiter with a 30 1 ratio The unit can also be adjusted to operate anywhere between these two extremes using the Threshold and DC Threshold controls The Fairchild Tube Limiter Collection was created by meticulously modeling down to the component level carefully selected hardware Our golden ref erence channels were modeled from engineer producer Allen Sides collec tion from Ocean Way Recording The Fairchild plug ins incorporate all of the features from the original units Several new UAD only features round out this offering giving the UAD Fairchild 670 added flexibility for modern audio production With a broad range of functionality in the analog world the Fair child Tube Limiter Collection s feature set allows for critical master fader uses and individual sources or subgroups under extreme gain reduction And you don t have to let it warm up for 30 minutes before use UAD Powered Plug Ins Manual 156 Chapter 14 Fairchild Tube Limiter Collection Fairchild Tube Limiter Collection Screenshots OUTPUT LEFT LEFT CHANNEL LEFT HETERING INPUT GAIN THRESHOLD GR a E yth Oy fp aL D 0 a 8 ral 6 f A n 4 T T f 5 i oa 4 RIGHT RIGHT CHANNEL RIGHT HETERING INPUT GAIN THRESHOLD GR a i y On a oo ui uy iL RIGHT TIHE CONSTANT FAIRCHILD LEFT OUTPU
300. er switch then drag it like a slider to quickly compare the enabled disabled state UAD Powered Plug Ins Manual 333 Chapter 32 Precision Enhancer Hz Precision Enhancer Hz Usage Notes e The Precision Enhancer Hz effect can serve multiple purposes When the fre quency control is set low the effect extends into the audible low end Lower frequencies work well for adding a low end thump or beefing up percussive bass kicks but be 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 e 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 e A different effect response will be achieved when the plug in is used pre compression It is recommended to experiment with processing order as re sults can vary substantially UAD Powered Plug Ins Manual 334 Chapter 32 Precision Enhancer Hz CHAPTER 33 Precision Enhancer kHz Overview The Precision Enhancer kHz is a sophisticated tool with a simple control set primarily designed to bring dull or poorly recorded tracks to life However with five distinct Enhancement Modes the Precision Enhancer kHz will find uses on virtually any source It can be used to minimally massage the middle and upper frequencies of a mix or dra
301. er values for the program are loaded and the control sliders move to the preset values IMMED Enabling Immediate mode is convenient for quickly auditioning the various program algorithms using the same persistent parameter values Disabling Immediate mode is convenient for quickly auditioning the various programs with the Lexicon factory default settings The default Immediate value is OFF Immediate affects the following parame ters Bass Mid Crossover Treble Decay Depth Predelay Diffusion Mode Enhancement Pitch Shift Decay Optimization and Rear Outs UAD Powered Plug Ins Manual 196 Chapter 18 Lexicon 224 Important When Immediate is off and a program is changed previously modified parameter values are lost unless the settings were saved as a preset or if the session file was previously saved so it can be recalled System Noise This UAD only control enables or disables the modeled inherent dy namic system noise of the original Lexicon 224 hardware Disabling System Noise enables a more modern sounding i e cleaner 224 Click the button to toggle the state System Noise is active when the button LED is lit The default state is ON The elements of the modeled System Noise include quantization effects at in put A D output D A and within the algorithm zipper stepping noise when adjusting parameters transformer distortion and the quiescent noise floor Zipper stepping noise when adjusting para
302. ered Plug Ins Manual 129 Chapter 11 EMT 140 Plate Reverb EMT 140 Controls Input Filter The EMT 140 interface is an amalgam of controls found at the plate amplifier itself and the remote damper controls plus a few DAW friendly controls that we added for your convenience The GUI incorporates the original look and feel of those controls and utilizes that look for the DAW only controls Note When adjusting parameters keyboard shortcuts are available for fine coarse and other control methods See Shortcuts in Chapter 7 of the UAD System Manual for details The Input Filter is a dedicated equalizer that is used to re J duce low frequency content in the reverb On hardware MPUTFILTER plate systems this setting is rarely modified because itis Ze found at the plate amplifier unit itself and is not easily ac cessed from the control room EMT 140 contains two 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 K centered at 80 Hz with three available levels of attenua tion 4 dB 10 dB and 16 dB In controls mode these values are prefaced with an E to desi
303. ered Plug Ins Manual 138 Chapter 12 EMT 250 Electronic Reverberator Automation Modeled 1 0 EMT 250 Latency In some program modes the yellow LED ring around the control is illumi nated to indicate that changing the switch position will change the sound For program modes that do not offer quadraphonic processing e g Delay the switch is re purposed to sum the processed outputs to mono In Echo mode it functions as an input mute Some EMT 250 control functions change depending on the active mode see Variable Control Functions on page 137 and Table 13 below To accom modate this design all EMT 250 parameters are exposed for automation and external control surfaces even if the parameter is not active in the current pro gram mode Important Parameters that are automated and or externally controlled will have no effect if those parameters are not active in the current program mode All input and output characteristics of 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 The EMT 250 s anti aliasing filters for its A D and D A conversion are not lin ear phase filters therefore our emulation does not have a latency that is the same at all frequencies Thus we cannot report to the d
304. erent too The EQ curve that results when boost and attenuation are simultaneously applied to the low shelf is an addi tional feature High Frequency This switch determines the frequency of the high boost por tion of the equalizer Seven frequencies are available 3 4 5 8 10 12 and 16 KCS Tip To cycle through the available values click the KCS text label or shift click the text label to cycle through avail able values in reverse These shortcuts are unavailable with the Legacy version of the plug in HF Q This knob sets the proportion of frequencies surrounding the center frequency determined by the KCS switch to be af tected by the high boost this is a bandwidth control Lower values yield a narrower band and effect fewer frequencies UAD Powered Plug Ins Manual 390 Chapter 39 Pultec Passive EQ Collection High Attenuation Controls HF Boost This knob controls sets the amount of gain for the high frequency portion of the equalizer HF Attenuation Frequency This switch ATTEN SEL determines the frequency of the high fre quency attenuator Three frequencies are available 5 10 and 20 KCS Tip To cycle through the available values click the ATTEN SEL text label or shift click the text label to cycle through available values in reverse These shortcuts are unavailable with the Legacy version of the plug in HF Attenuation This knob ATTEN determines the
305. es Shelf is off by default The filter slope of the LF band can be switched with this control When Hi Q is off the Q is 0 7 When Hi Q is active the Q is 2 Higher Q values mean the peak trough has steeper slopes Hi Q is active when the button is gray and the yellow indicator illuminates Hi Q is off by default Note Hi Q has no effect when the band is in shelf mode UAD Powered Plug Ins Manual 285 Chapter 28 Neve 88RS Channel Strip Cut Filters Cut Enable Cut Frequency Global Sidechain EQ SC EQ Pre Dynamics P D In addition to the four band EQ UAD Neve 88RS offers two cut filters one each for low and high frequencies The slope of the cut filters is 12 dB per octave Each cut tilter has two controls Cut Enable and Frequency Both controls are detailed below CUT FILTERS Note UAD DSP load is not reduced when the cut filters are disabled button is gray and the red indicator illuminates This button activates the cut filter The cut filter is active when the This knob determines the cutoff frequency for the cut filter The available range is 7 5 kHz to 18 kHz for the high cut fil f ter lighter blue control and 31 5 Hz to 315 Hz for the low cut filter darker blue control This control enables the UAD Neve 88RS sidechain function When sidechain is active signal output from the EQ module is re moved from the audio path and is instead routed to control the dy namics module
306. es in mere minutes with a 1 head being a very popular hotrod modification in more recent years especially when run ning at 15 IPS inches per second The ATR s role in modern recording history is so prevalent that it would be easier to list classic albums that weren t mixed down on this machine rather than to try to list all those that were All visual and aural references to the Ampex Product and all use of Ampex s trademarks are being made with written permission from Ampex Corporation Any references to third party tape formula tions are used solely for identification and do not imply any endorsement by or affiliation with any tape manufacturer UAD Powered Plug Ins Manual 18 Chapter 2 Ampex ATR 102 Ampex ATR 102 Screenshots Figure 1 The UAD Ampex ATR 102 plug in window a a fe oe WOW 4 FUUTTER TAPE DELAY OFF F ON OFF DH a a E ae E E J 8 0 0 e 0 0 CROSSTALK DAY ka wer ra Lay pes a TE H Figure 2 Ampex ATR 102 secondary controls in open mode UAD Powered Plug Ins Manual 19 Chapter 2 Ampex ATR 102 Operational Overview Famous Tape Sound Mixdown Tape Deck Multiple Tape Types Multiple Tape Heads Multiple Tape Speeds Multiple Calibration Levels The UAD Ampex ATR 102 provides all of the original unit s desirable analog sweetness Like magnetic tape users can dial in a clean sound or just the right amount of harmonic saturation The primary purpo
307. es the release time of the control envelope In Smooth mode the release time is 200 milliseconds In Fast mode the release time is 40 milliseconds In both modes the attack time is 25 milliseconds In typical applications Fast mode is useful on percussive sounds while Smooth mode is better suited to sounds with longer and or uneven decays UAD Powered Plug Ins Manual 229 Chapter 22 Moog Multimode Filter Cutoff Resonance Pole Slope This parameter defines the cutoff frequency of both filter channels in all modes lowpass bandpass highpass UA has expanded the available frequency range of 20 Hz to 12 kHz on the MF 101 Moogerfooger to the broader avail able range of 12 Hz to 12 kHz on the Moog Mulitmode Filter In lowpass mode frequencies above the cutoff are attenuated In highpass mode frequencies below the cutoff are attenuated In bandpass mode the cutoff value is the center frequency attenuation occurs above and below the cutoff value in this mode Tip The cutoff value can be adjusted in musical semitone 1 2 step incre ments decrements using coarse control shortcuts and 1 4 semitone incre ment decrement using fine control shortcuts See Shortcuts in Chapter 7 of the UAD System Manual for details Resonance 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
308. eshold 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 mee The Compression parameter determines the ratio for the compressor Less compression occurs at lower values The available range is continuous from 1 00 1 to Infinity 1 Note For compression to occur signals must exceed the Threshold value At values above approximately 10 1 the compressor behaves more like a peak limiter See The LA 2 captures one of the earliest Teletronix examples This exceedingly rare unit preceded the LA 2A by a few years and incredibly still has the original TAA fully intact The LA 2 provides the slowest response and a unique mellowed sound due to 50 years of luminescent panel aging UAD Powered Plug Ins Manual 97 Chapter 8 dbx 160 Compressor Limiter Output Gain Meter Buttons VU Meter Power inside the T4 module Use the LA 2 with legato tempos and your most vowel like sources for a transparency and sublime mood unlike any other compres sor on page 470 for more information about compressor limiter theory of operation ALITELI Output Gain controls the signal level that is outout from the SUTPUT p g p ii plug in The available range is 20 dB Generally speaking adjust
309. esis HYST control fully counter clockwise or clicking the EXP label In expansion mode 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 EXPANDER Threshold Threshold Cut dE i Figure 86 The Neve 88RS Gate Expander diagram Garo Exp waT This button activates the gate expander module The module is E Enable aan active when the button is gray and the green indicator illumi aE nates You can use this button to compare the gate expander settings to that of the original signal or to bypass the module altogether UAD DSP load is reduced when this module is inactive unless UAD 2 DSP Loadlock is enabled UAD Powered Plug Ins Manual 276 Chapter 28 Neve 88RS Channel Strip Gate Exp Hysteresis HYST Gate Ex Threshold THR The Hysteresis knob sets the difference in threshold for signals that are either rising or falling in level Signals that are rising in level are passed when the level reaches the threshold value ME plus the hysteresis value Signals that are falling in level are not passed at the lower threshold level Up to 25 dB of hys teresis is available See Figure 87 on page 277 Hysteresis makes the gate less susceptible to stuttering by making the thresh old value dependent upon whether the gate is off or on
310. et The letter is a brand name indicator Note Cab O is available as a source only when Room B is active When the source is changed the default source settings for mic selections and distances are loaded for the Near Mid and Far microphones This menu does not change the microphone s Filter Polarity Mute Balance or Level set tings UAD Powered Plug Ins Manual 306 Chapter 29 Ocean Way Studios Display Panels The Display Panels show helpful information about the current state of the plug in The four available panels are shown in Figure 97 Click the buttons beneath the Display Panels to choose one The button of the currently active panel is illuminated Note The Display Panels are for informational purposes only There are no parameter controls within any of the Display Panels and the Panel selection controls cannot be automated rosmon MASTER EG INTERIOR INFORMATION OWR Ais Ocean Way s most spacious studio suitable for four piece bands to full orchestras With a rich sound exceptionally clear low end and super smooth decay OWR Ais a study in classic studio design Associated artists include John Mayer and Whitney Houston ta classics like Frank Sinatra and Count Basie Near Mic Mid Mic C12 6 Allen s incredibly clear and present Cl2s these large diaphragm tube condenser mics use a dual backplate design providing great off axis frequency response Far Mic M50 0 Noted for its far distance
311. etronix design Our DSP research helped us understand how the original T4 worked at the quantum physics level This not only allowed us to develop an accurate DSP model of the gain reduction behavior it also helped us make our hardware T4 more consistent This involved studying the original photocell formula working with both modern device physicists and the people who developed the original photocells locating the special equip ment originally used to manufacture these back in the 60s and re qualitying the manufacturer Whether hardware or DSP it is this special qualified man ufacturing process and recipe UA re established that gives the LA 2A its unique musical sonic quality to this day UAD Powered Plug Ins Manual 475 Chapter 48 Teletronix LA 2A Leveler Collection GAIN OUTPUT 10 OUTPUT 4 Be The Teletroniz LA 2A Leveler Collection Original Hardware UAD Powered Plug Ins Manual 476 Chapter 48 Teletronix LA 2A Leveler Collection CHAPTER 49 Trident A Range EQ Overview The original Trident A Range desk holds near mythic status in the professional recording industry and is arguably the best loved of the classic Trident con sole designs Particularly noted for its fantastic preamps and the unique band interactions of its colorful EQ section the Malcolm Toft Trident designed A Range console has made an indelible impact on the sound of record mak ing During the Golden Years of rock the
312. ets Program Mode The Program Mode buttons define which of the available program modes is active The six program modes are Reverb REV Delay DEL Phase PHAS Chorus CHOR Echo and Space SPC Click a Mode button to activate that program mode the button is illuminated 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 13 on page 140 for a matrix of controls that are available in each program mode UAD Powered Plug Ins Manual 140 Chapter 12 EMT 250 Electronic Reverberator Reverb Reverb program mode offers the same all time classic reverb algorithm that made the EMT 250 famous Decay Time Lever 1 Lever 1 controls the main reverb tail decay time The red LEDs on the left side of lever 1 indicate the current decay time the green LEDs on the right side of lever 1 are inactive The decay time range at 1 kHz is 0 4s to 4 5s selectable via 16 steps LF Decay Lever 2 Lever 2 controls the low frequency decay time at 300 Hz The red LEDs on the left side of lever 2 display the current value the green LEDs on the right side of lever 2 are inactive Four multipliers are available x 0 5 x 1 0 x 1 5 and x 2 0 The multiplier refers to a factor of the main decay time lever 1 Higher values upper lever positions generally result in more low frequency content in the reverb tail HF Decay
313. eturn to the O dB setting click the SIDE text label UAD Powered Plug Ins Manual 351 Chapter 35 Precision K Stereo Ambience Recovery Output Gain Controls Refer to Figure 107 below for the controls in this section r 1 RIGHT Lik GAIN z Batis 107 The Output Gain controls L R Gain Enable This switch enables disables the Left Right Gain and Link controls Link This switch links gangs the Left Right Gain controls for ease of operation when both channels require the same value Disable Link when independent left right control is desired Note When Link is inactive and Link is engaged the left gain value is cop ied to the right gain Any offset between the gain values is lost Left Right Gain The independent Left and Right Gain have an available range of 24 dB to 12 dB available in 0 1 dB steps To quickly return to the O dB setting click the respective LEFT or RIGHT text labels Note The right channel gain control is disabled when the plug in is used in a mono in mono out configuration UAD Powered Plug Ins Manual 352 Chapter 35 Precision K Stereo Ambience Recovery Output Level Meters 0 6 dB 0 6 dB The stereo peak hold meters display the signal level at the output of the plug in The meter range is from 30 dB to O dBFS Signal peaks are held for 3 sec onds before resetting Power When the Power switch is in the OFF position the interface
314. everb only These modes are faithfully reproduced with the UAD Roland RE 201 Note The RE 201 uses less UAD DSP in reverb only or echo only modes versus when both modes are used simultaneously UAD Powered Plug Ins Manual 419 Chapter 43 Roland RE 201 Space Echo The affect of each knob position is detailed in Table 32 on page 420 Table 32 RE 201 Mode Selector Positions Mode REPEAT REVERB ECHO REVERB Knob echo id ONLY Position Bass This knob controls the low frequency response in the tape echo portion of the signal It does not affect the dry signal or the re verb signal This is a cut boost control it has no effect when in the 12 o clock straight up position Treble This knob controls the high frequency response in the tape echo portion of the signal It does not affect the dry signal or the re verb signal This is a cut boost control it has no effect when in the 12 o clock straight up position Reverb Volume This control determines the volume of 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 the Mode Selector is in positions I through 4 Ou
315. exposed by click lar ing the OPEN text to the right of the Dis Digital Keverb play Panel Conversely the exposed pepe ah SPS oss 20 Se la ic panel is closed by clicking the CLOSE text while the panel is open Note The last used state of the Hidden Controls panel open or closed is re tained when a new Lexicon 224 plug in is instantiated Pitch Shift is a component of Mode Enhancement See Mode Enhance Pitch Shift on page 198 for parameter details The independent left L and right R Input Gain parameters control the signal levels at the input to the reverb processor They do not affect the dry sig nal so Input Gain can be used to adjust the wet dry mix The default value is O dB The available range is 12 dB The right channel control is unavail able when Lexicon 224 is used in a mono in mono out configuration As signal levels into the Lexicon 224 increase the analog and digital re sponse of the device becomes increasingly nonlinear If 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 192 for more information Tip Click the text label Input Gain to return the value of both channels to zero The independent left L and right R Output Level parameters control the signal levels at the output of the plug in The default value is O dB The avail
316. f the instruments BK MSTR Rock This preset has Ambience Level at O dB Wide and Deep engaged Ambience Tight Drums Low Cut filter set to 125 Hz Ambience High Cut Filter set to 10 kHz This maintains the bass instrument tight not as affected by the Ambience Level as well as softens the ambience of the high frequencies to tighten the percussion but it retains ambience in the midrange to enhance vocals and midrange in struments BK MSTR String This preset has Ambience Level at 1 dB Wide is disengaged Deep is en Ensemble gaged This is very useful as the name implies for enhancing the ambience of a small ensemble or solo instrument without stretching it to the extreme sides maintaining the ensemble s small size but still help its richness and depth Try this preset during mixing on a stereo miked solo guitar instead of a reverb chamber BK MSTR Full This is the same as the default preset Turn the Ambience Level up or down to Orchestra A taste Perhaps add some Ambience EQ to warm up the sound or add some presence to the ambience depending on the nature of the reverberation in the original recording UAD Powered Plug Ins Manual 354 Chapter 35 Precision K Stereo Ambience Recovery BK MSTR Full Orchestra B BK MSTR Clear Presence BK MSTR Raise Mid Instruments BK MSTR Warm Ambience BK MIX Big Steinway BK MIX Big BK MIX Too Big UAD Powered Plug Ins Manual 355 Same as Full Orchestra A but the high c
317. 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 captures the hardware s sound working magic on vocals guitars and drums LA 3A Screenshot ME AK RECLE TiC 5 OFF f OUTPUT LA 3A COMP Y LIM AUDIO LEVELER GR Figure 59 The LA 3A plug in window UAD Powered Plug Ins Manual 184 Chapter 17 LA 3A Compressor LA 3A Controls Background For detailed information about compressors see The LA 2 captures one of the earliest Teletronix examples This exceedingly rare unit preceded the LA 2A by a few years and incredibly still has the original TAA fully intact The LA 2 provides the slowest response and a unique mellowed sound due to 50 years of luminescent panel aging inside the T4 module Use the LA 2 with le gato tempos and your most vowel like sources for a transparency and sublime mood unlike any other compressor on page 470 Comp Lim This switch changes the characteristics of the compressor I O curve When set to Compress the curve is more gentle and presents a low compression ra tio When set to Limit a higher compression ratio is used Gain The Gain knob adjusts t
318. flexible 5 band active EQ and unique level ramp ing for the early and late reflections for ultra realistic dynamic room simula tion And with Universal Audio s proprietary smoothing algorithm all param eters can be adjusted with automation or in real time without distortion pops clicks 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 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 late field rever beration in your hands Capitalizing on the psychoacoustic technology that went into the design of RealVerb Pro we have incorporated some of these principles into Dream Verb Our proprietary Stereo Soundfield Panning allows you to spread and control the signal between stereo speakers creating an impression of center and width The ability to envelop your listener in a stereo recording is an en tirely new approach to reverb design UAD Powered Plug Ins Manual 99 Chapter 9 DreamVerb Screenshot p r 4 l 4 Reflections a lterin 19
319. for a transparency and sublime mood unlike any other compressor on page 470 minea This button activates the limiter compressor module The mod ule is active when the button is gray and the green indicator il luminates You can use this button to compare the limiter compressor settings to that of the original signal or to bypass the module altogether UAD DSP load is re duced when this module is inactive unless UAD 2 DSP LoadLock is enabled The Gain control adjusts the output level of the limiter com pressor module The available range is O 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 Normally the limiter and compressor operate with soft knee char acteristics This switch gives the limiter and compressor a hard knee instead To activate Hard Knee mode click the pull HN label text or the red indicator just below the Gain control Hard Knee mode is active when the red indicator illuminates UAD Powered Plug Ins Manual 280 Chapter 28 Neve 88RS Channel Strip L C Threshold L C Threshold 20 dB L C Ratio RAT L C Fast Threshold defines the input level at which limiting or compres sion begins Signals that exceed this level are processed Sig nals below the threshold are unaffected The available range is 20 dB to 10 dB A range
320. for physical micro phone to preamp resistive interaction This impedance switching enables Apollo s preamps to physically match the emulated unit s input impedance which can significantly impact the sound of a microphone Because the elec trical loading occurs on input prior to A D conversion the realism is faithful to the original target hardware preamp Tactile Gain Staging Apollo s front panel preamp knob can independently adjust the gain and level parameters available within the Unison plug in via Gain Stage Mode The gain stage being adjusted can be remotely switched via Apollo so the gain levels and their associated colorations can be tuned from the hardware knob for precise physical tactile control all without using the Unison plug in s software interface Nofe Unison is active only when the plug ins are inserted in the unique PREAMP insert within Apollo s Console application For complete Unison de tails see the Apollo Software Manual These plug ins use an internal upsampling technique to achieve sonic design goals The upsampling results in a slightly larger latency 55 samples 88 samples at 176 4 and 192 kHz than most other UAD plug ins See Chapter 9 Delay Compensation in the UAD System Manual for more information UAD Powered Plug Ins Manual 56 Chapter 4 API Vision Console Channel Strip API Vision Console Channel Strip Controls 2121 Microphone Preamplifier 212L Gain This knob adjusts the
321. for the standard version is continuously variable at up to 20 dB the range for the Mastering version is up to 11 dB in 16 steps in both ver sions the maximum value depends on the Bandwidth control Important When Gain for the band is set to zero the other band controls have no effect Unlike most EQs this control is not flat at the center position with the gain cut or boosted by moving the control to left or right of center This design allows the band gain to operate at twice the knob resolution as that of a conven tional dual purposed control as well as facilitating a quicker and more ac curate return to zero UAD Powered Plug Ins Manual 218 Chapter 21 Manley Massive Passive EQ Bandwidth Gain has a fair amount of interaction with the Bandwidth control The maxi mum band gain is available in Shelf mode when Bandwidth is fully counter clockwise less band gain is available in Shelf mode as the Band width is decreased rotated clockwise Conversely the maximum gain is available in Bell mode when Bandwidth is fully clockwise in Bell mode less band gain is available as Bandwidth is decreased rotated counter clock wise Due to the parallel EQ topology the four band Gain controls also interact with each other unlike typical EQs For example if two bands in the same channel are boosted 20 dB at 2 7kHz you ll get much less than 40 dB of boost at 2 7kHz This also implies that if you first boost one band that the
322. frequency or band i f p i i j a a E B disable 5 High Gain The equalization 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 tre ble response The available range is approximately 18 dB High Frequency The high 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 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 switches the high band from a shelving EQ to a peaking EQ The band is in shelf mode by default it is in peak mode when the button is down darker The high midrange band delivers smooth high mid frequency peak equalization with a choice of two bandwidths The inner knob controls the band gain and the outer ring selects the frequency or band dis able High Mid Gain The equalization gain for the high midrange band is selected with the inner knob of the
323. g in delay compensation throughout the signal path or when if is used only on the outputs POWER FLANGER E Fi E F POUBLER 1 gy A INVERT IN OUT The MXR Model 126 Flanger Doubler hardware unit UAD Powered Plug Ins Manual 243 Chapter 23 MXR Flanger Doubler CHAPTER 24 Neve 1073 Equalizer Overview Designed by the Rupert Neve company in 1970 perhaps no other studio tool is as ubiquitous or desirable as the Neve 1073 channel module Without ex aggeration Neve consoles such as the 8014 where the 1073 originated have been used on a majority of popular recordings of the late 20th century and the 1073 easily tops the shortlist of audio design masterpieces 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 versions The 1073 EQ with absolute sonic accuracy and the 1073SE EQ for high instance counts Neve 1073 Screenshot Figure 74 The Neve 1073 plug in window Neve 1073 and 1073SE Controls Each feature of the UAD Neve 1073 and 1073SE interfaces are detailed be low UAD Powered Plug Ins Manual 244 Chapter 24 Neve 1073 Equalizer Input Gain High Shelf
324. g in is a psy choacoustic processor conceived and created by famed mastering engineer Bob Katz Collaborating with Universal Audio to bring this unique patented process to the UAD platform Bob Katz s K Stereo process uses elements of the Haas effect and other psychoacoustic principles to create a transparent phase accurate ambience recovery and stereo enhancement tool Primarily designed for critical 2 track mastering applications Precision K Stereo ex tracts the ambient cues inherent in the source recording and provides features capable of spreading the uncorrelated ambience around the soundstage en larging the size of the soundstage both deeper and wider It also increases the clarity and localization of the source material within its algorithm while in creasing the third dimension of the sound Precision K Stereo does not have a sound of its own it transparently enhances the existing ambience and early reflections of your sources to breathe new life into busy or narrow sounding mixes Precision K Stereo enhances the depth and imaging of the instruments and vocals on your stereo master without adding artificial reverberation or changing the ratio of center elements to side elements thus providing a do no harm approach to finalizing the stereo image of your critical mix source ma terial Precision K Stereo Screenshot AMBIENCE aaa UNIVERSAL AUDIO K STEREO PRECISION MASTERING SERIES AMBIENCE RECOYERY Py aa a Fs
325. g ins are inserted in the unique PREAMP insert within Apollo s Console application For complete Unison de tails see the Apollo Software Manual UAD Powered Plug Ins Manual 498 Chapter 51 UA 610 Tube Preamp amp EQ Collection Input Level Controls Input Select Input levels for the UA 610 plug ins are controlled by the overall combination of the input select pad and gain controls available within each plug in These parameters which vary per model control the first tube gain stage in the plug ins Generally speaking higher input gains will produce more color in the signal The 610 hardware has both mic and line level inputs The Input Select control switches between the virtual input jacks in the emulated models In most mic preamplifiers including the 610 the difference between the mic and line inputs is simply that the line input is attenuated before entering the preamp circuitry The gain circuits are not different for the mic and line inputs Line When set to Line it s as if the DAW signal is plugged into the line level input of the emulated 610 hardware Less tube gain is applied and a cleaner sound is obtained Mic When set to Mic with UA 610 B the 500 and 2 0K settings it s as if the DAW signal is plugged into the microphone input of the emulated 610 hard ware and approximately 30 dB of additional unattenuated tube gain is ap plied Since the incoming signal in from the DAW is already at lin
326. ge is 10 milliseconds to 3 seconds UAD Powered Plug Ins Manual 278 Chapter 28 Neve 88RS Channel Strip Gate Exp Meter Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks Note Fast release times are typically only suitable for certain types of percus sion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results This meter displays the amount of gain attenuation downward expansion occurring in the gate expander module Limiter Compressor The limiter compressor module offers a continuously variable ratio between 1 1 no compression and infinity 1 limiting Signals above the threshold are attenuated according to the ratio RAT value Two attack speeds and contin uously variable release times are available 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 compressor has another nifty property Two thresholds When the signal falls below the threshold the compressor is releasing But if the signa
327. ge 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 uses two envelope generators The first one gen erates a voltage Env 1 that follows the original waveform The second enve lope generator creates the envelope Env 2 with a slower attack envelope Figure 135 on page 431 illustrates the original curve and the two created en velopes that control the ATTACK processing Envelope generator Env 1 fol lows the original waveform Env 2 is generated with reduced attack Diagram i Generated Envelopes Attack Fag 1 ita ANN N u Env 2 slower attack Original Waveform Figure 135 SPL Transient Designer Attack Envelopes UAD Powered Plug Ins Manual 431 Chapter 44 SPL Transient Designer Figure 136 on page 432 shows the difference between Env 1 and Env 2 that defines the control voltage of the VCA The shaded area marks the difference between Env 1 and Env 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 Diagram 2 Calculated Control Voltage Attack U mY Difference Env 1 En 2 Equals YCA Control Voltage t ms Figure 136 SPL Transient Designer Attack Control Voltage
328. get steeper narrower bandwidth as the control is rotated counter clockwise The available range is 0 5 to 2 5 in both Black and Brown modes Low Mid LMF Gain Frequency LMF Band This control determines the amount by which the frequency value for the band is boosted or atten uated The available range is 15 dB in both Black and Brown modes 4 Tip Click the O to return the control knob to its center position amp f 32 i A 00 a8 ery 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 steeper narrower bandwidth as the control is rotated counter clockwise The available range is 0 5 to 2 5 in both Black and Brown modes Low Frequency LF Gain LF Ban This control determines the amount by which the frequency value for the LF band is boosted or at J tenuated The available range is 15 dB in both Black and Brown modes Tip Click the 0 to return the control knob to its center position UAD Powered Plug Ins Manual 444 Chapter 45 SSL E Channel Strip LF Frequency This control determines the band center frequency to be boosted or attenuated by the band Gain setting The available ra
329. gnate the original EMT electronics model The Martech filter indicated by red text is a shelf filter therefore all frequen cies below the frequency are reduced Six shelving frequencies are available 90 Hz 125 Hz 180 Hz 250 Hz 270 Hz and 360 Hz In controls mode these values are prefaced with an M to designate the aftermarket Martech electronics model Note There is one Input Filter per plug in instance Each plate model A B C within a preset cannot have a unique Input Filter value UAD Powered Plug Ins Manual 130 Chapter 11 EMT 140 Plate Reverb Reverb Controls Plate Select Reverb Time Meters Damper Controls Reverb Time Plate reverb systems are extremely simple A re mote damper setting and a high pass or shelf fil ter found at the plate itself Additional manipula tion is often used including reverb return equalization which is typically achieved at the console Predelay is was often achieved when necessary with tape delay sending the return to a tape deck Different tape speeds allowed dif fimna ferent pre delay amount The original damper controls are remote control devices usually found some where near the control room for quick access Our hybrid panel combines three remotes into the panel with a switch to select each of the three available systems Note The reverb controls Plate Select and Reverb Time are completely inde pendent from all other plug in controls Th
330. gned to integrate frequencies in a musical manner and provide some foolproof vintage sounding compression Gener ally it is difficult to make the unit sound unnatural due to its vintage topology FATSO provides four types of processing Harmonic Generation amp Soft Clipper Basically this is a distortion generator associated with the Input knobs Any time you pass a signal through the FATSO it passes through this part except in bypass This processing is useful to softly but instantly 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 discrete distortion circuits and is usually the result of flattening the tops and bottoms of waveforms Second or der harmonics are also added especially while compressing in the FATSO The FATSO s input clipping will give you the same result These lower order harmonics form the octave and the octave and a fifth to the fundamental musical tones They are actually musical distortion Harmonics above the Chapter 10 Empirical Labs EL7 FATSO Warmth Processor The Tranny Processor 2nd and 3rd get increasingly harsh and unmusical and therefore
331. h channels to compress Link is active when the button LED is illuminated When the plug in is used in a mono input configuration Link has no affect 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 of 20 dB being attenuated to 10 dB 1 RATIO COMPRESS The UAD SSL E Channel Strip compressor offers a continu ously variable ratio between 1 1 no compression and infin ity 1 limiting Note Signals must exceed the Threshold value before they are attenuated by the Ratio amount Threshold defines the signal level at which the onset of com pression occurs Incoming signals that exceed this level are see compressed Signals below the level are unaffected eee The available range is 10 dB to 20 dB Rotate the control clockwise for more compression THRESHOLD UAD Powered Plug Ins Manual 438 Chapter 45 SSL E Channel Strip Compress Release Compress Attack Gate Expander Dynamics Select This compressor has an automatic make up gain function As Threshold is low ered and compression increases as knob is rotated clockwise output gain from the module is increased automatically to compensate Release sets the amount of time it takes for gain reduction to cease once the input signal drops below the threshold level J Longer release times ca
332. hape pop up selector menu fo view the available shapes then drag to the desired shape and release The Shape Blending Bar see Figure 40 on page 103 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 percentages of the two rooms appear at the bottom of the Shape panel To use only one room shape drag the Blending Bar so a shape is set to 100 The resulting early reflection pattern is displayed at the top of the Reflections panel Figure 42 on page 108 where each reflection is represented by a yel low vertical line with a height indicating its arrival energy and a location in dicating its arrival time UAD Powered Plug Ins Manual 104 Chapter 9 DreamVerb Materials Panel The parameters in the Materials panel in conjunction with the Shape panel Figure 40 on page 103 and Reverberation panel Figure 43 on page 109 ef fect the spatial characteristics of the reverb The material composition of an acoustical space effects 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 certai
333. has its own subtle sonic variation distortion onset and tape compression characteristics Generally speaking the lower the Cal Level for each for mula the higher the signal level required to reach saturation and distortion Cal Level automatically sets tape calibration fluxivity The Cal 48 47 5 Level setting takes care of the setup one would need to make 4 1 under equivalent hardware operation and sets the reference tape flux level without disturbing the unity gain of the plug in ea The record repro and sync gain trims found on the A800 channel cards are not present on the plug in Instead when Auto Cal on page 463 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 broader sweet or to prevent electronics from clipping There fore the user can go traditional and calibrate to the recommended levels or select a non corresponding calibration setting with Cal Level As an example if 456 is the selected Tape Type and when Cal Level is set at 6 6 dB higher than the NAB tape standard the reference fluxivity level is 355 nW m nanoweber per meter and is 10 dB
334. he Ocean Way garage with sessions around the clock Bill was a frequent guest and loved listening to the tri am plitied front loaded theater horns in Allen s control room Unfortunately trying to keep a low profile while running a commercial studio in a quiet residential neighborhood proved to be much more tricky The Opportunity As tate would have it a lease of a Lifetime was about to expire for Studio B in the United building When Sides approached his friend about leasing the stu dio Bill offered him a sweet heart deal on the space Sides quickly redesigned and rebuilt the Studio B control room and moved all his equipment in Studio B was an astounding acoustic space and Sides was thrilled Bill felt that of all the rooms he had designed and built this was his favorite and he was very pleased that his prot g would carry on the tradition Early sessions ranged from Neil Diamond Chick Corea Bette Midler and all the way to Frank Zappa In 1982 towards the end of his career Bill also leased Studio A to Allen Sides made a few control room changes and Studio A immediately became one of the most popular rooms in town again One of the first projects was Lionel Ritchie s Can t Slow Down which sold 25 mil lion records and Michael Jackson s Thriller Lionel and Michael became two UAD Powered Plug Ins Manual 317 Chapter 29 Ocean Way Studios A New Era of Allen s best long term clients A couple years later B
335. he Pad controls are used to attenuate incoming signals for less coloration while the Gain controls increase the signal level for more tube color Note Like the original hardware values on the control labels may not match actual measured values UA 610 A Input Gain The two position LOW HI rotary switch exposes the little known internal gain jumpers that are on the circuit boards inside the vintage modules Setting the switch to the LOW position adds approximately 8 dB of gain at the tube input stage and also changes the distortion characteristics This is a digital only control unavailable on the original hardware module Important Use caution when switching 610 A Gain from HI to LOW as signal output levels could jump dramatically Input Pad Additional attenuation for the Mic input is available via the two posi tion Pad switch Setting the switch to the 20 up position attenuates the Mic signal at the tube input stage by 20 dB In the down position no attenuation is applied Note The 610 A Input Pad is not available for line input UAD Powered Plug Ins Manual 500 Chapter 51 UA 610 Tube Preamp amp EQ Collection UA 610 B Input Gain The 5 position rotary Gain switch changes the level at the tube input stage The control attenuates the input signal by 10 or 5 dB or adds 5 or 10 dB of gain In the center GAIN o ops 3 position neither gain nor attenuation is applied Input Pad
336. he Power state the switch is illumi nated in red 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 en eae ATTIE FF i EES a eee The Neve 88RS at Skywalker Sound in California All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS NEVE s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 287 Chapter 28 Neve 88RS Channel Strip CHAPTER 29 Ocean Way Studios Dynamic Room Modeling Welcome to Ocean Way Studios the World s First Dynamic Room Modeling Plug In Developed by Universal Audio and Allen Sides the Ocean Way Studios plug in re writes the book on what s possible with acoustic space emulation By combining elements of room microphone and source modeling Ocean Way Studios moves far beyond standard impulse response players and re verbs giving you an authentic dynamic replication of one of the world s most famous recording studios Ocean Way Studios allows you to virtually book unlimited time at Ocean Way Recording in Hollywood California formerly a part of United Western Recorders This plug in provides everything you need to help make your mu sic sound as if it were recorded in the beautifully balanced performance in spiring rooms that were designed and built by modern recording pioneer and Univer
337. he amount of compression for a transient which appears on both channels at the same time Additionally the attack and release times for the two compressors will be the same and attack and release behavior will be the average of the settings for the two channels Mono transients will have an effective attack time of about one half the attack time for transients on only one of the two channels UAD Powered Plug Ins Manual 162 Chapter 14 Fairchild Tube Limiter Collection Stereo Lat Vert Stereo lateral vertical mid side mode like stereo left right mode causes the two compressors to be linked together so that they always compress the same amount In this mode however the inputs to the two compressors are fed with the middle and side components of the signal respectively This generally means that a transient which occurs in both channels will cause a bit more compression than a transient which only appears on left or right The attack and release behavior is determined by the average of the settings for the two channels Fairchild Controls The control functions are essentially identical across all three UAD plug ins in the Fairchild family so they are described only once Any control differences between the three plug ins are noted in the control descriptions Power Switch This switch determines whether the plug in is active When the Power switch is in the Off position plug in processing is disabled and UAD DSP usage is reduced unle
338. he controls in this section AMBIENCE ENHANCE UN Figure 104 The Ambience Recovery controls This switch enables disables the ambience recovery process See Ambience Recovery on page 346 for an overview Recover Enable must be engaged for the Ambience Gain Enhance Deep Wide and Ambience Filters controls to have an effect Note This switch does not have any effect on the M S Gain L R Gain or Power controls The Ambience Gain knob controls the level of recovered ambience The de fault O dB position is defined as the nominal or typical setting ambience re covery is occurring when set to O dB Increase or decrease Ambience Gain to change the amount of recovered am bience The range is 20 dB to 9 dB available in 0 5 dB steps Click the O label to quickly return to O dB To disable ambience recovery use the Recover Enable switch Note Values below O dB do not remove ambience The ambience recovery process can be manipulated further with the Deep and Wide switches Note The Enhance functions can only be enabled when the Recover switch is engaged Deep Provides deeper ambience recovery when the switch engaged Wide Spreads and enhances the stereo image when the switch is engaged UAD Powered Plug Ins Manual 348 Chapter 35 Precision K Stereo Ambience Recovery Ambience Filters The Ambience Filters EQ provide for frequency adjustments to the ambient portion of t
339. he input signal drops below the threshold level and the Release Hold switch is set to Release this knob sets the amount of time it takes for signals to decay to the Depth level Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results Hold When the input signal drops below the threshold level and the Release Hold switch is set to Hold this knob sets the amount of time that signals are held at normal levels before signals return to the Depth level Note When set to Hold the release time is fixed at 100 milliseconds 235L Release Hold Switch This two position switch REL HLD determines the behavior of the Re lease Hold knob when the 235L module is set to Gate mode with the Gate Expander switch The default value is Release Note This switch is locked in the Release position when the module is in Gate mode Hold mode is unavailable in Expander mode 235L Gate Expander Switch This switch GTE EXP toggles the module between Gate and Expander modes The default value is Expander GTE When set to Gate mode signals below the threshold are attenuated by the Depth amount EXP When set to Expander mode the gate applies d
340. he left and right chan nels The dual filters share the same controls The only time the left and right filters diverge is when Filter Spacing or LFO Offset are not zero Drive controls the amount of saturation gain before the filter Drive is where much of the sonic juice in the UAD Moog Fil ter originates Drive can change the signal from clean to slightly overdriven to extremely distorted particularly when used in conjunction with the Boost switch see Boost on page 233 Drive 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 modeled input gain control The range of Drive Gain is O to 40 dB of gain Drive Gain affects both the wet and dry signals the control is heard when Mix is zero and or when Bypass is engaged This gain range closely mimics the external input section of the Minimoog UAD Powered Plug Ins Manual 228 Chapter 22 Moog Multimode Filter Drive Gain LED Envelope Envelope LED Smooth Fast Warning Due to these differences in input structure cut and pasting of full to SE and SE to full presets may cause noticeable differences in gain Keep hold of the master fader The Drive Gain multicolor LED indicates the plug in signal level just after the Drive Gain control The
341. he output level by up to 50 dB Make sure to adjust the Gain control after the desired amount of compression is achieved with the Peak Reduction control The Gain control does not affect the amount of com pression Peak Reduction This control adjusts the amount of gain reduction as well as the relative threshold A Peak Reduction value of O 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 indicates the Gain Reduction level in dB When set to output the VU Meter represents the output level the output meter is not calibrated When in the Off position the plug in is disabled and UAD DSP usage is re duced Note UAD 2 only UAD 2 DSP usage is reduced only when DSP Loadlock is disabled If DSP LoadLock is enabled the default setting setting the switch to Off will not reduce DSP usage Stereo Phase coherent stereo imaging is maintained when the LA 3A plug in is used Operation on a stereo signal UAD Powered Plug Ins Manual 185 Chapter 17 LA 3A Compressor CHAPTER 18 Lexicon 224 Classic Digital Reverb History From the moment it was unleashed on the audio industry in 1978 the original Lexicon 224 Dig
342. he signal These controls do not affect the direct dry portion of the signal The Ambience Filters consist of one Low Cut filter one High Cut filter and a single band parametric bell filter Note Controls in the Ambience Filters section have no effect unless the Re cover Enable switch is engaged Refer to Figure 105 below for the controls in this section AMBIENCE FILTERS Figure 105 Ambience Filters controls EQ Enable The EQ switch enables disables the Ambience Filters This switch can only be engaged when the Recover Enable switch is engaged Cut Filters The Low Cut and High Cut filters have a slope of 12 dB per octave Each Cut Filter can be independently disabled by setting it to the OFF position the de fault value Low Cut The available range is 20 Hz to 1 kHz High Cut The available range is 5 kHz to 20 kHz UAD Powered Plug Ins Manual 349 Chapter 35 Precision K Stereo Ambience Recovery Bell Filter The bell filter is fully parametric with independent control of frequency gain Q bandwidth and gain F F 150 l k 5 00 k 1 7 0 dB Bell Frequency This control sets the center frequency of the bell filter The available range is 150 Hz to 10 kHz Bell Q Bell Q determines the bandwidth of the bell filter The available range is 0 5 to 3 Smaller Q values cause the bell filter to effect a broader portion of the frequency spectrum while high Q values affect a narrower sp
343. he time constant fit methods and gain reduction nonlinearities to the addition of the transformer and tube amplifier distortion behaviors the result ing effort furthers UA s position as having the most authentic in the box opti cal compression tools on the market Universal Audio is the only company with access to the original T4 s highly guarded chemical and manufacturing formula and thus the only company with the ability to study the staggeringly complex interactions of the unique photoresistor and luminescent light source behaviors down to the quantum level For discerning professionals trust only the tools bearing the original Teletronix name UAD Powered Plug Ins Manual 468 Chapter 48 Teletronix LA 2A Leveler Collection Teletronix LA 2A Leveler Collection Screenshots Figure 146 The Teletronix LA 2A Silver plug in window TE iI LETRONIX f ENcineeene co f TELETRONIX Figure 149 The Teletronix LA 2A Legacy plug in window UAD Powered Plug Ins Manual 469 Chapter 48 Teletronix LA 2A Leveler Collection LA 2A Plug In Family Teletronix LA 2A Leveler Collection Teletronix LA 2A Legacy The complete LA 2A family is comprised of four individual plug ins as seen on the previous page Each variation has its own unique sonic characteristics The Teletronix LA 2A Leveler Collection introduced in UAD v6 5 provides ac cess to three historical and highly coveted revisions in the Teletronix product
344. her full range material It produces a wider range of harmonics than the Bass modes A and B Mode C also works well on sub mixes and program material Moderate compression is applied to the harmonics signal increasing the amplitude of the harmonics and altering their timbre Mode D Kick Mode D has a short decay which makes this setting ideal for kick drum sounds and other percussive instruments Moderate compression is applied 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 MODE Tip All mode can be selected by shift clicking Mode letters or LEDs TI Slope changes the shape of the high pass filter that is ap ad plied to the effect signal The high pass filter helps eliminate rumble muddiness in the signal Slope can be set to 6 12 24 or 36 dB per octave The active Slope can be selected by clicking the Slope button repeatedly to rotate through the values or by clicking each Slope value or LED Note When the Hz Frequency is set to a low value Slope may have little or no audible effect UAD Powered Plug Ins Manual 332 Chapter 32 Precision Enhancer Hz Hz Frequency Hz Solo
345. here are three separate EQ configurations allowing selection of two complete sets of stereo parameters or the Dual mode when disparate channel adjustments are neces sary In addition parameter values can be easily transferred between param eter groups using the Copy buttons 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 The Mode switches define the operating mode of Precision Equalizer The currently active mode is indicated by a blue light Each mode is detailed below STERE DHAL H H In Stereo mode the L and R equalizer sections both control one side of the ste reo source signal The L and R controls are linked in stereo mode In stereo mode there are two sets of EQ settings referred to as A and B with each set containing the full set of Land R parameter values the high pass filter value is global per preset This feature enables easy switching between two EQ settings for comparison purposes Both the A and B parameter sets are contained within a single Precision Equalizer preset UAD Powered Plug Ins Manual 340 Chapter 34 Precision Equalizer Dual Mode Parameter Copy Buttons In Dual mode dual mono mode the left and right parameters can be inde pendently adjusted so that each sid
346. hether 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 unless UAD 2 DSP LoadLlock is enabled The Power LED is illuminated when the plug in is active The Phase 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 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 tave Cut Enable The high and low pass filters are en gaged with the Cut Enable switch The Cut Filters are active when the In switch is engaged darker When the Cut Filters are engaged circuit coloration is modeled even when set to zero cut frequency values 25 Hz and 20 kHz respectively The Cut Enable In switch is to the left of the EQ In switch on the graphical interface High Pass low cut This control determines the cutoff frequency for the high pass filter The avail able range is 25 Hz to 3 15 kHz UAD Powered Plug Ins Manual 174 Chapter 15 Harrison 32C EQ Four EQ Bands Low Peak Low Frequency Low Pass high cut This control determines the cutoff frequency for the low pass filter The avail able range is 1 6 kHz to 20 kHz Each of the four EQ bands have simi
347. hical design of the Precision Multiband 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 achieve the magnitude response of a Linkwitz Riley filter and pro vide perfect magnitude reconstruction Precision Multiband Screenshot INPUT LEVEL IIK UPUT EPEL TT ITUULITCERCURCURICOLUCL i Pie eR ee de a AL a i eet rau reli ree Tall PIB Fld cig al Fo ed ode Pe i AUi ref rea t l FIR Fis eee Dalal I ae fr oe iA TT EA ood a oo WO ATTACK ALL z JUUS suma RELEASE ALL zj ome P D aL db RANU ALL GAN ALL 12 ae All mi Kii ik Fk l k 20k al wo xf 2 Ta f 2 T TE xf 1 z 0 i 2 i i E ht ae UNIVERSAL AUDIO lt a MULTIBAND ee eeee E PRECISION MASTERING SERIES il COMPRESSOR CPRHGERS GATE MIN OTH ai LIMEAR a Pa D f fa Urt UN Figure 112 The UAD Precision Multiband plug in window UAD Powered Plug Ins Manual 370 Chapter 38 Precision Multiband Precision Multiband Interface The Precision Multiband interface is designed to make this complex processor easier to use Five separate frequency bands are ava
348. hirty factory presets that can be changed by the user Any modification to a preset will be saved even if you change presets If you want to return all the presets to their default settings select Reset all to Defaults at the bottom of the presets menu Edits to any and all presets in the list are maintained separately within each instance of a plug in within a session Most host applications include their own method of managing plug in presets For example the currently selected preset is saved in Cubase Nuendo when 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 sion bank or effect RealVerb Pro Preset List Table 31 RealVerb Pro Presets Far Away Source UAD Powered Plug Ins Manual 410 Chapter 40 RealVerb Pro CHAPTER 41 Boss CE 1 Chorus Ensemble Overview The Boss CE 1 Chorus Ensemble is another classic effect faithfully reproduced by our ace modeling engineers The CE 1 is considered by many to the defin itive chorus effect renowned for its rich and unique timbres Even for the mix engineer stomp boxes can provide secret weapon effects
349. his control is the heart of the Moog Multimode filter combining Moog s clas sic lowpass filter with highpass and bandpass in one control Unlike Moog highpass and bandpass filters of the past UA s design presents Moog s sig nature self oscillation in all three modes bringing a new level of sophistica 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 A Frequencies above and below the cutoff value are filtered Highpass r Frequencies below the cutoff value are filtered Spacing inversely offsets the filter cutoff values for the left and right channels In other words positive Spacing values increase the right channel cutoff while lowering the left channel cutoff and vice versa Spacing is borrowed from Bob Moog s Voyager instrument and separates the hard panned filters by up to three octaves Unlike the original however both filters are moving away from each other in pitch rather than one fixed filter plus one adjustable filter pitch Positive or negative values enable posi tioning the de tuned filters from left to right low to high or high to low Spacing can create great stereo spacial effects When the filter is in Mono mode both filters are still heard Tip Click the knob label SPACING to return the value to zero UAD Powered Plug Ins Manual 231 Chapter 22 Moog Multimode Filter LFO
350. i This control uses a logarithmic scale to provide increased resolu Sg tion when selecting lower values When the knob is in the 12 D 250 o clock position the value is 50 milliseconds E The Mix control determines the balance between the original and __ the processed signal The range is from Dry 0 unprocessed to Wet 100 processed signal only ea This control uses a logarithmic scale to provide increased resolu ONY WET 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 aftect The Wet Solo button puts EMT 140 into 100 Wet mode When Wet Solo is on it is the equivalent of setting the Mix knob value to 100 wet and the Mix value is ignored Wet Solo defaults to On which is optimal when using EMT 140 in the clas sic reverb configuration placed on an effect group bus that is configured for use with channel sends When EMT 140 is used on a channel insert this control should be deactivated Note Wet Solo is a global per EMT 140 plug in instance control UAD Powered Plug Ins Manual 134 Chapter 11 EMT 140 Plate Reverb Power Switch This toggle switch enables or disables EMT 140 You can use it to compare the processed settings to the original signal or to by pass the plug in which reduces but not eliminates the UAD DSP L load unless UAD 2 DSP Loadlock is enabled The red
351. ially out of phase audio signals Designed as a phase problem solving device the 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 the Little Labs IBP Phase Alignment Tool Little Labs IBP Screenshot Little Labs ibp workstation phase alignment rt center power delay ad phase ad phase phasead phase bypass bypass Inva 30 180 Fohl Figure 64 The UAD Little Labs IBP plug in window UAD Powered Plug Ins Manual 206 Chapter 19 Little Labs IBP Little Labs IBP Controls Delay Adjust Delay Adjust Bypass Phase Adjust Phase Adjust Bypass Phase Invert All parameters are clearly labeled with control names Please refer to Figure 64 on page 206 for control descriptions The Delay Adjust parameter is unique to Universal Audio s workstation ver sion of the Little Labs IBP Delay Adjust is a continuously variable control that simply delays the input signal from 0 0 to 4 0 milliseconds Unlike the analog Phase Adjust parameter which is frequency dependent Delay Adjust is purely digital and shifts all frequencies equally Delay Ad jus
352. ias which are used to compensate for the inherent non linearities of tape systems On the hardware these controls are typically adjusted to calibrate the system for optimum response compen sation due to tape non linearities whenever the tape type tape speed empha sis EQ or head width are changed 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 enabled by default When Auto Cal is ON the calibration pa rameters Shelf EQ HF EQ Repro HF Repro LF and Bias change values whenever Tape Type Tape Speed Emphasis EQ or Head Type is modified When Auto Cal is OFF the calibration parameters do not change values when Tape Type Tape Speed Emphasis EQ or Head Type is modified Important Any calibration settings made manually are lost when Auto Cal is activated Consider saving manual settings as a preset before activating Auto Cal UAD Powered Plug Ins Manual 31 Chapter 2 Ampex ATR 102 Record EQ Repro EQ After Auto Calibration occurs the automatically adjusted pa rameters can be modified to any other value if desired If a cal ibration parameter is adjust
353. iated LED is illuminated When this switch is off all plug in processing is disabled UAD Powered Plug Ins Manual 50 Chapter 3 API 500 Series EQ Collection Historical Background API Automated Processes Inc was formed in 1968 with Saul Walker and Lou Lindauer API is perhaps most noted for their modular approach to equip ment manufacturing and for their now legendary 2520 amplitier To this day the extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves API quickly became the leading audio broadcast console manufacturer for radio and television networks and high profile stations Soon after recording studios both large and small began using API The API brand and the company s commitment to excellent audio design endures to this day The 550A became API s standard channel module EQ when the company be gan manufacturing consoles in 1971 As the industry rapidly embraced the sonic quality of the 550A it quickly found it s way into many custom console designs by Frank DeMedio and other leading engineers Many of these con soles are still in use today Forty years later the 550A remains the standard against which other EQs are measured and it has played a major role in the recording industry for decades With virtually all existing units spoken for popular demand for this EQ resulted in API finally resuming production in 2004 The API 500 Series EQ Colle
354. ible effect of adding compression distortion to the audio source and is especially pronounced in all buttons mode What happens here is the attack and release are happening so fast that minute level fluctuations sound like distortion It can add a very useful gritty compression effect This effect is useful on bass where you might need compression and distortion at the same time and the 1176 can provide both in a unique way This trick also sounds great on screaming lead vocals The UA 1176 Limiter Collection includes artist presets from prominent 1176 users Some of the artist presets are in the internal factory bank and are ac cessed via the host application s preset menu Additional artist presets are copied to disk by the UAD installer The additional presets can be loaded us ing the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual Note Presets created with the original 1176LN Legacy and 1176SE Legacy plug ins are incompatible with the newer Classic Limiter Collection plug ins The UA 1176 Classic Limiter Collection plug ins but not the UA 1176LN Leg acy or UA 1176SE Legacy use an internal upsampling technique The up sampling results in a slightly larger latency than most other UAD plug ins See Chapter 9 Delay Compensation in the UAD System Manual for more infor mation UAD Powered Plug Ins Manual 488 Chapter 50 UA 1176 Classic Limiter Collection 1176 C
355. ich are in no way associated or affiliated with Universal Audio or Ocean Way Recording These microphone names descriptions and images are provided for the sole purpose of identifying the specific microphones studied during Universal Audio s sound model development and to describe certain microphone sound qualities and performance characteristics Ocean Way Studios is a trademark used under license by Ocean Way Recording Inc UAD Powered Plug Ins Manual 294 Chapter 29 Ocean Way Studios Polar Patterns Near Mid Far Mic Positions All microphone selections are denoted with O C or 8 after their name Mi crophones with O after the name indicates the polar frequency response pattern of the mic is omnidirectional Microphones with C after the name in dicates the polar pattern of the mic is cardioid Microphones with 8 after the name indicates the mic has a figure 8 polar pattern In simplistic terms omni microphones are equally sensitive to sound pressure levels from all directions while cardioid microphones are more sensitive to sound from the front of the mic and less sensitive from the rear of the mic Fig ure 8 microphones are equally sensitive at the front and rear of the mic but less sensitive at the sides Up to three microphones pairs Near Mid Far are avail MICROPHONES able Each microphone pair can be active simultaneously for ial creative sonic blending DISTANCE DISTANCE DISTANCE ar ATR
356. identical when set correctly However they may be tuned incorrectly to achieve a desired sound Sync EQ and Repro EQ are used as filters to shape the frequency response of the system in maintaining a flat response but they may be used on their own for high or low frequency adjustment Sync HF EQ Adjusts the high frequency content when Path Select page 458 is set to Sync When Path Select is not set to Sync the control has no effect Sync LF EQ Adjusts the low frequency content when Path Select page 458 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 458 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 458 is set to Re pro When Path Select is not set to Repro the control has no effect The Noise controls allow the user to control the Hum and Hiss elements found on the original hardware Separate controls for Hum and Hiss are available and each can be adjusted for creative purposes Noise Tip Click the control label text to return to the Hum or Hiss value to O Hiss affects the signal at the tape head Hum is added after the tape circuitry Hum and Hiss values default to comparative lev els found on the original hardware The available range for both controls is 25 dB The global Noise Enable c
357. idrange 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 affects the band frequency As gain is increased the shelf frequency more closely matches the knob value As gain is reduced how ever the low shelving frequency moves higher and the high shelving fre quency moves lower UAD Powered Plug Ins Manual 282 Chapter 28 Neve 88RS Channel Strip With the UAD Neve 88RS EQ the Q value and range is dependent on the gain setting of the band With any non zero gain setting the Q will be calcu lated in real timetorthatbond Butte ba kk gats zero Q will always dis enable switch play zero The unique sound of AMS Neve EQ is the result of years of research and ex tensive studio experience High Frequency 88RS EQ Band HF band controls Layout High Midrange Frequency HMF band controls Low Midrange Frequency LMF band controls Low Frequency LF band controls i 700 Hz Pt 300 i 20 i dii a a OE a j Figure 88 Neve 88RS EQ Controls Layout EQ Enable EQ lt me This button activates the equalizer module The module is ac tive when the button is gray and the green indicator illumi nates UAD Powered Plug Ins Manual 283 Chapter 28 Neve 88RS
358. ies 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 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 Shelf The low band is controlled by dual concentric knobs deliv ering smooth shelving equalization The inner knob con trols the band gain and the outer ring selects the frequency or band disable Low Gain The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approxi mately 15 dB The gain value is zero when the knob position indicator is pointing straight down UAD Powered Plug Ins Manual 258 Chapter 26 Neve 31102 Console EQ Cut Filters Phase Rotate the control clockwise to boost the selected low band frequency or counter clockwise to reduce the bass response Low Frequency The low frequency is selected with the outer ring of the dual concentric knob controls The ring knob pointer can be dragged with the mouse or click the shelving symbol above the knob to cycle through the available frequencies shittt click to step back one frequency The available low band center frequencies are 35 Hz 60 Hz 110 Hz 220 Hz and
359. ilable for processing Each band is identified by a unique color and all controls specific to the band have the same color This helps to visually associate parameters to the band that they affect The band names and their colors are e Low Frequency LF Red e Low Mid Frequency LMF Orange e Mid Frequency MF Yellow e High Mid Frequency HMF Green e High Frequency HF Blue The interface is divided into four primary areas of control e 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 372 e 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 enabled See EQ Display on page 3 7 e The Dynamics Meters display the amount of gain reduction or expansion oc curring on each band The band enable and solo controls are here also See Dynamics Meters on page 380 e The Global controls affect aspects of the plug in not associated with individ ual bands These include input output controls and meters power and other controls See Global Controls on page 381 UAD Powered Plug Ins Manual 371 Chapter 38 Precision Multiband Band Controls Band Select The Band Controls contain the parameters that HMF TL are used to specify all the settings for each MPE ALL
360. ilable range is O dB fully counter clock wise to 40 dB fully clockwise Note The front panel knob values which range from O 100 are arbitrary and do not reflect any particular dB value Rotate this control clockwise until the desired amount of compression is achieved To monitor the amount of Peak Reduction set the VU Meter knob to Gain Reduction Peak Reduction should be adjusted independently of the Gain control When Peak Reduction is set to its minimum value no compression or limiting occurs but the signal is still colored by the circuitry and the output level can be adjusted with the Gain control The Gain knob increases the output level by up to 40 dB to compensate for the reduced level that results from compression Adjust the Gain control after the desired amount of compression is achieved with the Peak Reduction control The Gain control does not affect the amount of compression Note The front panel knob values which range from 0 100 are arbitrary and do not reflect any particular dB value This rotary knob 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 10 or 4 the VU Meter indicates the output level in dB when set to 4 a meter reading of O corresponds to an output level of 4 dB This is a standard VU meter that displays either the amount of gain reduction or output level depending upon the setting of the Meter Function switch
361. ill sold United West ern to Allen at which time United Recorders then became Ocean Way Re cording It was also during this time Sides began buying close to a thousand tube microphones from overseas The European studios and broadcasters were dumping loads of antiquated tube mics for brand new phantom pow ered transistor mics He carefully went through every mic picking the abso lutely best of the best and selling off the rest This is how along with mics from previous studio buyouts with Putnam Ocean Way amassed one of the largest collection of tube mics in the world Now the Hollywood Studio has changed hands again after nearly 30 years Neighboring Sun set Gower Soundstage now has pur chased the studios and equipment from Allen and entered into a licens ing agreement to keep Ocean Way and its staff in place acquiring the studios to form a strategic alliance between their 100 year old film and TV studios and soundstages and the neighboring music recording studios creating one unified production com plex Allen Sides continues to consult and work at the studios on all his re cording projects d lt The original control rooms and re cording spaces have always stayed true to Putnam s designs and those rooms will remain untouched under the new ownership with top staff and equipment in place According to Ocean Way s new day to day manager Robin Godchild the studios are still very much available for commercial
362. ime adjustments to the Echo Delay parameter have a slower slew rate result ing in sluggish pitch shifting effects The Send switch disables the signal sent into the echo portion of the unit when set to OFF This control is sometimes affectionately re ferred to as the dub switch UAD Powered Plug Ins Manual 153 Chapter 13 EP 34 Classic Tape Echo This switch engages Sync mode for the plug in In Sync mode delay times are synchronized to and therefore dependent upon the mas ter tempo of the host application When Sync is toggled parameter units are converted between milliseconds and beats to the closest matching value Sync See Chapter 8 in the UAD System Manual for more information about tempo synchronization Wet The Wet switch puts the EP 34 into 100 Wet mode When Wet is on it mutes the dry unprocessed signal Wet 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 is used on a chan nel insert this control should be deactivated Note Wet is a global per plug in instance control Its 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 UE comparing the processed settings to the o
363. information The input signal first passes through the Input control page 365 then the In put Meter page 365 before arriving at the Bands divider page 366 After being optionally divided by the Bands parameter the signal is then split into the dry path and the wet saturation path The saturation path is processed by the Shape control page 366 then the wet and dry signals are combined with the Mix control page 367 Finally the mixed signal is processed by the Limit control page 367 before being passed to the Output control page 368 and Output Meter page 368 UAD Powered Plug Ins Manual 364 Chapter 37 Precision Maximizer Precision Maximizer Screenshot MIx ap EO e Go a0 70 20 i a Bo UNIVERSAL AUDIO TH o z PRECISIGH MASTERING SERIES LIMIT a ne k T MAXIMIZER OFF 7 i Po A TAMINES 40 OFF OH Figure 111 The Precision Maximizer plug in window Precision Maximizer Controls Control knobs for the Precision Maximizer behave the same way as all UAD plug ins Input Shape Mix and Output values can be modified with text en try Input Meter The stereo peak Input Meter displays the signal level at the input of the processor after the Input control O dB represents digital full scale O dBFS Precision Maximizer can utilize input signals up to 6 dB at the input before input clip ping occurs The displayed range is from 40 dB to 6 dB Input The Input Level knob controls the
364. ing 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 18 on page 205 Note Extreme parameter settings can cause Lexicon 224 to selt oscillate or cause other unexpected sounds This behavior is identical to the original hard ware The Lexicon 224 display panel Figure 61 below consists of four display el ements Numerical Value LED Value Stereo Level Meters and Overflow in dicator Exactly what is displayed here is dependent on the parameter being edited if any and the state of the Display Hold switch page 202 12 Figure 61 The Lexicon 224 Display Panel Numerical Value The three character Numerical Value Display shows the value of parameters as they are being edited The value of the edited parameter is displayed for 1 5 seconds unless the Display Hold switch is set to infinite in which case the last edited parameter value continues to be displayed UAD Powered Plug Ins Manual 191 Chapter 18 Lexicon 224 If Display Hold is set to 1 5 the default value after parameters are edited the value displayed here reverts after 1 5 seconds to a reverb time which is related to the combined Bass and Mid slider values This relationship is based on approximations designed by the original Lexicon engineers the actual de cay times may not match the displayed value Value LED The Value LED shows the units
365. ing processed by the band S splitter in the plug in In linear phase mode the splitter is inaudible but in min imum phase mode you may hear a slight coloration of the signal at 0 UAD Powered Plug Ins Manual 381 Chapter 38 Precision Multiband Output Level Meter Output Level Kno EQ Display Switch Phase Mode Switch The stereo QUTPUT LEVEL peak hold Out sst i E put Meter dis 3 plays the signal level at the output of the plug in Signal peaks are held for 3 seconds before resetting a La I TR Se Me ee OO TEPI T24 THT FI Fig Fig Fe rb rd Udg PEAN eee eevee iia Spee E O E E The Output Level knob controls the signal level that is output from the plug in The default value is O dB The available range is 20 dB The EQ Display mode can be static or dynamic The EQ Display switch deter mines the active mode Click the switch to toggle the mode EQ In this mode the EQ Display is static Only the colored frequency bands are displayed Dynamic EQ In Dynamic EQ mode a light blue line in the EQ Display indicates the actual frequency response of the processor in realtime 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 reconstruction Linear Use linear phase mode when perfectly
366. input gain when Path Select is set to Sync or Repro In Input mode when Path Select is set to Thru the Meter reflects the pre processed raw input signal level Output When in Output mode the meter reflects the signal level at the output of the plug in which is just after the Reproduce output gain This switch is used to change Meter behavior between Peak or VU modes UAD Powered Plug Ins Manual 23 Chapter 2 Ampex ATR 102 Clip LED Reproduce Record The left and right channels each have a Clip LED just above the Meter The Clip LED is not in the original hardware it is a UAD only feature The Clip LED illuminates only when the machine s audio electronics clip The Clip LED is not affected by the recorded tape signal even if the tape is over loaded and distorting ete Reproduce adjusts the signal level coming off the virtual tape before the signal is sent to the Meters There are two Reproduce controls one each for the left and right channels The left right Reproduce controls can be adjusted individually or simulta neously adjusted when Link mode page 25 is active The available range is dB off to 9 48 dB The default value of O dB is the calibrated position which is marked with a red arrow sticker Repro duce is not affected by Auto Cal Tip Click the REPRODUCE label text to return Reproduce to O dB The Meters accurately reflect the output level when set to Output mode e
367. input of the dynamics or EQ section dependent upon the Pre Dyn switch Understanding this signal flow will help you obtain a more predictable result see Figure 85 below Gate E ae TEA 7 Comp Limit Input Cut Filters Pre Dyn Switch Output swaps Dyn EQ order Figure 85 Simplified signal flow within UAD Neve 88RS The dynamics section consists of a gate expander and a lim Seo 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 depend ing upon Pre EQ switch is sent to both the gate and compressor The gains for both the gate and compressor are computed based on that same signal then both the gate and compressor gains are applied in the same place by a single gain reduction VCA see Figure 85 above UAD Powered Plug Ins Manual 275 Chapter 28 Neve 88RS Channel Strip Gate Expander The gate expander module operates in either gate or expansion mode In gate mode signals below the threshold are attenuated by the range RGE amount see Figure 86 on page 276 and hysteresis is available see Figure 87 on page 277 Expansion mode is enabled by rotating the hyster
368. ions Wow and flutter is measured as the percentage of deflec tion from the original pitch Both are more pronounced at lower tape speeds Note Wow and Flutter levels change with Tape Speed but they are not af fected by automatic calibration Determines the amount of Wow in the signal Wow amp Flutter Enable must be ON for this control to function Wow i Determines the amount of Flutter in the signal Wow amp Flutter Enable must be ON for this control to function e mE These buttons are global enable disable controls for the CROSS OFF JE Crosstalk Level XTALK parameter When Crosstalk is ON the amount of Crosstalk can be adjusted using the Crosstalk Level control Crosstalk is the amount 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 gg able must be ON for the Crosstalk Level control to function The default value of 45 dB is the actual modeled level in the original hardware E The available range is 50 dB to 10 dB Crosstalk Level is not affected by avu tomatic calibration These ON OFF buttons enable and disable the transformer cir cuit of the Ampex ATR 102 For an overview of this feature see Modeled Transformer on page 21 These parameters c
369. ipulation 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 featured equalizer in your arsenal of creative tools Cambridge EQ Screenshot 40 gt 20 100 gai ik Gk 10k 20k 7 aa wre aae LMF RE TERE Ar E gray att 4 he 0 I OQO O a Lre a ae esi aia aa UNIVERSAL AUDIO CAMBRIDGE EQUALISER amp FILTERS Figure 14 The UAD Cambridge EQ plug in window UAD Powered Plug Ins Manual 69 SANTA CRUZ CA Chapter 5 Cambridge EQ Cambridge EQ Controls Response Curve Display Each feature of the Cambridge EQ interface is detailed below The Response Curve Display plots the frequency response of the current Cam bridge EQ settings It provides instant visual feedback of how audio is being processed by the equalizer wk 20k 10 10k 20k Figure 15 Cambridge EQ Response Curve display The entire audio 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
370. ir om a Dae 1 v i pag i BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH FREQUENCY Hf FREQUENCY HZ FREQUENCY HZ FREQUENCY Hz 100 180 pan 360 Wi az 1K TED 22 Sey JKS Ske T 270 kI IRZ tsa JEJ 1RS af Kr i W 1 e EA o R MASSIVE PASSIVE O NE O F ae STEREO EQUALIZER i ii J Figure 67 The Massive Passive Mastering plug in window Unusual EQ Conventions Passive EQ Parallel Topology The Massive Passive has design and operation characteristics that make it unique in the EQ world Some of these factors mean the Massivo may not respond in a manner that you would expect from typical EQs Keeping these points in mind may help you obtain more satisfactory results See Notes from Manley Laboratories on page 224 for more tips No active components are used in the EQ circuits just like revered vintage EQs This can make some adjustments respond in more subtle ways 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 channel are boosted 20 dB at 2 7kHz you ll get much less than 40 dB of boost at 2 7kHz UAD Powered Plug Ins Manual 215 Chapter 21 Manley Massive Passive EQ Unique Shelves No negative feedback loops Control Interaction Most EQs offer a shelving mode for the edge bands only Massive Passive of fers the shelving option on all bands for expanded sonic possibilities such as staircase
371. is EQ values do not already match be tween instantiations before Gang Controls is active the resulting calibrated values may not match either e When Gang Controls is enabled there are no audible or visual changes to the other Studer A800 instantiations until a control is actually changed e When Gang Controls is enabled and a Studer A800 settings preset is loaded via the UAD Toolbar the loaded parameter settings are pushed to all Studer A800 instances Refer to Figure 145 on page 465 for the HF Record EQ Bias Sync EQ and Repro EQ controls These controls are automatically adjusted when Auto Cal is active or they can be manually modified as desired The flat calibrated position for these controls is determined by Tape Type and Tape Speed therefore the available range for these controls is depen dent on the current calibration Tip Clicking the text label for any of the HF Record EQ Bias and Sync Re pro EQ controls will return that parameter to the calibrated value Note When making manual calibration settings consider disabling Auto Cal page 463 so the manually calibrated settings are not accidentally lost if another control is modified UAD Powered Plug Ins Manual 464 Chapter 47 Studer A800 HF Record EQ HF Driver Bias Sync Repro EQ HF DRIVER SYNE EO nemi Tat Figure 145 The calibration controls for Studer A800 HF High Frequency Record EQ is provided to make up for common residual HF loss
372. is engaged the plug in is disabled and UAD DSP usage is reduced unless UAD 2 LoadLock is enabled LI76AE LIMITING AMPLIFIER UNIVERSAL AUDIO IRG AMPLIFIER BIF6LA LIMIT Fi UNIVERSAL AUDIO The UA 1176 Limiter Collection Original Hardware UAD Powered Plug Ins Manual 493 Chapter 50 UA 1176 Classic Limiter Collection CHAPTER 51 UA 610 Tube Preamp amp EQ Collection Historical to Modern Tube Amplification from Universal Audio The Universal Audio 610 A Modular Amplifier was designed by audio renais sance man and UA founder M T Bill Putnam and set a major milestone in console design An all tube and transformer class A design with feedback style EQ the 610 A was the first preamp design to include echo sends and modularity which allowed channels to be swapped mid recording session The 610 B is the current Universal Audio design employed in the popular modern equivalents such as the Universal Audio 2 610 and 6176 The sheer number of classic recordings made by the 610 new or old is staggering From Coldplay to Cold War Kids and Duke Ellington to The Doors the 610 has been part of the fabric of modern recording since 1958 With over a year in research and design the UA 610 Preamp and EQ Col lection represents the next major milestone in the evolution of Universal Au dio s 610 and for preamplification as a whole For the first time the UA 610 Preamplitier and EQ Collection plug ins offer the complete sound
373. is set to Sync or Repro Additionally the tools may not operate in some hosts unless audio is present on the track containing the plug in and the transport is running Placing the plug in on an aux bus or master output may eliminate this host limitation This section describes the functions of the manual calibration tools For instruc tions on how to use the tools to perform a manual system calibration see the Manual Calibration Procedure on page 39 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 level Alignment tapes are required for system calibration and adjustment so that playback of previously recorded session tapes will have correct and consis tent equalization and levels regardless of when or where the session tape was originally recorded After tape playback system EQ and levels are calibrated to match the known to be correct values of the alignment tape s the record side alignment is performed The entire record playback system will then have proper EQ and gain structuring Magnetic Reference Laboratory MRL is a company that produces align ment tapes The MRL tapes used in the UAD Ampex ATR 102 are fringing compensated In depth discussions
374. isted in Table 6 below Table 6 Ampex ATR 102 parameter dependencies Tape Speed Head Width Tape 2 30 IPS 3 75 IPS so o j waa DEDE BEN o 456 o 456 o 45 o 45 o 456 o 456 o 456 o 456 o 456 o 456 o 45 Ampex ATR 102 The Ampex ATR 102 uses an internal upsampling technique This upsampling Latency results in a larger latency than most other UAD plug ins See UAD Delay Compensation in the UAD System Manual for more information UAD Powered Plug Ins Manual 43 Chapter 2 Ampex ATR 102 AMPEX FNR OONA Professonal Audo Original Ampex ATR 102 Mastering Recorder Brochure UAD Powered Plug Ins Manual 44 Chapter 2 Ampex ATR 102 CHAPTER 3 API 500 Series EQ Collection Introduction The 550A and 560 modular EQs are some of the most popular and enduring mixing and tracking processors ever made The 500 series modules from API are true industry standards found in professional multi channel consoles to Lunchbox racks in the humblest of project studios Designed by the now leg endary Saul Walker in the late 60s the combination of Walker s 2520 op amp and his Proportional Q circuitry gave the 550 and 560 an uncompli cated way to generate acoustically superior equalization Universal Audio now offers the UAD 2 platform true best in class emulations of these two audio production staples With UA s industry leading circuit model ing that captures the filter shapes band interactions
375. ital Reverb with its tactile slider based controller and fa mously lush reverb tail almost single handedly defined the sound of an en tire era It served as a major player in the sound of highly influential classics such as Talking Heads Remain In Light Grandmaster Flash amp The Furious Five s The Message Vangelis incredible Blade Runner soundtrack U2 s Un forgettable Fire and Peter Gabriel s So With such a refined legacy it s no surprise that the Lexicon 224 remains one of the most popular digital reverb units of all time The result of using the very same algorithms and control processor code from the original hardware the UAD 2 Lexicon 224 precisely captures all eight re verb programs and the chorus 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 and presets from famous Lexicon 224 users including Chuck Zwicky Prince Jeff Beck Eli Janney Jet Ryan Adams David Isaac Eric Clapton Luther Van dross E T Thorngren Talking Heads Bob Marley and Kevin Killen U2 Pe ter Gabriel Developed by renowned physicist engineer Dr David Griesinger the Lexi c
376. ited set of studio spaces and exhaus tively models numerous room positions microphones and sound source dis persion patterns which all combine to provide the ultimate in acoustic re alism Ocean Way Studios is sonically superior in terms of overall model accuracy and dynamic customization The factory presets are of particular importance Pres 0 RE MIC OWA Drums 1 with the Ocean Way Studios plug in because Pres 1 RE MIC OWA Drums 2 they are designed by Allen Sides and they cap nee e a Pres RE MIL OWA Horns ture his ideal microphone selections and place Pres 4 RE MIC OWA Piano ment positions for each studio and source 32 pre Gkiksiiiina n f Pres 6 RE MIC OWA Vocal Solo sets are available in the internal factory bank ae eee a ds providing optimum control settings in both Re Mic Pres 8 RE MIC OWB Drums 1 ys Pres 9 RE MIC OWE Drums 2 and Reverb modes 10 additional presets that use ayaa rasa the guitar cabinets as source can be accessed via Pres11 RE MIC OWB Horns Pres l2 RE MIC OWE Piano the UAD Toolbar Presi3 RE MIC OWE Vocal Group Presl4 RE MIC OWGB Vocal Solo Choosing presets differs from simply choosing dif IaRarattatitaen tietten ferent Studio Source and Microphone selections Balissa n E A sci Presl REVERB OWA Drums 2 Because with Ocean Way Studios it s possible to a ae select a variety of microphones and place the mi ees Glen aia e er 1 e Pres20 REVERB OWA Piano cropho
377. ith the original LA 2A Legacy plug in are incompati ble with the newer Leveler Collection plug ins UAD Powered Plug Ins Manual 471 Chapter 48 Teletronix LA 2A Leveler Collection Reference Level Plug ins in the Teletronix LA 2A Leveler Collection operate at an internal refer ence level of 12 dBFS This enables more range in the primary controls Peak Reduction and Gain before the I O distortion characteristics become appar ent signals at the input of these plug ins can be pushed higher before they dis tort For additional information about internal reference levels see Operating Levels in Chapter 7 of the UAD System Manual Upsampling The Teletronix LA 2A Leveler Collection plug ins but not the Teletronix LA 2A Legacy use an internal upsampling technique The upsampling results in a slightly larger latency than most other UAD plug ins See Chapter 9 Delay Compensation in the UAD System Manual for more information UAD Powered Plug Ins Manual 472 Chapter 48 Teletronix LA 2A Leveler Collection LA 2A Controls Peak Reduction Gain Meter Knob VU Meter On Power Switch Each model in the LA 2A plug in collection has the same control set The pa rameter descriptions below apply to all models unless otherwise noted This control sets the amount of signal compression by adjusting the trigger threshold Increasing the value lowers the threshold and therefore increases the amount of compression The ava
378. ives the ability to dial 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 also worked closely with Dave Derr to bring you his never before available original concept of the FATSO bundled at no additional charge Adding his own custom mods that turn the original FATSO into an unbelievable powerhouse of tonal shaping possibilities the FATSO Sr offers a Tranny saturation control sidechain filtering and deeper com pression parameters including Threshold Attack and Release These special FATSO Sr mods are only available with Universal Audio s plug in version of this unique studio tool Note The additional controls in the FATSO Sr do not add to the DSP func tionality of the FATSO Jr Therefore both plug ins use the same amount of UAD DSP UAD Powered Plug Ins Manual 116 Chapter 10 Empirical Labs EL7 FATSO FATSO Screenshots ala NPUT 15 12 i Warmth 5 3 2 1 OUTPUT Fi i A 1 g b BUSS ee 1 5 Pinned TRANNY Labe Zah a amp bai Ww ap esComp o 6 a i a 0w BYPASS io SPANK d Warmth 7 To LINK click Link LEDs LINK
379. ization Send determines whether or not signals are sent into the delay processors When Send is ON the input signals are delayed When OFF the delay in puts are muted When both coiled tubes of the original hardware are cascaded to increase the available delay time when both channels are serially connected the son ics are slightly different than when only one coil is used The Coils switch tog gles between these two sounds available on the hardware regardless of the Delay value Tip Longer decays are available when Coils value is set fo 1 UAD Powered Plug Ins Manual 82 Chapter 6 Cooper Time Cube Color Treble Bass Wet Solo Power Meter The Color switch toggles between the original filter emphasis of the hardware in position A and the leveled filter in position B which allows for greater De cay ranges Unlike the other parameters the A and B labels for Color are for reference only They do not represent the left and right channels Note Color can be subtle and its affect can vary depending on the value of Coils and or Decay Treble controls the high frequency response in the delayed portion of the sig nals It does not affect the dry signal Treble is a cut boost control it has no effect when in the 12 o clock position Bass controls the low frequency response in the delayed portion of the sig nals It does not affect the dry signal Bass is a cut boost control it has no ef fect when in
380. k the or text labels to increment decrement values or 3 Hover over the outer concentric knob then use the mouse scroll wheel or 4 Click directly on the gain value label to switch to that value this method works only when Controls Mode is set to Circular in the UAD Control Panel Configuration panel UAD Powered Plug Ins Manual 48 Chapter 3 API 500 Series EQ Collection Bandpass Filter Bell Shelf Switches Output EQ In Power This switch FLTR applies a 50 Hz 15 kHz bandpass filter to the entire signal The bandpass filter is completely independent from the from the three main band filters The HF and LF bands are normally in bell mode When the Bell Shelf button is engaged for the band in the darker down position the band is switched to shelving mode LF Shelf When the LF Shelf button is engaged the low frequency band is switched to shelving mode HF Shelf When the HF Shelf button is engaged the high frequency band is switched to shelving mode This control provides 24 dB to 12 dB of clean uncolored gain at the output of the plug in Tip Click the O text label to return Output to the O dB position ri Fi oe eK AE Da OUTPUT The EQ In switch enables the three band filters and the bandpass filter All filters are active when the switch is engaged and the IN LED is il luminated When disengaged the filters are bypassed but o
381. knob position at maximum gain See Figure 21 100 S00 c I i 5k i k z0 kan 10 100 Sk 10k 20k Figure 21 Parametric Type IIl response UAD Powered Plug Ins Manual 77 Chapter 5 Cambridge EQ Shelf EQ Shelf Enable Button Shelf Type Button Shelf Q Each band can be switched from parametric mode to shelf mode by clicking the shelf enable button The button is off by default To enable shelving on any band click the shelf button The button is green when shelving is enabled Additionally the control bat associated with the band has a horizontal shelf indicator line in the response curve display see Figure 23 on page 79 when shelf mode is active When a band is in shelf mode and its Q is above the min imum value a resonant peak occurs in the filter response The Shelf Type button affects where this resonant peak oc curs in relation to the shelf frequency Its purpose is 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 22 on page 79 B the edge of the passband Figure 23 or C at the edge of the stopband and the passband Figure 24 When a band is in shelf mode the Q knob sets the resonance of the band The range of the Q knob is 0 100 when in shelf mode Note When a band is in shelf mode the Gai
382. l 81 Chapter 6 Cooper Time Cube HP Filter Echo A B Sync Send Coils The 12 dB per octave high pass filter is used to reduce low frequencies at the input to the delays when desired The high pass filter affects the delayed wet signals only The available frequency range is from 20 Hz to 12 kHz Turn the knob clockwise to reduce low frequencies into the delay processors Full processor bandwidth is obtained with the knob in the fully counter clock wise position These two windows display the current delay times of channels A and B Displayed values are defined by the Delay parameter Delay A B on page 84 Delay values can be entered here directly using the text entry method When Sync mode is off delay times are expressed in milliseconds When Sync is on delay times are expressed as a fractional 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 2500ms as defined by the current tempo of the host application 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 between milliseconds and beats to the closest matching value See Tempo Sync in Chapter 8 of the UAD System Manual for detailed in formation about tempo synchron
383. l and a2 UAD Powered Plug Ins Manual 264 Chapter 27 Neve 33609 Compressor Limiter In Attack Compressor Compressor Threshold Compressor Recovery The automatic settings al and a2 are program dependant The value for a1 can be as fast as 40ms but after a sustained period of high signal level the period is 1500ms The value for a2 can be as fast as 150ms but after a sus tained period of high signal level the period is 3000ms This toggle switch enables the limiter portion of the plug in The limiter has no effect unless this switch is in the In down position Attack determines how fast limiting will engage when the signal exceeds the limiter threshold The Fast setting is 2 milliseconds and the Slow setting is 4 milliseconds thrasholddBu recovery ms gain ratio 0 7600 B iz oa E g aj 16 zl ae 4 i aj i aye a7 belt OP i 20 ra aa A 6 1 s Fi a a i compiess COMPRESS 1 TF Controls in this section only function when the compressor is enabled with the compress In switch the Power switch must also be on Note The compressor precedes the limiter see Signal Flow on page 263 Threshold determines how much compression will occur When the input sig nal exceeds the threshold level the compressor engages A smaller value re sults in more compression The available range is from 20 dB to 10 dB in 2 dB increments Recovery release is the time it takes for th
384. l falls below a second non adjustable threshold which is roughly 40 dB be low the adjustable threshold value then the release slows down drastically This acts as a silence detector The concept is that if there is a quiet signal then the compressor should release to reduce the dynamic range But if there is a sudden onset of silence it is likely that when the signal returns it will be at about the same level as the region before the silence So in that case the compressor doesn t release quickly UAD Powered Plug Ins Manual 279 Chapter 28 Neve 88RS Channel Strip L C Enable L C L C Gain L C Hard Knee HN An example When compressing a snare track with a standard compressor if the snare hits are sparse the compressor will release between each hit so that each hit has a squashed sound With the 88R compressor distortion will be reduced because the compressor will not come out of compression as much between the snare hits The compressor will still release somewhat dur ing the snare hits however Note For additional information see The LA 2 captures one of the earliest Teletronix examples This exceedingly rare unit preceded the LA 2A by a few years and incredibly still has the original TAA fully intact The LA 2 provides the slowest response and a unique mellowed sound due to 50 years of lu minescent panel aging inside the T4 module Use the LA 2 with legato tempos and your most vowel like sources
385. l pa rameters to the right channel parameters and clicking A lt B copies all the val ues from the right channel parameters to the left channel parameters UAD Powered Plug Ins Manual 341 Chapter 34 Precision Equalizer Power Switch Band Controls Bandwidth Knob Band Enable Button The Power Switch determines whether the plug in is active This is useful for comparing the processed settings to the UNIVERSAL AUDI original signal or to bypass the plug in to reduce the UAD PRECI ULE DSP load load is not reduced if UAD 2 DSP LoadLock is enabled EQUALIZER Click the rocker switch to change the Power state Alter nately you can click the blue UA logo to toggle the Power state Each control set L and R has four EQ bands Two bands are overlapping low frequency bands labeled L1 and L2 and two bands are overlapping high fre quency bands labeled H1 and H2 Each of the four bands has a control for bandwidth enable frequency and gain All four of the EQ bands can be used in parametric or shelf mode The controls are exactly the same for each band only the available frequency val ues differ 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 bands the band becomes a low
386. l signal sidechain to reduce the sensitivity of the compression to lower frequencies while retaining them in the output sig nal An automatic Fade feature is included which allows the user to set a cus tom fade out or fade in of the mix between 1 and 60 seconds long Rounding out the feature set is a Mix control that allows the user to achieve parallel style dynamics control without the need for a second buss or channel UAD Powered Plug Ins Manual 320 Chapter 30 Precision Buss Compressor Precision Buss Compressor Screenshot Pacis ae ae OA Oa E ph ane idal a e i ape ji 2 ia 241 48 45 42 A 6 j K 1 jp 14 17 GAIN ane REDUCTION UNIVERSAL AUDIO Figure 98 The Precision Buss Compressor plug in window Precision Buss Compressor Controls Filter Threshold Control knobs for the Precision Buss Compressor behave the same way as with all UAD plug ins Parameters with text values can be modified with text entry Filter regulates the cutoff frequency of the filter on the compres sor s control signal sidechain Removing low frequency content trom the sidechain can reduce excessive gain reduction and or pumping on bass heavy audio signals without reduc a ing bass content of the audio signal itself FILTER 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
387. l sources including guitar bass drums keyboards full source 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 Power Effect The buttons on MXR Flanger Doubler are two state switches The buttons are ON when they are in the DOWN position When ON DOWN they are gray with a darker shadow When OFF UP they are white Power is the plug in bypass control Power is ON when the LED is red When set to OFF emulation processing is disabled the LEDs are dimmed and DSP usage is reduced if DSP LoadLock is inac tive Power is useful for comparing the processed settings to the original signal PPT This button switches between Flanger and Doubler modes It de tee tines the range of signal delay available for the mode The func Ait tien tion of all the other controls is the same in both modes See Modes on page 237 for additional details about the two effects UAD Powered Plug Ins Manual 238 Chapter 23 MXR Flanger Doubler Stereo Mode Flanger When in the down gray position Flanger mode is active This is the de fault setting
388. lar controls The band center frequency is controlled the top row of knobs and the band gain is controlled by the bottom row The low EQ band can be operated in either peak or shelf mode J When the Low Peak switch is in the out position the low EQ band operates in shelf mode When the Low Peak switch is engaged darker the low EQ band operates in peak mode the other bands always operate in peak mode This control determines the low band center frequency or the edge frequency when in shelf mode to be boosted or attenuated by the band Gain setting The 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 This control determines the low midrange band center frequency to be Frequency boosted or attenuated by the band Gain setting The available range is 200 Hz to 3 1kHz Low Mid Gain This control determines the amount by which the frequency setting for the low midrange band is boosted or attenuated The available range is 10 dB High Mid This control determines the low midrange band center frequency to be Frequency boosted or attenuated by the band Gain setting The available range is 400 Hz to 6 kHz High Mid Gain This control determines the amount by which the frequency setting for the high midrange band is boosted or attenuated The available range is 10 dB Hi Frequency This contr
389. late tield re verberation are then independently positioned in the soundfield Big Bright Hall Material Levels Mute a EN 2 EE TE J Input Gain Output Gain Positioning Mix tF F w Distance os im Ai Direct 100 L 100 F uF JE ca arc Eat 0 0 dB E TA ET dB 475 ite W 3 5 de Early 100L f 100 F L e F Lat 100L f 1100F L OH F iF EE oe EE Figure 122 The RealVerb Pro plug in window UAD Powered Plug Ins Manual 397 Chapter 40 RealVerb Pro The RealVerb Pro user interface is similarly organized see Figure 22 Re flected energy equalization is controlled with the Resonance panel The pat tern of early reflections their relative timing and amplitudes is determined by the room shapes and sizes in the Shape panel early reflection predelay and overall energy is specified at the top of the Timing panel The Material panel is used to select relative late tield decay rates as a function of frequency The overall late field decay rate is chosen along with the room diffusion late field predelay and late tield level at the bottom of the Timing panel Finally the Po sitioning panel contains controls for the placement of the source early reflec tions and late field reverberation Spectral Characteristics Shape and Size The Shape and Material panels specify the room shape room size room ma terial and thickness These room properties affect the spectral
390. lator You can use this switch to compare the DM 1 settings to the original signal or bypass the entire DM 1 section to reduce UAD DSP load load is not reduced if UAD 2 DSP Loadlock is en abled Adjusts the signal output level of the plug in DM 1L is identical to the DM 1 except that the maximum available delay time per channel is 2400milliseconds DM 1L requires significantly more memory resources of the UAD than the DM 1 Therefore we recommend using the DM IL only when very long delay times are needed UAD Powered Plug Ins Manual 92 Chapter 7 CS 1 Channel Strip Link Button This button links the left and right delay knobs so that when you move one de lay knob the other follows The ratio between the two knobs is maintained L DELAY A DELAT sync a N ne Figure 33 The DM 1L includes a Link button RS 1 Reflection Engine REFLECTOR o r yo ENgSLe BYPASS L FAN R FAH Eo F z ETa eo woms r EFE Figure 34 The RS 1 Reflection Engine plug in window Overview The RS 1 Reflection Engine simulates a wide range of room shapes and sizes to drastically alter the pattern of reflections While similar to that of the RealVerb Pro plug in the RS 1 does not offer 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 simul
391. ld tube equipment from United Western Studios Allen was a runner at United Western in the late 60 s and knew everyone but had never met Bill knew Bill was out of town so went to Ray and said How about give you 6 000 for all this junk including the trailer in the back with the old Western console in it He said I ll take it get this stuff out of here UAD Powered Plug Ins Manual 316 Chapter 29 Ocean Way Studios One man s junk is another man s treasure and in this case was able to ac quire some old Fairchild limiters UA tube limiters Macintosh tube amps and enough equipment to completely fill my garage studio It was the deal that re ally put me in business However there was a slight problem didn t actually have the 6 grand so wrote a check picked up the stuff and within six hours had sold enough gear to cover my check When Putnam returned and found that his manager had been snookered into selling all this equipment for 6 000 he wanted to meet him As Sides explains There was no way to ever anticipate what would take place When walked into Bill s office he gave me a long stern look That look eventually turned into a smile and he proceeded to offer me a partnership which involved buying out studios all over the United States Bill and just clicked immediately and we became very good friends and business partners in the following years By 1976 things were going well at t
392. le 6 on page 43 Each type has its own subtle sonic variation distortion onset and tape com pression characteristics Generally speaking the lower the Cal Level for each formula the higher the signal level required to reach saturation and distor tion UAD Powered Plug Ins Manual 27 Chapter 2 Ampex ATR 102 Cal Level Cal Level automatically sets tape calibration fluxivity The Cal Level cA setting takes care of the setup one would need to make under equiv alent hardware operation and sets the reference tape flux level with 75 out disturbing the unity gain of the plug in To select the Cal Level click the CAL button to cycle through the avail C able levels or click directly on the calibration value label The active oD Cal Level is highlighted in yellow The default value is 6 dB iae Because Cal Level affects the operating levels in the plug in it can be used to compensate for overly high or low levels at the input of the plug in For ex ample if the input is too hot 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 33 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 sometimes the machine is under calibrated to
393. le in these plug ins To bypass plug in process ing in these models use the Meter OFF button Release sets the amount of time it takes the 1176 to return to its initial pre gain reduction level The 1176 release time is adjustable from 50 millisec onds to 1100 milliseconds 1 1 seconds Note that the actual release time varies slightly based on the particular plug in model in use and also partially depends on the program material The release time is fastest when the Release knob is in its fully clockwise po sition and is slowest when it is in its fully counter clockwise position If the re lease time is fast pumping and breathing artifacts can occur due to the rapid rise of background noise as the gain is restored If the release time is too slow however a loud section of the program may cause gain reduction that persists through a soft section making the soft section difficult to hear UAD Powered Plug Ins Manual 490 Chapter 50 UA 1176 Classic Limiter Collection Ratio Multiple Ratio Buttons All Button Mode About Program Dependent Release Program dependent release is a feature of many compressors The motivation for having program dependent release is as follows After a transient it is de sirable to have a fast release to avoid prolonged dropouts However while in a continued state of heavy compression it is better to have a longer release time to reduce the pumping and harmonic distortion caused
394. lease time compression for sections of audio with loud signals may extend to lengthy sec tions of audio with lower signals The range is 25 milliseconds to 2500 milli seconds 2 5 seconds UAD Powered Plug Ins Manual 88 Chapter 7 CS 1 Channel Strip Ratio Knob Threshold Knob Meter Pop up Menu Enable Bypass Switch Compressor Output Knob EX 1M Overview Determines the amount of gain reduction used by the compression For exam ple a value of 2 expressed as a 2 1 ratio reduces the signal by half with an input signal of 20 dB being reduced to 10 dB A value of 1 yields no com pression Values beyond 10 yield a limiting effect The range is 1 to Infinity Sets the threshold level for the compression Any signals that exceed this level are compressed Signals below the level are unaffected A Threshold of O dB yields no compression The range is O dB to 60 dB As the Threshold control is increased and more compression occurs output level is typically reduced However the EX 1 provides an auto makeup gain function to automatically compensate for reduced levels Adjust the Output level control if more gain is desired 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 Enables or disables the Compressor You can use this switch to compare the compressor settings to that of the original
395. led 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 plates original A800 units tip the scales at a backbreaking 900 pounds 408 kg not to mention the space required to house such a device The UAD 2 plug in version poses none of the hardware hassles of manual calibra tion and maintenance nor the potential for tape degradation while retain ing all the beautiful sonic qualities that make tape such a beloved recording medium Just drop the A800 in your first insert on every track desired and en joy the benefits of having recorded to tape All 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 UAD Powered Plug Ins Manual 454 Chapter 47 Studer A800 Studer A800 Screenshot Figure 143 The Studer A800 plug in window Operational Overview The Studer A800 for UAD 2 provides all of the original unit s desirable ana log sweetness like magnetic tape users can dial in
396. lipping can dramatically change the distortion characteristic and may yield significantly different results in one band versus three band mode e Generally speaking the input should be set as high as possible before un desirable sound quality is obtained e For optimum results especially when Limit is off ensure the source signal is not clipped before it arrives at the Precision Maximizer input e Output clipping can be completely avoided by enabling Limit e One band mode is generally recommended for program material e Set Mix at 100 in order to hear the full affect of the Maximizer process Reduce Mix when blending in the original signal is desired e Changing the order of plug ins in the signal path can have a dramatic affect on Precision Maximizer results e Sonic experimentation is highly encouraged Precision Maximizer Latency The Precision Maximizer uses an internal upsampling technique This upsam pling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more informa tion UAD Powered Plug Ins Manual 369 Chapter 37 Precision Maximizer CHAPTER 38 Precision Multiband Overview The Precision Multiband is a specialized mastering tool that provides five spectral bands of dynamic range control Compression expansion or gate can be chosen separately for each of the five bands The unparalleled flexi bility and easy to follow grap
397. lly clockwise position and is slowest when it is in its fully counter clockwise position When a fast at tack time is selected gain reduction kicks in almost immediately and catches transient signals of very brief duration reducing their level and thus soften ing the sound Slower attack times allow transients or partial transients to pass before lim iting or compression begins on the rest of the signal Note that the actual at tack time varies slightly based on the selected ratio and the particular plug in model in use Lower ratios will maintain the fastest attack times UAD Powered Plug Ins Manual 489 Chapter 50 UA 1176 Classic Limiter Collection Release The behavior of the Attack knob varies slightly between the models as de tailed below UA 1176AE Attack The 1176AE offers a unique fixed 10 ms SLO Attack mode when this con trol is moved to the fully counter clockwise position UA 1176 Rev A and UA 1176LN Rev E Attack When Attack is in the OFF position the I O amplifiers remain active while the compression circuit is bypassed This enables these models to add 1176 color without dynamics processing This function is identical to disengaging all the Ratio buttons Note To avoid unexpected level changes that can result when compression is disengaged on these models the OFF text label must be clicked to move the Attack knob to the OFF position UA 1176LN SE Legacy Attack The OFF position is unavailab
398. lly controls the amplitude of the reflections energy at the end point 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 most pronounced when Filtering is set to 100 Note The parameters in the Materials panel have no effect on the early re flections unless this parameter value is above 0 UAD Powered Plug Ins Manual 108 Chapter 9 DreamVerb Late Field Relative Timing To highlight the relative timing relationship between the early reflections and late field reverberation components the shape and timing of the late tield is represented as an outline in the Reflections panel The shape of this outline is moditied by parameters in the Reverberations panel not the Reflections panel Reverberation Panel Bypass switch Early reflections relative timing display Late field start time control bat The Reverberation panel Figure 43 contains the parameters that control the late field LF reverb tail for DreamVerb The primary spectral characteristics of the late field reverberation are deter mined by the parameters in the Materials panel page 105 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 Amplitude E and Slope
399. lso includes a DSP optimized 31102SE Special Edition EQ for higher instance counts Neve 31102 Screenshot Figure 79 The Neve 31102 plug in window UAD Powered Plug Ins Manual 256 Chapter 26 Neve 31102 Console EQ Neve 31102 and 31102SE Controls Input Gain High Shelf The Input Gain control sets the level at the input of the plug in and doubles as a plug in bypass control The range is from 20 dB to 10 dB and off When the Input Gain knob snaps to the off position plug in processing is disabled and UAD DSP usage is re duced Note UAD 2 only UAD 2 DSP usage is reduced only when DSP Loadlock is disabled If DSP Loadlock is enabled the default setting setting Input Gain to off will not reduce DSP usage Tip Clicking the off screen label toggles between off and the previously set Input Gain value You can also click the Neve logo to toggle between off and the previous state The high shelf delivers smooth high frequency 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 range is approximately 15 dB The gain value is zero when th
400. ly simple integration of drum sounds into a mix If the acoustic level of a snare is expanded to approximately 4 dB by increasing the attack value the effective increase of peak levels in the overall mix is merely about 0 5 dB to 1 dB If your drums happen to sound as if the room mics have been placed in a shoe closet the Transient Designer can immediately turn that sound into the ambi ence of an empty warehouse Just send the stereo room mics through the Tran sient Designer and crank the ATTACK control to emphasize the first wave Now slowly increase SUSTAIN values to bring up an all buttons in 1 176 sound room tone but without pumping cymbals For a solid and driving rhythm track just fine tune the SUSTAIN control to make sure that the room mic envelope ends more or less exactly on the desired upbeat or downbeat UAD Powered Plug Ins Manual 428 Chapter 44 SPL Transient Designer Guitars Bass Staccato vs Legato The Re Invention Of Reverb Use the Transient Designer on guitars to soften the sound by lowering the AT TACK Increase ATTACK for in the face sounds which is very useful and works particularly well for picking guitars Or blow life and juice into quietly played guitar parts Distorted guitars usually are very compressed thus not very dynamic Simply increase the ATTACK to get a clearer sound with more precision and better in tonation despite any distortion Heavy distortion also leads to very long su
401. mbridge EQ alto gether 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 is enabled UAD Powered Plug Ins Manual 72 Chapter 5 Cambridge EQ Low Cut High Cut Filters m The Low Cut and High Cut filters are offered in ad dition to the five parametric shelf bands A wide range of filter types is provided to facilitate tonal creativity Many filters that are available are repre sented Three controls are offered Cut Type Enable and Frequency Each control is detailed below Cut Type Menu T The Cut Type menu determines the sound of the low 6 z ees and high cut filters To view the Cut Type menu click and hold the green cut type button Four types of responses are provided Coincident z0de cct fmm Pole Bessel Butterworth and Elliptic The numbers represent the filter order i e Bessel 4 is a fourth or der filter Each offers a different sound To select a Eee new cut response drag to the desired response and Bessel 4 Besselg E eeose Butterworth 2 H 4 The responses are more gentle on filters with lower Butterworth 4 numbers and get steeper and more aggressive as E the numbers increase The coincident pole filters are Elliptic kt first order filters cascaded in series and offer gentle slopes Bessel filters are popular because of their smooth phase characteristic with d
402. ments and sonic characteristics With only four pushbutton dimension set tings the Dimension D is the ultimate in functional simplicity D Screenshot Figure 132 The Roland Dimension D plug in window UAD Powered Plug Ins Manual 415 Chapter 42 Roland Dimension D Roland Dimension D Controls Dimension Mode Multiple Buttons Input Mode Switch Power Switch Power LED Output Level The Roland Dimension D is very simple device to operate it has only three controls Power Mono and Mode Each control is detailed below The Dimension Mode determines the effect inten sity Four different modes are available Mode 1 is the most subtle effect and Mode 4 is maximum Intensity DIMENSION MODE i ie True to the original hardware multiple Dimension Mode buttons can be en gaged simultaneously for subtle sonic variations of the four main modes To engage multiple Dimension Mode buttons press the Shift key on the computer keyboard while clicking the Mode buttons The original Roland Dimension D has an input switch on the back that puts the unit into mono in stereo out mode We have included this 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
403. meters can be defeated 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 sonics at outputs B and D See Inputs amp Outputs on page 190 for an overview of the hardware implemen tation REAR Rear Outs Notes a e The left right outputs of the plug in always reflect hardware outputs A and C respectively when Rear Outs is inactive and outputs B and D respectively when Rear Outs is active e Outputs A and C are recommended for stereo use the rear outs are gen erally not used in typical applications e Outputs A and C are identical to D and B respectively in the following pro grams P2 Vocal Plate A P5 Percussion Plate A P8 Constant Density Plate A and P9 Chorus A Consequently the Rear Outs control effectively swaps the left right outputs in these programs UAD Powered Plug Ins Manual 197 Chapter 18 Lexicon 224 Mode Enhancement Mode Enhance Enable Mode Enhance Amount Mode Enhance Pitch Shift Mode Enhancement makes the sound of the Lexicon 224 programs more nat ural by preventing room modes from ringing in the reverb tail Mo
404. mmonly used by firefighters to deliver water to a fire more efficiently than would be possible if each person were to carry a single bucket from the water source to the destination UAD Powered Plug Ins Manual 236 Chapter 23 MXR Flanger Doubler MXR Flanger Doubler Screenshot flanger doubler MONO INVERT SYNC Figure 73 The UAD MXR Flanger Doubler plug in window Operational Overview Model 126 Modes The MXR Model 126 Flanger Doubler is an analog delay processor that uses bucket brigade technology to create short signal delays The delay time can be modulated manually or automatically with a low frequency os cillator LFO The delayed signal can be mixed with itself in a feedback loop regenerated and its polarity can be inverted The amount of processed signal relative to the original signal is adjustable All sonics and control behaviors are authentically modeled including the in herent aliasing characteristics and dry signal path coloration Flanger The flanging effect in MXR Flanger Doubler 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 prod
405. mpo of the host application This knob controls the repeat level feedback of the echo sig nal At the minimum fully counter clockwise position only one repeat is heard Rotating the control clockwise increases the number of echoes Higher values will cause self oscillation asm The self oscillation of the EP 34 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 os cillation on held notes or can be put into over the top oscillation with ex treme settings The EP 34 s oscillation qualities are heavily dependent upon program mate rial and control settings Different sources of audio gain tone repeat rate and input settings will all effect oscillation performance The EP 34 can also achieve oscillation with no signal making the it a truly unique instrument UAD Powered Plug Ins Manual 151 Chapter 13 EP 34 Classic Tape Echo Echo Volume Recording Volume Input Meter Echo Tone This knob determines the wet dry mix of the delayed signal In the minimum position the dry signal is colored by the cir cuitry of the modeled emulation Rotate the control clockwise tor louder echo Reducing the control to its minimum value will mute the delay F Ww OLUME The EP 34 models the unusual taper of this control that is found on the original hardware It is normal operation to have
406. mponents are three primary sound components Figure 91 that are captured by the mi crophone 1 The direct signal This is the sound path that travels directly between the source and the microphone without any reflected sounds from the walls floor ceiling and objects 2 The early reflections These are the still distinct individual reflections that are reflected off the walls floor ceiling and objects before reaching the micro phone 3 The late field aka reverb tail or ambience This is the indistinct wash that decays over time comprised of all reflections in the room The tail is usually considered the main component of reverb Early Reflection 3 Microphone Early Late Field Reflection Reverb Tail Ambience all reflections Figure 91 The main signal components in an acoustically recorded sound UAD Powered Plug Ins Manual 292 Chapter 29 Ocean Way Studios Re Mic Processing Reverb Processing It s important to notice that the recorded direct signal component 1 on pre vious page is different than pre existing dry unprocessed acoustic record ings in a DAW This is because within a DAW the dry audio was already re corded so it already contains the direct signal component along with all the other components that was captured by the microphone originally used This distinction is fundamental to the Re Mic process Re Mic mode is a tool for replacing the original dry audio
407. mpression higher ratios for limiting Disengaging all the Ratio buttons Shift Click the currently selected ratio disables compression altogether but signal continues to pass through the 1176 circuitry This is commonly used to add the color of the 1176LN without any gain reduction At the request of users the wide range of Multi Button combinations possible with the hard ware is now possible including the famous All Button sound The UA 1176 Limiter Collection plug ins are meticulous emulations of the orig inal hardware in every regard including control responses and interactions Each 1176 has unique characteristics for gain threshold compression knee distortion onset and sweet spots Setting the controls to the same positions on the different plug ins may yield radically different results especially depend ing on the source signals This accurate control modeling also applies to the Input and Output control tapers and amplifier levels The same knob positions on one 1176 could pro duce a dramatically louder or softer levels on another For this reason to prevent unexpected and potentially damaging output level jumps presets are not interchangeable between the 1176 variations UAD Powered Plug Ins Manual 487 Chapter 50 UA 1176 Classic Limiter Collection Grit Artist Presets Upsampling A simple 1176 trick is turning the attack and release up all the way to their fastest setting This has the aud
408. n deen nas 290 Operational Overviews 0 0 0 ccc nee eee een nnn eens 292 Modes Overview 0 066 nen need deen eee ees 292 Microphones Overview 2 0 000 n nent een ntti 294 Using Ocean Way Studios 0 0 enn nent e nes 298 Ocean Way Studios Controls 0 0 cece eee nnn rarr 304 Display PONGlS 2 lt 6 ixsecwuahs sevens neeecosalsaedane beGeceunbanecenebweecoue ds 307 Mido Oe eeens e E E ER ERTE 308 Master Controls o nnana nnana n annann annuae n nee 311 Maser EO ocx sous rE EEO EE A Ge eae ee aoe nae ee 314 The History of Ocean Way Recording 0 00 cece cence eee cence eens 315 Chapter 30 Precision Buss Compressor cccccccccccscsccceses 320 OVEIVIEW so on5 E 1G Hee heee Wns e Peas Rae henna eo Heae nyse Sea E e Pee eee 320 Precision Buss Compressor Screenshot 0 0000 ccc ccc cee eee eens 321 Precision Buss Compressor Controls 0 000 c ccc cnet eee en nes 321 Chapter 31 Precision De Esser ccccccccccssscccccccsssees 326 OR 524 ne se ee tesa nes Bae memes ena 2 E E see ane nee 326 UAD Powered Plug Ins Manual 8 Table of Contents TABLE OF CONTENTS Precision De Esser Screenshot 00 cece cee cece eee e eee ee teen vennnennnes 326 Precision De Esser Controls 00 cece eee cece eben beeen een nennnennnes 327 OperGhing Po eor eea E anes hana seeseees aa0s O E nals Baa nen eae 329 Chapter 32 Precision Enhancer Hz ccccccccssscccccccsssees 330 Cca E 22653 acu y ise base so
409. n frequency the faster that frequency decays Note While materials are used to control decay rates as a function of fre quency the overall decay rate of the late field reverberation is controlled from the Reverberation panel see Figure 43 on page 109 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 the materials parameters effect the early reflections ONLY if the Filtering parameter in the Reflections panel Figure 42 on page 108 is set to a non zero value Air Density Air percentage selector menu i ate are Is Irv All Te Air Density display First material acpay Air Blending Bar Solid materials Second Blending Bar material display First material First material selector menu percentage 2nd material Second material percentage EE Cork selector menu Figure 41 DreamVerb Materials panel UAD Powered Plug Ins Manual 105 Chapter 9 DreamVerb Materials Menus Air Density Menu DreamVerb lets you specify two room materials which can be blended to create a hybrid of absorption and re flection properties The first and second room material each has its own menu The available materials are the same for each of the two ma
410. n setting will affect the Q of the band When the Q is at its minimum value there is no resonant peak The resonance increases and becomes more prominent as the Q is increased Therefore for the shelf type to have any effect the Q must be above its minimum value Note In order for this button to have any affect the band must be in shelving mode some gain must be applied and the Q must be above its minimum value UAD Powered Plug Ins Manual 78 Chapter 5 Cambridge EQ es gt I el tok 20k 10k 20k I el 20 Shelf Mode iok 20k Indicator Line 10k 20k Sh Pa E i 10k Figure 24 Shelf Type C UAD Powered Plug Ins Manual 79 Chapter 5 Cambridge EQ CHAPTER 6 Cooper Time Cube Dual Mechanical Delay Line The original Cooper Time Cube was a Duane H Cooper and Bill Putnam col laborative design that brought a garden hose based mechanical delay to the world in 1971 and has achieved cult status as the most unique delay ever made The Cooper Time Cube is famous for its spectacular short delay and doubling effects and its uncanny ability to always sit perfectly in the mix How ever the CTC had limited practicality as a full featured delay only 14 16 or 30 ms settings were available Over the years this quirky device has grown a strong following and finds a home in the most prestigious studios in the world such as Blackbird and Sunset Sound Top producers and engineers s
411. n smooth the transition that occurs when the signal dips below the threshold which is especially AEE useful for material with frequent peaks However if you set the fei Release time too long the gain reduction imposed by loud sec tions of audio may initially reduce the level of subsequent sections of audio with lower signals Available Release times are continuously variable between 0 1 seconds and 4 seconds 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 ATK LED 4K F ATT is illuminated To toggle Fast Attack click the LED or its label text The gate expander module operates in either gate or expansion mode as determined by the Dynamics Select button Two attack speeds and a continu ously variable release time are available in both modes SELECT pap The Select button cycles through the three modes available in the gate expander module Expand Gate 1 and Gate 2 EX Gi G2 Expand EX In Expand mode the module applies downwards expansion at a fixed 1 2 ra tio with the amount of gain reduction determined by the Range control Ex pand Range on page 440 UAD Powered Plug Ins Manual 439 Chapter 45 SSL E Channel Strip Expand Threshold
412. n the content and functionality of the screenshot is the same on both platforms Slight variations in the appearance of a screenshot between operating systems are inevitable When the content of and function of the software represented in a screenshot is identical on both platforms no differentiation is made in the screenshot title If there is a significant difference between platforms screenshots from both platforms are included UAD Powered Plug Ins Manual 15 Chapter 1 Documentation amp Support Online Documentation Support Website Videos Users Forum The technical support pages on our website offer a wealth of helpful informa tion that is not included in the documentation contained within the software bundle Please visit our support pages for important technical information in cluding the latest release notes host application notes and more The main UAD Powered Plug Ins support website is e www uaudio com support 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 e www uaudio com videos Our online magazine is published regularly and contains lots of useful and in teresting information How to pages artist producer engineer interviews support Q amp A detailed scientific notes and other fascinating articles make the Webzine a great place to routinely visit e www uaudio com bl
413. n the desired signal is not present but below the desired signal level so the signal passes when present The 40 dB button increases the sensitivity of the gate and ex pander by lowering the range of the available threshold values E When 40 dB mode is active the threshold range is 25 dB to 65 dB When 40 is inactive the threshold range is 25 dB to 15 dB To activate 40 dB mode click the pull 40 label text or the red indicator just below the Threshold control 40 dB mode is active when the red indica tor illuminates Range RGE controls the difference in gain between the gated expanded and non gated expanded signal Higher val Ay ues increase the attenuation of signals below the threshold When set to zero no gating or expansion occurs The avail able range is O dB to 60 dB Gate Exp Fast The Fast mode switch defines the gate expander attack time See Which is the duration between the input signal reaching the thresh oul Wet old and processing being applied Two times are available 500 FAST microseconds when Fast is off and 50 microseconds when Fast is active To activate Fast mode click the pull FAST label text or the red indicator just below the Range RGE control Fast mode is active when the red indicator il luminates Release sets the amount of time it takes for processing to en gage once the input signal drops below the threshold level The available ran
414. n ununura ete eearri 43 Chapter 3 API 500 Series EQ Collection ccc cccccccccccccseee 45 Introduction n 45 API 500 Series EQ Collection Screenshots 0 000 cece eect e eee cnet en eees 46 Operational Overview anunn nurunun raan n eneren rununnar aree 47 API 550A Controls n on nnana 48 API 560 Controls onanan nananana 50 Historical Background 0 0 ccc eee ened net e nnn e es 51 Chapter 4 API Vision Console Channel Strip ccccccccccvees 52 Marele Uei ol 524 526 4055 450ccuaeqscadwabau cereeaecnseasnneeoeteanes dese eeneses 52 API Vision Console Channel Strip Screenshot 0 0 0 000 c cece eee eee eens 53 Operational Overview 2 0 0 nee enn n ruranan aeaa 54 API Vision Console Channel Strip Controls 0 0 0 0 ccc cee eee ene n ee 57 Historical Background n annann nananana aenean rnanan rarr 68 Chapter 5 Cambridge EQ ssssssssosooooooooooooooooooooooo 69 OVEIVIOW aedon esen anar E E E ee eens 69 Cambridge EQ Screenshot o n nannan nananana raene rarae 69 Cambridge EQ Controls n on anaana annaua naaraana raaraa 70 Low Cut High Cut Filters nnana nnana n anaana aaan e eee eee nn es 73 eeo E EET EE EEEE E E EEEE EET 74 POrOMENIC EQ seac rus 2 oes whee soe OSG a aoe EOS oR pm Ene Whe RERET ARES 75 EG uGeenoa skh E EE E E ERS 78 Chapter 6 Cooper Time Cube eeoeeoee eeeee seeeeeeo3eeoeoe3eoxoe e3eee e3ee3e eee ee 7e e ee eeee 8 80 Dual M
415. n without Drive and is very usable in many situations The Moog Filter SE interface can be differentiated from the full Moog Filter by color and the module name The Moog Filter SE is uses the Luna back ground and maple sides borrowed from the Voyager Select Series The full 1 u version uses the Voyager s electric blue backlighting and mahogany sides GAIN CUTOFF RESONANCE 4 6 200 750 4 6 H r k r 4 r on l a n E IO 3 b j50 3K 1 2 8 MULTIMODE FILTER 7 E a aS ri f fi i i 12 i2 0 il SMOOTH FAST f 2 POLE 4 POLE STEF TRACK EFFECT BYPASS ENVELOPE MODE SPACING GAIN 6ENVELOPE 6 LF OUTPUT 4 r a f yl AL ag Fa f f i 2 3 7 Pa ag Fal 4 z ale ka 1 it 4 J Figure 72 The UAD Moog Filter SE plug in window 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 Gain control Please refer to the Moog Filter section for Moog Filter SE control descriptions see Moog Filter Controls on page 228 Note When preset settings are copied from the full Moog Filter version to the SE version the Boost 20 switch value is retained even though the parameter is not available for SE If you subsequently copy from SE back to the full version the origi
416. nal Boost value is pasted UAD Powered Plug Ins Manual 234 Chapter 22 Moog Multimode Filter Moog Filter Latency The Moog Filter but not the Moog Filter SE 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 Chapter 9 UAD Delay Compensation in the UAD System Manual for more information The Moog Filter SE does not require additional latency compensation because it is 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 a been He EE E E iii i jii Eae amp aT iT aah ae The venerable Dr Robert Arthur Moog Moog is a registered trademark of Moog Music and is used under license with kind permission UAD Powered Plug Ins Manual 235 Chapter 22 Moog Multimode Filter CHAPTER 23 MXR Flanger Doubler Classic Electronic Flanging History Bucket Brigade Technology For more than 30 years musicians and engineers have relied upon the MXR Flanger Doubler as one of best sounding bucket brigade flanging effects ever made Through its signature flanging doubling and delay effects the MXR Flanger Doubler imprints a unique stamp on guitars bass keys drums or just about any source needing movement and depth Developed in close col laboration with Du
417. nal components The lateral vertical components are then compressed or limited independently Finally the mid side components are recombined into a normal stereo signal via a second sum difference ma trix In the Fairchild 670 the left right sum middle signals are routed to the Lat channel and the left right difference side signals are routed to the Vert channel The two channels can work independently of each other or the sidechain control signals can be optionally linked Tip Controls related to Lat Vert processing contain red Lat Vert text labels The Headroom HR control enables adjustment of the internal operating ref erence level for Fairchild 670 and Fairchild 660 This feature enables more sonic range and the ability to fine tune the non linear I O distortion and com pression response characteristics to be tailored independently of signal input levels By increasing the Headroom by rotating the HR control counter clockwise signals at the input can be pushed higher before they compress For complete details about this feature see Headroom on page 167 UAD Powered Plug Ins Manual 161 Chapter 14 Fairchild Tube Limiter Collection Fairchild 670 Modes 2 Compressors 4 Modes Modes Table Dual Lat Vert Stereo Left Right There are two independent compressors within the Fairchild 670 Depending on the state of the AGC Switch and the Sidechain Link switch four operating modes are possible The modes ar
418. nd are listed in Table 21 below La ats Available Frequencies Table 21 Available band frequencies standard and mastering 82 120 180 270 390 560 820 1 2K 1 8K 2 7K 3 0K 220 330 470 680 1K 1 5K 2 2K 3 3K 4 7K 6 8K 10K 560 820 1 2K 1 8K 2 7K 3 9K 5 6K 8 2K 12K 16K 27K Channel Controls The controls for the two identical channels left and right are detailed below Because both UAD Massive Passive plug ins operate the same way and the controls for each channel are identical the control descriptions for each channel are only detailed once Note See Standard vs Mastering Versions on page 217 for the exact differences between the Massive Passive parameters MASSIVE PASSIVE STEREO EQUALIZER FQ 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 This knob sets the overall gain for the channel The range for the standard version is continuously variable from 6 dB to 4 dB The range for the Mastering version is 2 5 dB in 0 5 dB steps Channel Gain UAD Powered Plug Ins Manual 221 Chapter 21 Manley Massive Passive EQ The Channel Gain controls are intended to help match levels between
419. nd knob po sitions do not change as the gain is modified See Figure 19 100 C Sk 10k 20k rc ral s0 100 3 lt Sk 10k 2FOk Figure 19 Parametric Type response When set to Type Il there is a Q Gain dependency on boost The bandwidth increases continuously as the gain is boosted but not when attenuated The Q knob position determines the maximum Q at full gain Filter bandwidth is broader at lower boost settings and narrower at higher boost settings This can produce a smoother more natural response when boosting filter gain UAD Powered Plug Ins Manual 76 Chapter 5 Cambridge EQ Type Ill Note that the Q value increases as gain is boosted but the knob position does not change The Q value is approached as gain increases and reaches the knob position at maximum gain See Figure 20 100 sgg z mk 20 Kao ok Figure 20 Parametric Type II response When set to Type Ill there is a Q Gain dependency on boost and attenua tion The bandwidth increases 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 as gain increases and reaches the
420. nds Bass and Mid The separation frequency of the two bands is defined by the Crossover control UAD Powered Plug Ins Manual 193 Chapter 18 Lexicon 224 Bass Mid Crossover The Bass slider defines the reverb decay time for the frequencies below the Crossover value Higher Bass values result in longer bass frequency decay times when Crossover is not set too low The Bass reverb decay time value in seconds is shown in the Numerical Display The available range is 0 6 sec onds to 70 seconds This control works in conjunction with the Crossover parameter which defines the range of the bass frequencies affected by the Bass control Therefore ad justing Bass may have little audible effect if Crossover is set to a very low value The Mid slider defines the reverb decay time for the frequencies above the Crossover value Higher Mid values result in longer high frequency decay times when Crossover is not set too high The Mid reverb decay value in seconds is shown in the Numerical Display The available range is 0 6 sec onds to 70 seconds Mid works in conjunction with the Crossover parameter which defines the range 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 Howe
421. ne anes eon beds bene aoe bee secu se eeeg anes eee Seeuens 330 Precision Enhancer Hz Screenshot 0 0 cee eee eee eee eevee ven vennennnes 330 Precision Enhancer Hz Controls o n naana anaana eee eee e eee eee e en eennnennnes 331 Precision Enhancer Hz Usage Notes 0 00 e cece nent e nnn 334 Chapter 33 Precision Enhancer kHz cccccccscssccccccsseees 335 Overview 20 a a a dnb bebe b bbb bbb bbb bbb bbb bbb bas 335 Precision Enhancer kHz Screenshot 000 cece cece eee bebe bb Laaa 336 Precision Enhancer kHz Controls ccc cece cece cee b bbb bebe bbbnennny 336 Chapter 34 Precision Equalizer ccc ccccccccccvsccsccsece 339 QVM a gnea tbe Gree nee E He Se en Fe he ee Se eae eee 339 Precision Equalizer Screenshot n nunna ccc ec enaar 339 Precision Equalizer Controls 0 0 0 0 enean 340 Conirol Grouping as ounce secoousnaeteensenpabseuencataerencaseaensnteoren end NE 340 WMOCES 4 bie gnu usceseupunass E jaune bntys emebaetpunee seme waces wap autaee 340 Pand Conio tig ceanease rrom adwr ninaka EE EN EA reantaduy eanceea se 342 Precision Equalizer Latency 0 00 ccc cece eee 344 Chapter 35 Precision K Stereo Ambience Recovery eeesee006 345 Precision K Stereo Screenshot 000 0c ccc cece raaraa e nes 345 Operational Overview 000 t een nent eee enn nes 346 Blog Article by Bob Katz 0 0 0 ccc nanana nananana enana nananana raran 347 Precision K S
422. ne channel from shifting the image of the output Any big transient on either channel will cause both channels to compress The amount of compression will be similar to the amount of com pression for a transient which appears on both channels at the same time In stereo operation the controls for channels 1 and 2 are independent and can be set separately Generally the channel with the most processing oc curring controls the processing for the other channel For example if the same signal is fed to both channels in stereo mode and channel 1 has a lower threshold setting than channel 2 the channel 1 threshold value is used for both channels Similarly if channel 1 were disabled using In switches channel 2 settings would be used because more processing occurs with the channel 2 settings It s not always so simple though as in the following cases e f you feed the same signal into both channels you can have a lower thresh old with a lower ratio on one channel and a higher threshold with a higher ratio on the other channel In this case you will get a double knee with the lower ratio being used between the knees and the higher ratio above both knees e f you feed the same signal into both channels you can have a lower thresh old with a faster release on one channel and a higher threshold with a slower release in the other channel In this case you will get a two stage re lease after a transient with the first cha
423. near the cen ter of the interface Figure 67 on page 215 UAD Powered Plug Ins Manual 216 Chapter 21 Manley Massive Passive EQ Standard vs Mastering Versions The layout and function of the Massive Passive controls are essentially identi cal for both the Standard and Mastering versions The exact control differ ences between the controls are detailed in Table 20 below Table 20 Control differences between Massive Passive versions Standard Meson 6 7 5 9 12 18 15 20 27 40 52 18 dB oct 6K 7K5 9K 18 dB per octave 30 dB oct 12K 30 dB oct 52K Modified Elliptical 18K Massive Passive Band Controls Massive Passive has two identical channels left and right Each channel has four EQ bands with five controls in each band Because both UAD Massive Passive plug ins Mee w operate the same way and the bands of Bair Aer a4 Cetin each channel are identical the control de occ esa i edun Tresor scriptions for each band are only detailed Egy mjo f ajoo g re yad once 2 Se N x Important See Standard vs Mastering Versions on page 217 for the exact differences between the Massive Passive parameters pA Boost Cut Out This three position toggle switch determines whether the frequency band will be boosted cut or disabled altogether The amount of When Boost or Cut is selected its label illuminates green for Boost red for Cut When the switch is in the
424. ners of the hardware VOG quickly realized multiple units are a must have one for bass kick drum toms low frequency percussion and especially vocals Fortunately with the Little Labs VOG plug in for the UAD 2 customers can have as many instances as they need to make the low end come to life UAD Powered Plug Ins Manual 209 Chapter 20 Little Labs VOG Little Labs VOG Screenshot amplitude ri Lt i ry sqe7 9 33 7 frequency LTF Ta L r 41 E fy center te S00 SERIES POWER SUPPLY UNIT 0 ie ti 5 il 0 io LD po i mh oe iW m hal LD hi fag ih m kul Oj Figure 65 The UAD Little Labs VOG plug in window Operational Overview Two simple knobs allow you to dial in the VOG s desired frequency and effect amplitude The 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 UAD Powered Plug Ins Manual 210 Chapter 20 Little Labs VOG In Use Stereo Functionality cies above remain intact The higher the amplitude of the peak resonance frequency the more you cut off the mud below effectively performing two functions at once A dedicated flat button allows y
425. nes in positions that don t sound optimum Se Pres21 REVERE OWA Vocal Group just like in the physical realm the presets provide RRpeeraitar ern Wretrnt excellent starting points for customizations and an tissi A Pres24 REVERB OWE Drums 1 easy way to quickly return to a great sound pres25 REVERE OWB Drums 2 Pres26 REVERB OWE Strings The factory presets have only one microphone Pres27 REVERB OWB Horns f d h d l Pres28 REVERB OWB Piano pair enabled to ensure there are no undesirable m acs Pres29 REVERB OWE Vocal Group phase interactions Of course more than one mi e cen caer Ett crophone pair can be used for sonic variety oes ee and or to enable creative applications See Phase Considerations on page 300 for related information Note Switching through presets is not instantaneous and sonic artifacts can occur while the presets are loading See Load Time on page 302 for re lated information UAD Powered Plug Ins Manual 291 Chapter 29 Ocean Way Studios Operational Overviews Overviews of important underlying concepts are presented below For details about how to operate the specific controls see Ocean Way Studios Con trols beginning on page 304 Modes Overview Ocean Way Studios offers two modes of operation Re Mic and Reverb These modes process signals in fundamentally different ways Recorded Sound Whenever a sound source is recorded in a naturally reverberant space there Co
426. nfigurations Eventually he found a way of using the FET as the gain controlling element of a compressor limiter While the 1176 has seen a huge number of revisions in its history the most significant revision was by UREI engineer Brad Plunkett in an effort to reduce noise hence the birth of the 1176LN at Rev C Numerous design changes have followed since resulting in at least 13 revisions and variations of the 1176 Universal Audio released its first 1176 plug in emulation the UAD 1176LN in 2001 This plug in launched the UAD platform and inspired a decade of analog emulation software Today with the Universal Audio 1176 Limiter Plug Ins Collection we ve cir cled back to the 1176 and modeled its entire electronic path from stem to stern including its transformers FET and bipolar transistor amplifiers with improvements in its gain reduction nonlinearities and Attack Release fits The resulting 1176 Classic Limiter Plug In Collection provides unrivaled emula tions of three distinct 1176 units and is indispensable for any serious engi neer or producer UAD Powered Plug Ins Manual 483 Chapter 50 UA 1176 Classic Limiter Collection UA 1176 Screenshots RATIO M il y 1176 LIMITING AMPLIFIER UNIVERSAL AUDIO Aki pig 1176LN LIMITING AMPLIFIER UNIVERSAL AUDIO Ta 7 1176AE LIMITING AMPLIFIER RELEASE UNIVERSAL AUDIO 3 i A 5 a N a i GR 5 OFF ririk Jaci i if oo J 7
427. ng console Phase is inverted when the switch is engaged darker UAD Powered Plug Ins Manual 207 Chapter 19 Little Labs IBP Phase Adjust 90 180 Phase Center Lo Hi Power This switch determines the range of the Phase Adjust parameter This is useful when finer Phase Adjust resolution is desired When the switch is disengaged the Phase Adjust range is 180 When the switch is engaged darker the Phase Adjust range is 90 This switch sets the range of frequency emphasis When the switch is disen gaged lighter the Phase Center range is Hi When the switch is engaged darker the Phase Center range is Lo Note Use of the 90 180 and Lo Hi parameters are typically used for in dividual tone signals such as a kick drum or toms as opposed to program ma terial This 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 Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note Compensating for Little Labs IBP 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 UAD Powered Plug Ins Manual 208
428. ng sidechain the signal defined by Frequency and Width Solo makes it easier to hear the problem fre quencies to be attenuated Click the button to active Solo mode The button is red when Solo is active UAD Powered Plug Ins Manual 327 Chapter 31 Precision De Esser Width Split Note When Solo is active changes to the Threshold and Split controls cannot be heard s a WIH Width controls the bandwidth of the de essing f E sidechain when in bandpass mode Bandpass mode is MF active when the control is in any position except fully nomi T l clockwise Smaller values have a narrower bandwidth causing a tighter more focused de essing effect Higher values have wider bandwidth for de essing when un desirable frequency ranges are broader When Width is rotated fully clockwise High Pass mode is activated In High Pass mode Frequency Frequency on page 327 defines the cutoff fre quency of the high pass filter instead of the center frequency of the bandpass filter High Pass mode is useful when you want to attenuate all frequencies above the cutoff frequency 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 is enabled Split determines if attenuation compression is applied to the On sidechain signal only o
429. ng vertically When a band is enabled the EQ curve usually touches the bat However be cause the EQ curve always displays the actual frequency response of Cam bridge EQ if two bands are close together in frequency and or at extreme gain values the bat may not touch the curve itself UAD Powered Plug Ins Manual 71 Chapter 5 Cambridge EQ Master Level Knob A B Selector Button EQ Enable Button lata This control adjusts the signal output level of Cambridge EQ This ae may be necessary if the signal is dramatically boosted or re i av a E E a r ip E at S _ duced by the EQ settings The available range is 20 dB The A B Selector switches between two separate sets of Cam bridge EQ plug in values This feature enables easy switching between two completely independent EQ curves which can be useful for comparison purposes or for automating radical tim bre changes Both the A and B curves 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 click the button The active curve will be copied to the inactive curve This button enables or disables the Ca
430. nge EQ zit O TE EE T T TE ee Ce T T D an Egit a ee E E E ES CE E CE E EERE CELERE CLORE T ETT T TEER r Es a E a a 7 r C n a i z The Trident A Range Console featuring the Trident A Range EQ TRIDENT AUDIO DEVELOPMENTS All visual and aural references to the TRIDENT A RANGE EQ are trademarks being made with written permission from PMI AUDIO UAD Powered Plug Ins Manual 482 Chapter 49 Trident A Range EQ CHAPTER 50 UA 1176 Classic Limiter Collection History The Definitive Collection of the World s Most Famous Compressors The original Universal Audio 1176 designed by audio Renaissance man and UA founder M T Bill Putnam represented a major breakthrough in limiter technology The first true peak limiter to feature all transistor circuitry and FET gain reduction the original 1176 offered superior performance and a signa ture sound including a lightning fast 20 microseconds attack time Ever since its announcement in 1967 the 1176 has lent its character and punch to some of the greatest recordings in history creating a solid framework for any mix in any genre Evolved from the popular Universal Audio 175 and 176 tube limiters the 1176 retained proven qualities of these industry leaders and set the standard for all limiters to follow Entries found in Putnam s design notebook point to his extensive experimentation with the newly developed FET Field Effect Transis tor in various co
431. nge is 30 Hz to 450 Hz in both Black and Brown modes LF Bell The Bell button switches the LF band from shelf mode to peak dip mode In normal shelf mode only frequencies below the frequency value are boosted or attenuated In Bell peak dip mode frequencies below and above the fre quency value are boosted or attenuated In Black mode the LF Bell Q is 1 3 and the Brown mode the Bell Q is 0 8 EQ Enable Sse These three buttons determine the status of the EQ mod ule EQ In The EQ IN button enables the EQ module The module is enabled when the 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 LED below the button is illuminated Sidechaining is typically used for de essing and similar frequency conscious techniques To listen to the sidechain key simply disengage DYN SC to hear the equalised signal The sidechain dynamics EQ implementations are true stereo when used in a stereo in stereo out SISO configuration Note The EQ module must be active in conjunction with the EQ DYN SC but ton for the EQ sidechain to function Note there is another dynamics sidechain available in the Filters section Filters to Sidechain DYN SC on page 437 UAD Powe
432. nlop Manufacturing the MXR Flanger Doubler plug in for the UAD 2 platform replicates the legendary sound of this classic studio and stage effect with unparalleled accuracy The MXR Flanger Doubler plug in for UAD 2 is perfect for adding that spe cial something to your tracks and getting the creative juices and sound shap ing possibilities flowing This plug in models the original hardware unit in me ticulous detail and makes all its chewy analog goodness available 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 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 tape flanging recreated this effect elec tronically via bucket brigade design A bucket brigade device BBD is an analog circuit that produces a delay by storing the signal in a series of capacitors passing the stored signal from one capacitor to the next with each clock cycle Because the signal is de graded with each pass audio delay lines using BBDs tend to significantly color the signal The name is derived from human bucket brigades whereby a line of many people remain stationary while passing many buckets from one person to the next Bucket brigades were co
433. nnel releasing at the fast rate until you get down to where the other one is then the release will continue at the slower rate Expert Question Is there any reason would want to use stereo mode and still have the settings for the two channels different Yes Linking the sidechains simply prevents left right image shifting Threshold attack and recovery can be set independently 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 UAD Powered Plug Ins Manual 268 Chapter 27 Neve 33609 Compressor 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 fo this point however desirable audio path nonlinearities and good harmonic distortion characteristics occur This musically pleasing warmth at higher levels is what gives the unit much of its revered sonic char acter Because analog mixing consoles can typically output high signal levels audio engineers often take advantage of the ability to push the hardware 33609 into the colorful arena This complete pallet of sonic nuance including the dynamic input response is captured in the UAD Neve 33609 model The plug in is calibrated inter nally so that O dBFS at its input is equivalent to an input lev
434. no in mono out configuration this control has no effect Important Unlike the other controls for channels 1 and 2 which are iden tical on the left and right sides of the interface the 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 ay The parameter controls for channels 1 and 2 can be linked using eeuise 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 Tranny controls are linked when Link Controls is active the actual Warmth and Tranny processors are not ste reo linked This behavior is identical to the original hardware Controls Linked Link Controls is provided for stereo operation when both channels require the same values When enabled the right channel controls snap to match the left channel control values and modifying any channel control causes its ste reo counterpart control to move to the same position channel 1 amp 2 controls are ganged together in this mode Important Right channel parameter values are lost the moment Link Con trols is enabled UAD Powered Plug Ins Manual 124 Chapter 10 Empirical Labs EL7 FATSO Controls Unlinked Unlink the controls when dual mono operation is desired Channel 1 and 2 controls are completely independent in this m
435. nse com ponents arrive from the same direction or listening in the same alley next to the source where the early reflections and reverberation surround the lis tener Note The Direct Early and Late controls are unavailable in mono in mono out configurations Positioning Mix 40 tP F u Distance ee m Direct i00L i00F 100 L f 100 F IDOL 100 F L Om E F Figure 127 RealVerb Pro Positioning panel UAD Powered Plug Ins Manual 406 Chapter 40 RealVerb Pro Distance Wet Dry Mix To pan the direct dry signal 1 Drag the Direct slider left or right A value of lt 100 pans the signal hard left a value of 100 gt pans the signal hard right A value of lt O gt places the signal in the center of the stereo field Set the positioning for the early reflection or late field reverberation with any of the following methods 1 Drag the left and right slider handles to adjust the stereo width The length of the blue slider is adjusted For a full stereo signal drag the left handle all the way to left and right handle all the way to the right 2 Drag the blue center of the slider left or right to set the positioning of the sig nal If you drag all the way to the left or right the stereo width is adjusted For a mono signal panned hard left or right drag the slider all the way to the left or right RealVerb Pro allows you to control the distance of the perceived source with the Distance contr
436. nsoles 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 Jason Carmer in Berkeley California where it continues to record multi platinum albums Helios Type 69 Screenshot Helios Type 69 tm s Figure 57 The Helios Type 69 plug in window UAD Powered Plug Ins Manual 178 Chapter 16 Helios Type 69 Equalizer Helios Type 69 Controls Overview Band Layout The simple yet powerful Helios Type 69 Passive EQ adds a unique sonic tex ture to the music that passes through it It can be pushed to its most extreme boost settings while retaining openness and clarity The Type 69 Passive EQ replicates all the controls of the original hardware The Treble band is a fixed 10 kHz shelf EQ while the Bass band functions as a stepped 50 Hz shelf filter 3 6 9 12 15 dB or frequency selectable Peak EQ 60 100 200 300 Hz The Mid band operates as 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 Helos ype bo 8 Midrange Treble Global band band controls Figure 58 Helios 69 band control layout The Helios Type 69 design works in
437. nt to each other To raise the frequency for the high shelf drag to the right with the Band edge control for the second band To lower the fre quency for the high shelf drag to the left with the Band edge control for the third band 4 To attenuate the frequencies above the shelf frequency drag the Amplitude controls for the first and second bands up or down For a true shelf EQ make sure these amplitudes are set to equal values To configure the reverb s Resonance as a low shelf EQ 1 Drag the Amplitude control for the second EQ band all the way up 2 Drag the Amplitude controls for the first and third bands all the way down to equal values 3 Adjust the Band edge controls for the second and third 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 EQ make sure these amplitudes are set to equal values The Timing panel offers control over the timing and relative energies of the early reflections and late field reverberations These elements affect the re verb s perceived clarity and intimacy The early reflections are displayed at the top of the Timing panel with controls f
438. ntrol changes the gain at the output of the plug in The available range is 20 dB Mid This LED gives a visual indication of the plug in output level The Out ry put LED is active when Bypass is enabled but not when Power is off When the LED is red the output is O dBfs When Bypass is enabled filter processing is inactive Drive Gain and Output still operate in Bypass mode Enabling Bypass has the same effect as setting Mix to zero If the Free Sync switch is set to Free the LFO phase is reset to zero when Bypass is switched to Effect Boost shifts the Drive gain range up a full 20 dB while simultaneously shift ing the Output range down 20 dB This mimics the behavior of the external input on the Minimoog Note This control is not available on the SE version Power disables the plug in altogether and disables DSP processing When off the background will dim much in the same way the Voyager s panel does when powered off UAD Powered Plug Ins Manual 233 Chapter 22 Moog Multimode Filter Moog Filter SE Overview Moog Filter SE Controls The UAD Moog Filter SE is derived from the UAD Moog Filter Its algorithm has been revised primarily the elimination of the Drive circuit in order to pro vide sonic characteristics very similar to the Moog Filter but with significantly less DSP usage It is provided to allow Moog Filter benefits when DSP resources are limited The UAD Moog Filter SE sounds great eve
439. o emphasize the first room shape drag to the left to emphasize the second room shape To use only one room shape drag the Blending bar so the shape is set to 100 The resulting early reflection pattern is displayed at the top of the Timing panel see Figure 126 on page 405 where each reflection is represented by a yellow vertical line with a height indicating its arrival energy and a location indicating its arrival time 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 certain frequency the faster that frequency decays RealVerb Pro lets you specify two room materials with independent thicknesses which can be blended to create a hybrid of absorption and reflection properties For exam ple to simulate a large glass house a blend of glass and air could be used There are 24 real world materials provided including such diverse materials as brick marble hardwood water surface air and audience Also included are 12 artificial materials with predefined decay rates The thickness of the materials can be adjusted to exaggerate or invert their absorption and reflec tion properties For a description of the different room materials see About the Materials on page 401 UAD Powered Plug Ins Manual 399 Chapter 40 RealVerb Pro second material Maternal
440. o much ambience is similarly simply solved with the opposite processing just reduce SUSTAIN Sounds in keyboards and samples are usually highly compressed and main tain only little of natural dynamics Increase the ATTACK values to re gain a more natural response characteristic The sounds occupy less space in the mix and appear more identifiable even at lower volumes When dealing with overdubs in movies you can easily add more punch and definition to effect sounds from any sample library The same applies to outdoor recordings that suffer from poor microphone po sitioning simply optimize them afterwards Like with any good thing you also have to know where not to use it For ex ample using a Transient Designer in mastering is not recommended as it is rarely a good idea to treat a whole mix at once Instead treat individual ele ments within the mix UAD Powered Plug Ins Manual 430 Chapter 44 SPL Transient Designer Technology Differential a Technology DET The ATTACK Control Circuitry Of course you don t have to know how the Transient Designer works in order to use it However since it offers a completely novel signal processing noth ing shall be concealed from the more curious users SPL s DET is capable of level independent envelope processing and thus makes any threshold settings unnecessary Two envelopes are generated and then compared From the difference of both envelopes the VCA control volt a
441. occurs when the signal dips below the threshold which is especially useful for material with frequent peaks Note Fast release times are typically only suitable for certain types of per cussion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results UAD Powered Plug Ins Manual 440 Chapter 45 SSL E Channel Strip Expand Attack Dynamics Enable Dynamics eters Attack defines the duration between the input signal reaching the thresh old and processing being applied by the expander gate Attack time is iz normally auto sensing and program dependent When Fast Attack is en abled attack time is Ims Fast Attack is active when the F ATK LED 4K F ATT is illuminated To toggle Fast Attack click the LED or its label text These three buttons determine the status of the dynamics p DYNAMICS processors g Dynamics In DYN IN The DYN IN button enables both the compressor limiter and the expander gate modules neither module will function when DYN IN is disabled Each dynamics module is enabled when the LED below the but tons are illuminated 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 enable
442. ode and automation data is written and read by each channel separately Link Controls is disabled when the FATSO is used in a mono in mono out configuration Important Unlike the other controls for channels 1 and 2 which are iden tical on the left and right sides of the interface the Link CONTROLS function is on the right side only not to be confused with Link COMPRESS which is on the left side only Power The Power toggle switch determines whether the plug in is active It is useful for comparing the processed settings to the original signal When Power is in the Off down 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 LoadlLock is disabled If DSP LoadlLock 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 Controls These controls are unique to the FATSO Sr However because the additional controls in the FATSO ED le Sr do not add to the DSP function ality of the FATSO Jr both plug ins use the same amount of UAD DSP Threshold Saab This knob enables manual threshold control of the TH Lvl F FATSO compressor Higher values lower the pression threshold Generally speaking set the amount of desired signal saturation with Input first then adjust
443. of the original UAD 1 the trans former and I O distortion characteristics were not modeled in these plug ins This makes these legacy versions especially useful in situations where less dis tortion and less DSP usage is desirable Operational Overview EQP 1A Insertion Boost Frequency Conventions The Pultec EQP 1A MEQ 5 combination is still standard fare in recording stu dios and was once widely used in mastering sessions Whether used inde pendently or together mono or stereo the Pultec Collection provides a com plete vintage EQ palette for individual sources such as bass or kick drums subgroups such rhythm horn or string sections or on the master bus The EQP 1A s 16 KCS high frequency setting is famous for adding air to master SOUIrCces Although unintended by its designers the Pultec EQP 1A is coveted for its unique ability to boost and cut the same low frequency simultaneously creat ing a tightening effect as a naturally interactive resonant dip near the selected frequency This has the sonic effect of simultaneously tightening and boosting bass frequencies Select the bass frequency then adjust the balance of Boost and Cut to tune the effect The original EQP 1A hardware unit has an inherent level boost of approxi mately 1 13 dB when it is in the signal path This inherent boost is present in the EQP 1A plug in models as well The original Pultec hardware used frequency unit names that were conven tional
444. off When off is specified the band is disabled UAD DSP usage is not reduced when off The independent low and high cut filters are controlled by the dual concentric knobs to the right of the low band The controls specify the fixed frequency of each cut filter The knob pointers can be dragged with the mouse or Sum click the respective cut symbols above the knob left sym T 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 kHz and off When off is specified the high cut filter is disabled Low Cut The outer dual concentric ring controls the low cut filter The available fre quencies for the low cut filter are 45 Hz 70 Hz 160 Hz 360 Hz and off When OFF is specified the low cut filter is disabled Note Each cut filter is disabled when its respective knob position indicator is pointing straight down UAD DSP usage is not reduced when the cut filters are off verted when the button is engaged darker Leave the button inactive lighter for normal phase The Phase button inverts the polarity of the signal The signal is in UAD Powered Plug Ins Manual 259 Chapter 26 Neve 31102 Console EQ EQL Neve 31102SE mM The equalizer is engaged when the EQL
445. og The unofficial UAD Powered Plug Ins users forum for the exchange of tips and information is on the world wide web at e www uadforum com UAD Powered Plug Ins Manual 16 Chapter 1 Documentation amp Support Customer Support Support Hours Phone Support Online Support Website Address Feedback Customer support is provided by Universal Audio staff to all registered UAD Powered Plug Ins users Our support specialists are available to assist you via email and telephone during our normal business hours which are from 9am to 5pm Monday through Friday Pacific Standard Time Customer Service amp Technical Support USA toll free 1 877 698 2834 International 1 83 1 440 1 176 To request online support please visit our support page then click the Sub mit Support Ticket button to create a help ticket e www uaudio com support e www uaudio com Universal Audio Inc 4585 Scotts Valley Drive Scotts Valley CA 95066 4517 USA Your feedback on the performance and features of UAD Powered Plug Ins is very important to us Please send your comments and suggestions to us Com ments not technical support issues may be sent to info uaudio com UAD Powered Plug Ins Manual 17 Chapter 1 Documentation amp Support CHAPTER 2 Ampex ATR 102 Mastering Tape Recorder History It s Not a Record Until it s Mastered on an Ampex Tape Machine For more than three decades the two channel Ampex ATR 1
446. ol determines the high band center frequency to be boosted or at tenuated by the band Gain setting The available range is 900 Hz to 13 kHz UAD Powered Plug Ins Manual 175 Chapter 15 Harrison 32C EQ Hi Gain This control determines the amount by which the frequency setting for the high band is boosted or attenuated The available range is 10 dB Gain em he Gain knob controls the signal level that is HARRISON 32C EQ output from the plug in The default value is O dB The available range is 10 dB Harrison 32C SE Figure 56 The Harrison 32C SE plug in window Overview The UAD Harrison 32C SE is derived from the UAD Harrison 32C Its algo rithm has been revised in order to provide sonic characteristics very similar to the Harrison 32C but with significantly less 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 knobs and the module name on the upper right of the interface panel includes SE Harrison 32CSE The Harrison 32C SE controls are exactly the same as the Harrison 32C Controls Please refer to the Harrison 32C section for Harrison 32C SE control
447. ol in the Positioning panel see Figure 27 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 places the source as close as possible to the listener The wet and dry mix of the reverb is controlled from the Mix slider in the Po sitioning panel see Figure 27 The two buttons above this slider labeled D and W represent Dry and Wet clicking either will create a 100 dry or 100 wet mix UAD Powered Plug Ins Manual 407 Chapter 40 RealVerb Pro Levels Morphing The Levels panel adjusts the Input Gain and Output Gain for RealVerb Pro These levels are adjusted by dragging the sliders to the desired values You can mute the input signal by clicking the Mute button J5 Hi gt 10 wW WES i EEEN f Input Gain Output Gain Figure 128 RealVerb Pro Levels panel All RealVerb Pro controls vary continuously using proprietary technology to smoothly transition between selected values This capability enables RealVerb Pro to morph among presets by transitioning between their parameter sets This approach is in contrast to the traditional method of morphing by cross fading between the output of two stati
448. om 0 no processing to 100 wet pro cessed signal only Note that when Mix is at 0 the signal is still processed by the Limit control if itis enabled and by the band splitter when in three band mode For a true bypass the Power switch should be used UAD Powered Plug Ins Manual 367 Chapter 37 Precision Maximizer Output OUTPUT The Output knob controls the signal level that is output gig on Oy from the plug in The available range is 12 dB to O dB Note that when Limit is not engaged it is possible for the output level to exceed O dB In this case Output can be lowered to eliminate any associated clipping When Precision Maximizer is used for CD mastering and it is the last processor in the signal chain the recom mended Output value is 0 10 dB Output Meter The stereo peak Output Meter displays the signal level at the out put of the plug in The displayed range is from 40 dB to O 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 O dB The clip segments are held for three seconds be fore resetting EE Note The Limit function prevents the output signal from exceeding O dB Therefore the clip LED s will only illuminate if Limit is off 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 re
449. ome 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 original hard ware documentation automatically adjusts the effective bandwidth under all conditions This dynamic property and the interplay between the overlap ping bands contribute to the device s musicality and unique sonic signature The low EQ band can be switched from peak to shelf mode and high low pass filters are available Additional digital only features not included on the original hardware include gain phase invert and a global power switch An SE version is also provided for higher instance counts Harrison 32C EQ Screenshot Figure 55 The Harrison 32C EQ plug in window UAD Powered Plug Ins Manual 173 Chapter 15 Harrison 32C EQ Harrison 32C EQ and Harrison 32C SE Controls Power Power LED Phase Cut Filters Note Knob settings when compared to the graphical user interface silk screen numbers may not match the actual parameter values e g if a knob is pointing to 8 kHz the actual frequency may not be 8 kHz This behavior is identical to the original hardware which we modeled exactly When the plug in is viewed in parameter list mode Controls View the actual parameter values are displayed The Power switch determines w
450. on Il L in Delay mode Likewise position IV is a duplicate of position Ill R All positions can be used to select a channel for delay time adjustment UAD Powered Plug Ins Manual 142 Chapter 12 EMT 250 Electronic Reverberator Phase Important In Delay mode lever 3 does not control a real parameter it is only used to select the active channel for other parameters in the graphical user interface For this reason the parameter is not exposed for external con trol surfaces or automation nor is it saved in sessions or presets Predelay Lever 4 Lever 4 can be used as a common predelay to both channels the predelay time is added to the delay times of both channels See Lever 4 Predelay on page 138 for more information Front Rear In Delay mode the Front Rear Outputs switch is not illuminated the sound is identical in both pairs of outputs When moved to the Rear position the plug in output is summed to mono See Front Rear Outputs on page 138 for more information Phase program mode creates a comb filter curve that results from the addition and subtraction of two signals 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 148 is active In the EMT 250 the input is fed to two d
451. on 224 is the most ubiquitous and bestselling studio digital reverb ever made The original 224 was a landmark achievement in digital reverb and served as the very product to put Lexicon on the studio map and a remote control on every console The 224 s Concert Hall A program is considered to be one of the finest reverbs ever made and its plate programs practically de fined the 80 s drum sound UAD Powered Plug Ins Manual 186 Chapter 18 Lexicon 224 Parameters Every tunable parameter from the original is present in the Lexicon 224 plug in and exposed as dedicated controls inviting easy experimentation and sonic exploration All seven algorithms nine programs are available un der the Program selection Lexicon s distinctive Bass Mid split decay adjust ments and Crossover control set the highly tunable reverb image along with the Treble Decay for rolling off high frequencies Depth sets the apparent dis tance between source and reverb while Predelay produces a short delay be tween the sound source and the onset of reverberation Diffusion affects how quickly the echo density in the reverb builds up over time For total authenticity the UAD 2 only System Noise control enables or dis ables the inherent 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
452. on of these controls is identical for both plug ins In the parameter descriptions below controls and or descriptions that are common to both plug ins are detailed at the top of each control name sec tion Any differences and or controls that are unique to each specific plug in are detailed after the common description The UA 610 plug ins include presets in the internal factory bank which are ac cessed via the host application s preset menu The presets are also copied to disk by the UAD installer so they can be used within Apollo s Console appli cation The presets can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual The UA 610 plug ins use an internal upsampling technique to achieve sonic design goals This upsampling results in a slightly larger latency 55 samples 85 samples at 176 4 and 192 kHz than non upsampled UAD plug ins These additional samples are automatically compensated by modern host DAWs See Delay Compensation in the UAD System Manual for more information tion with the mic preamp hardware in Universal Audio s Apollo au dio interfaces With Unison Apollo s ultra transparent mic preamps inherit all the unique sonic and input characteristics of the 610 hardware preamp including the mic line and Hi Z inputs The UA 610 plug ins feature Unison mic preamp technology integra U Realistic Tandem Control Unison facilit
453. one Frequency 3 75 IPS 2 5 kHz 16 dB 15 IPS 10 kHz 30 IPS 20 kHz 10 Adjust Bias throughout its range until the Meters reach the maximum level achievable with the Bias control If the meters reach their maximum pinned value you may temporarily reduce the Reprod uce level to lower the meters so the maximum achievable level can be accurately viewed the maxi mum achievable level may be higher than the pinned value of 3 dB UAD Powered Plug Ins Manual 40 Chapter 2 Ampex ATR 102 Record Level Calibration Record EQ Calibration 11 Increase Bias clockwise until the meter level is reduced by 3 5 dB from its maximum for 3 5 dB of overbias see Manual Calibration Notes When calibrating at 3 75 or 7 5 IPS the tone generator is at a lower level therefore meter resolu tion is decreased To increase meter precision when adjusting bias at the lower tape speeds con sider temporarily increasing the reproduce level 12 Set the Tones frequency to 1 kHz 13 Adjust Record input so the Meters display the level in Table 4 below the level depends on tape speed Table 4 Meter Levels for Record and HF EQ Adjustments Tape Speed Meter Level 3 75 IPS 20 dB 7 5 IPS 10 dB 14 Set the Tones frequency to the value in Table 5 below the frequency de pends on tape speed Table 5 Record HF EQ Calibration Frequencies and Levels Tape Speed Tone Frequency 7 5 IPS 10 kHz 15 IPS 15 kHz 30 I
454. ones in the physi cal realm the mic to source distance can have a significant impact on the sound that is captured The room will sound tighter and more present the closer the mics are to the source conversely the room gets bigger when the mics are farther away trom the source The Ocean Way Studios modeling includes the proximity gain that occurs in the physical realm the signal can be notably louder as mi crophones are positioned closer to the source Stereo Separation The separation between a stereo microphone pair varies depending on the microphone pair selected and its Distance setting With most settings the sep aration increases incrementally as the distance from the source increases Fixed Distance Microphones When Studio is set to OWR B and Source is set to Strings Horns or Vocal Group the 4006 and MKH720 selections for the Far microphone cannot be re positioned with the Distance control With the Far MKH20 this is a specialized setup whereby Mr Sides chose to set the microphones near the walls for the best sound With the Far 4006 this is because these mics are fixed installations in the studio loft they cannot be adjusted in the real studio either When recording a sound source with a microphone there is an inherent de lay between the source and the microphone This delay is the time it takes for the sound waves to physically travel from the source to the mic see Figure 92 on page 297 The farther
455. onfigurations Precision K Stereo includes factory presets designed by Bob Katz A list of these presets and their application notes are at the end of this chapter Blog Article by Bob Katz Bob Katz has contributed a blog article that contains lots of interesting details and application tips for Precision K Stereo The article is published on our website e www uaudio com blog k stereo tips and tricks html Precision K Stereo Controls Control Arrangements Control Adjustments Precision K Stereo controls are grouped into four sections Ambience Recov ery Ambience Filters EQ Mid Side and L R Gain The detailed control de scriptions are similarly grouped Switches For the main switches Recover EQ etc click the switch to toggle the setting The switch is engaged when it is illuminated RECOVER Precision K Stereo switch engaged left and disabled right Knobs For the knob controls values can be adjusted with the mouse or values can be entered directly via text entry Additionally when the tickmarks and or values around the knob are clicked the knob will jump to that setting The big knobs Ambience Gain Mid Side Gain and L R Gain can be returned to the zero value by clicking the control label above the knobs UAD Powered Plug Ins Manual 347 Chapter 35 Precision K Stereo Ambience Recovery Ambience Recovery Recover Enable Ambience Gain Enhance Refer to Figure 104 below for t
456. ono out configu ration the switch is locked in the Mono position Note See Stereo Mode on page 239 for additional details about stereo output This switch inverts the polarity phase of the processed signal The wet signal polarity is normal when in the up white position and inverted when in the down gray position When the processed signal is inverted and combined with the dry signal the resultant comb filtering has a different timbre than when polarity is normal This is particularly evident in Flanger mode which often sounds more hol low when polarity is inverted UAD Powered Plug Ins Manual 241 Chapter 23 MXR Flanger Doubler Sync Rate Display Sweep LEDs The speed of the Sweep LFO can be synchronized to the tempo of the host application by engaging the Sync button Tempo Sync is engaged when the button is in the down gray position and the LED above the button is illuminated See Chapter 8 Tempo Sync in the UAD System Manual for complete details about this feature The rate of the Sweep LFO is displayed here When Sync is inac tive the LFO speed is displayed in Hertz When Sync is active the LFO speed is shown as a beat division or multiplier The Rate Dis play is unique to the plug in the original hardware does not have this feature The Sweep LEDs located above the Manual knob per form two functions LFO rate indication and LFO reset R
457. onsole application The presets can be loaded using the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual This plug in includes additional artist presets that are not available in the in ternal factory bank These additional presets can also be accessed using the Settings menu in the UAD Toolbar Unison The API Vision Console Channel Strip features Unison mic preamp Integration technology integration with the mic preamp hardware in Universal U Audio s Apollo audio interfaces With Unison Apollo s ultra trans parent mic preamps inherit all the unique sonic and input characteristics of the API Vision 212L hardware preamp module Realistic Tandem Control Unison facilitates seamless interactive control of API Vision Console Channel Strip plug in settings using Apollo s digitally controlled panel hardware and or the plug in interface All equivalent preamp controls gain pad po larity are mirrored and bi directional The preamp controls respond to adjust ments with precisely the same interplay behavior as the API Vision Console Channel Strip hardware including gain levels and clipping points UAD Powered Plug Ins Manual 55 Chapter 4 API Vision Console Channel Strip API Vision Console Channel Strip Latency Hardware Input Impedance All Apollo mic preamps feature input impedance switching in analog hard ware that can be physically switched by Unison plug ins
458. onsoles in each room have been incorporated into the over all sound the Ocean Way Recording moditied Focusrite ISA 110 console in Studio A and the famous custom modified Putnam Dalcon console in Stu dio B Ocean Way Studios Screenshot MICROPHONES OCEAN WAY STUDIOS 4 y s EZ STUDIO SOURCE La 7 REVERE SHAA ci 0 lil Kms4ac DISTANCE DISTANCE DISTANCE PREDELAY ae OWR A DRUMS 1 j re T m i i Tp i un e A i Ge pa F Gr i il a aE Pi ft BALANCE BALANCE BALANCE 4 4 5 s ti 0 0 0 i L l L i L i beaien Oie i a A a a E ae ee TOD O Emm ed FREG GAIN MASTERED FREG GAIN wE aly aly a s at ie b k H r bg Ca Wo Wn E y i HIGH y A SHELF Ln eee ae fee 20Hz 2kHz 12dB i2dB 200Hz 20kHz 12dB 12dB 0 oo oo oo lt a UNIVERSAL AUDIO NEAR MID FAR MASTER Figure 89 The UAD Ocean Way Studios plug in window UAD Powered Plug Ins Manual 289 Chapter 29 Ocean Way Studios What Is Ocean Way Studios Allen Sides Microphones Ocean Way Studios is a dynamically adjustable room emulator for adding the ambience of Ocean Way Recording s acclaimed studios A or B to audio signals Figure 90 Interior photos of Room A left and Room B right at Ocean Way Recording Ocean Way Studios offers two modes of operation It can be used as a tra ditional reverb using send return paths mixed with dry
459. ontrol The Effect Meter indicates the amount of signal processing that is occurring More illuminated blue segments indicate more signal enhancement Effect Solo isolates the generated signal and is affected by Effect level gF 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 with Hz Solo on page 333 the complete mixed effect is heard wa The five Modes A B C D and All optimize the plug in MODE E l i internally to support the widest array of source material The Mode control determines the type of enhancement that will be applied to the signal Tip The active Mode can be selected by clicking the Mode button repeatedly to rotate through the Modes or by clicking each Mode letter or LED Mode A Bass 1 Mode A is tuned for both acoustic and electric bass instruments Adds low fre quency emphasis when set to low frequency value mid to high frequencies aid in phantom bass generation for smaller sound systems UAD Powered Plug Ins Manual 331 Chapter 32 Precision Enhancer Hz Slope Mode B Bass 2 Mode B is primarily for electric and DI bass with balanced mid range harmonics to help the bass stick out of the mix Mode C Synth Mode C is tuned specifically for synth bass and ot
460. ontrol page 462 must be ON for the Hum and Hiss parameters to have any effect UAD Powered Plug Ins Manual 466 Chapter 47 Studer A800 Hum Noise The Hum Noise frequency is dependent on the setting of the Equaliser Em ohasis EQ control page 462 The frequency is 60 Hz when set to NAB US and 50 Hz when set to CCIR European Note When IPS Tape Speed is set fo 30 IPS the yellow Equaliser Empha sis EQ LEDs are not illuminated indicating that the Emphasis EQ is set to AES However in 30 IPS mode the Equaliser switch can still be changed to set the frequency 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 timbre and level can change with Tape Type Studer A800 Latency The Studer A800 uses an internal upsampling technique This upsampling re sults in a slightly larger latency than most other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more informa tion UAD Powered Plug Ins Manual 467 Chapter 47 Studer A800 CHAPTER 48 Teletronix LA 2A Leveler Collection History For 50 years the original and most re
461. ontrol the built in Tape Delay which creates tape echo effects For an overview of this feature see Tape Delay on page 21 The Tape Delay controls are not available in the original hardware Note Tape Delay is not available when Path Select is set to Input or Thru nor when the Manual Calibration Tools are active UAD Powered Plug Ins Manual 35 Chapter 2 Ampex ATR 102 Tape Delay Enable These buttons are global enable disable controls for the Tape Delay effect When Tape Delay is ON its red numerical display is active and other Tape Delay parameters can be adjusted Dry Wet Mix The Dry Wet pushbuttons control the mix of the Tape Delay effect The amount of dry and wet signals are displayed as percentages Click the Dry button to increase the dry signal level by 1 or the Wet button to increase the delayed signal level by 1 Tip Hold the Dry Wet buttons down to rapidly change the mix values For fine control in increments decrements of 0 1 hold down Shift while chang ing values Delay Time The left and right channel delay times can be independently adjusted with these controls Click the or buttons to change the delay times in incre ments of 10 milliseconds The available range is O 1000 milliseconds Tip Hold the buttons down to rapidly change the delay times For fine control in increments decrements of Ims hold down Shift while changing values The default Delay Time value
462. ontrols Input Output Attack Each 1176 plug in variation has the same control set so they are only de tailed once The parameter descriptions below apply to all models unless oth erwise noted Input adjusts the amount of gain reduction as well as the relative threshold Rotate the knob clockwise to increase the compression amount Like the original hardware the label values are somewhat arbitrary the knobs are not calibrated to any particular dB values and levels will vary be tween the various plug in models Even when the Input knob is set to sig nals can still pass into the processor and be compressed Note In the UA 1176 Limiter Collection plug ins increasing Input will in crease distortion Output determines the final output level of signal leaving the 1176 Once the desired amount of limiting or compression is achieved with the use of the Input control the Output control can be used to make up any gain lost due to gain reduction To monitor the Output level set the VU Meter to 8 or 4 The Output control does not affect the amount of compression Note In the 1176 Limiter Collection plug ins increasing Output will increase distortion Attack sets the amount of time it takes the 1 176 to respond to an incoming sig nal and begin gain reduction The 1176 attack time is adjustable from 20 microseconds to 800 microseconds both extremely fast The attack time is fastest when the Attack knob is in its fu
463. or Amplitude and Pre delay The late field reverberations are displayed at the bottom with controls for Ampli tude Pre delay and Decay Time To illustrate the relation between both re verb components the shape of the other is represented as an outline in both sections of the Timing panel see Figure 126 UAD Powered Plug Ins Manual 404 Chapter 40 RealVerb Pro Early Amplitude Reflections control i N display II I Predelay pin ile control L Late Field Amplitude Reverbera Control tions display Predelay control Diffusion Decay Time control control Figure 126 RealVerb Pro Timing panel To adjust the timing of the early reflections 1 Drag the Amplitude control for the early reflections up or down from 80 dB to O dB to affect the energy of the reflections The Amplitude value is indicated in the text field at the bottom of the Timing panel 2 Drag the Predelay control for the early reflections left or right from 1 300 milliseconds to affect the delay between the dry signal and the on set of early reflections The Pre delay time is indicated in the text field at the bottom of the Timing panel Note The length in time of the early reflections cannot be adjusted from the Timing panel and instead is determined by the reverb s shape and size see Figure 123 To adjust the timing of the late field reverberations 1 Drag the Amplitude control for the late field reverberations up or down
464. orously 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 transtormer inductor hysteresis Passive refers specitically to the tone shaping elements of the equalizer which use only resistors inductors and capacitors to create all frequency changes The Massive Passive utilizes older parallel concepts rather than non interactive series designs as defined by George Massenburg s original parametric EQ The Frequency controls intentionally interact with one an other as do the Gain and Bandwidth controls While this may result in the ap pearance of some unorthodox knob positions it is specifically these band in terdependencies between all bell shelf and cut filters that allow for the Massive Passive s natural and organic sound UAD Powered Plug Ins Manual 214 Chapter 21 Manley Massive Passive EQ Massive Passive Screenshots 220 10K i PERE T po 22 1K i 82 KO 220 10K 560 27K BOOST SHELF i SHELF W e EEE ncostT SHELF BOr SHELF BOOST SHELF X SHELF r n i Ay r r Cour A LiT C ie Se ier ee C ouT C on le J J ety BELL ST Be J CTER G li BELL i ie a a a g hy Fa biti wt Pa P
465. ot just mixed to gether with the bars the reverberation algorithm itself is modified by blend ing Materials Blending Blend the two materials by dragging the vertical Blending Bar horizontally Drag the bar to the right to emphasize the first material drag to the left to em phasize the second material The relative percentages of the two materials appear next to each menu in the Materials panel To use only one material drag the Blending Bar so a mate rial is set to 100 Air Blending Blend the air density with the materials by dragging the horizontal Blending Bar vertically Drag the bar to the top to emphasize the solid materials drag to the bottom to emphasize the air The percentage 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 O To use only air drag the horizontal Blending Bar to the bottom so air is set to 100 Reflections Panel The Reflections panel Figure 42 on page 108 offers control over the timing and relative energies of the reverb early reflections ER These parameters ef fect the reverb s perceived clarity and intimacy Each early reflection is visu ally represented by a yellow vertical line with a height indicating its arrival en ergy and a location indicating its arrival time Unique to DreamVerb is independent control of the amplitude at the early re flection start and end points which facilitates env
466. ou to quickly audition A B comparisons The VOG is intended for mixing mastering post production sweetening sound design and audio restoration Use it to easily simulate proximity effect for adding chest resonance and heft to vocals Simple adjustments will also yield enormous sounding drums just like tweaking the tension of a drum head Or completely transform the tonal characteristics of electric bass tracks for example go from a solid body sound to a chambered body sound in seconds The VOG s flexibility makes it the right choice on a wide range of musical sources it s the perfect way to tune the low end of any mix for incred ible detail and punch Unlike the original hardware which is monophonic the plug in enables ste reo use with one control set providing perfectly matched stereo response When the plug in is used in mono in stereo out and stereo in stereo out con tigurations the controls affect both the left and right signals Little Labs VOG Parameters Amplitude Frequency Amplitude adjusts the amount of the effect Increasing the Jaman control boosts the gain of the frequencies determined by the Frequency and Center controls moo 35 wh e r a 4 rm Fe Note The control values for Amplitude which range from O 10 are arbitrary and do not reflect a particular dB value Tee ete This control adjusts the target frequency of the effect Fre Poe quencies above the current setting are
467. ownwards expansion at a tixed 1 2 ratio with the amount of gain reduction determined by the Depth control UAD Powered Plug Ins Manual 60 Chapter 4 API Vision Console Channel Strip 225L Compressor Limiter Expansion allows the signal to sneak up to the full signal level without any loss of under threshold nuances 235L Meter This meter displays in dB the amount of gain attenuation downward expansion occurring in the 235L module 235L On This button enables the 235L module The module is active when the button s green indicator is lit Note UAD DSP load is reduced when this module is inactive unless DSP LoadLock is enabled The 225L Compressor Limiter offers a continuously vari able ratio between 1 1 no compression and infinity 1 limiting Three attack speeds and continuously variable release times are available A hard soft knee setting and a unique new old setting are also available in the mod ule 225L Threshold Threshold defines the input level at which compression begins The available range is 10 dB to 20 dB The de fault value is O dB Signals that exceed the threshold are processed by the Ratio value Signals below the threshold are unaffected Rotate this control clockwise to increase the compression effect Note The 225L compressor automatically increases makeup gain to com pensate for levels that are reduced during compression However just like the original har
468. parameters The first group adjusts the low frequencies and has three controls boost at tenuation and frequency select The second group adjusts the high frequen cies and has three controls boost bandwidth and frequency select The third group also adjusts the highs and has two controls attenuation amount and frequency select The placement and grouping of the sections and their related controls are shown in Figure 118 Figure 118 Control grouping within the Pultec EQP 1A UAD Powered Plug Ins Manual 388 Chapter 39 Pultec Passive EQ Collection Low Frequency Controls EQ Enable This is the EQ enable control Like the original hardware the signal is still colored even when this switch is in the out down position be cause the signal is still passing through the I O circuitry If a true by pass is desired use the Bypass Gain knob f Bypass Gain The function of this control differs between the newer EQP 1A and the Legacy version as described below Pultec EQP 1A This dual purpose knob is an output gain control and the plug in bypass control The available output gain range is 12 dB Pe Rotate the control fully counter clockwise to disable plug in processing and reduce UAD DSP load DSP load is not re duced if UAD 2 DSP LoadlLock is enabled Tip Click the OFF text label or the red power lamp to toggle between by pass and the previous value Tip Click the O text label to
469. performance Both the attack and release curves are optimized for mastering which minimizes aliasing Since the Precision Limiter is a colorless transparent mastering limiter no up sampling is used nor does the UA Precision Limiter pass audio through any tilters audio remains untouched unless the compressor is working in which case only gain is affected To really be considered a professional limiter the metering 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 and used strictly as a high resolution meter Key features include user adjustable Release or intelligent Auto Release which allows for fast recovery minimizing distortion and pumping and a unique selectable Mode switch which allows you to delicately tailor the at tack shape and control the presentation for different material Mode A is the default shape suitable for most material while Mode B can be particularly useful on minimal and or acoustic program material yielding a more subtle touch The Precision Limiter is yet another indispensable UAD tool for your audio ar senal UAD Powered Plug Ins Manual 356
470. phase coherent results are desired Minimum phase mode provides a more analog i e colored sound and p p g uses slightly less UAD CPU While the DSP savings are rather negligible there is a functional advantage to Min phase mode When Precision Multiband is used as a track compres sor Min phase mode provides the advantage of rapid response time of the fil ters for smooth automation and filter sweeps UAD Powered Plug Ins Manual 382 Chapter 38 Precision Multiband Power Switch The Power Switch determines whether the plug in is active Click the toggle button or the UA logo to change the state When the Power switch is in the Off position plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP Loadlock 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 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 Chapter 9 UAD Delay Compensa tion in the UAD System Manual for more information Important Compensating for Precision Multiband latency is not required if the host application supports full plug in delay compensation throughout the entire signal path or when it i
471. program mode Chang ing the switch setting will yield a different comb filter phase Due to the nature of the effect in Phase mode when the switch is in the Rear position and the Phase time lever 1 is at minimum and maximum values the signal is only out put on one side rightonly at minimum left only at maximum This behavior is identical to the original hardware See Front Rear Outputs on page 138 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 program mode creates an ensemble effect by simulating the impres sion of multiple imprecisions added to the original signal In EMT 250 this is accomplished by routing the same signal to four delay processors each hav ing short delay times that are continuously and randomly modulated While it was necessary to combine the various physical outputs for variations of Chorus complexity the EMT 250 plug in is pre mixed in four popular combinations Note Levers 1 and 2 have no effect in Chorus program mode Chorus Mode Lever 3 Four subtle variations of the chorus effect are available I Il Ill and IV Lever 3 specifies the current variation UAD Powered Plug Ins Manual 144 Chapter 12 EMT 250 Electronic Reverberator Echo Positions I and II are of a simpler nature while Ill and IV are
472. provides fixed and variable time con LEFT TIME CONSTANT stants attack and release times to accommodate various types a of program material Positions 1 4 provide successively slower i Ni behavior and 5 and 6 provide program dependent response J The values published by Fairchild for each position are in Table 15 below The actual measured times are a bit different but the overall trend is the same The default value is Position 5 Tip When Sidechain Link is enabled and Controls Link is disabled the Time Constant settings of the two channels are interactive which enables the ability to have many other attack release variations than those listed in the table Table 15 Fairchild Time Constants Position 5 200 microseconds Program dependent 2 seconds for transients 10 seconds for multiple peaks Position 6 400 microseconds Program dependent 300 milliseconds for transients 10 seconds for multiple peaks 25 seconds for consistently high program level UAD Powered Plug Ins Manual 165 Chapter 14 Fairchild Tube Limiter Collection AGC Switch Sidechain Link Controls Link This switch determines whether the two compression chan nels will receive left right or lateral vertical mid side sig nals as the inputs In conjunction with the Sidechain Link switch this control de termines the operating mode of the Fairchild 670 See Fair child 670 Modes on page 162 and Table 14 on page 162 tor detaile
473. qualizer that can control the overall frequency response of the reverb affecting its perceived brilliance and warmth By adjusting its Amplitude and Band edge controls the equal izer can be configured as shelf or parametric EQs as well as hybrids be tween the two Amplitude controls Amplitude control first and second bands third band he Ssiainibe Band Edge control Band Edge control second band third band Figure 125 RealVerb Pro Resonance panel To configure the reverb s Resonance as a parametric EQ 1 Drag the Band Edge controls horizontally for the second and third bands to the desired frequencies The first band is preset to 16 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 O 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 configure the reverb s Resonance as a high shelf EQ 1 Drag the Amplitude control for the second EQ band all the way down 2 Drag the Amplitude controls for the first and third bands all the way up to equal values UAD Powered Plug Ins Manual 403 Chapter 40 RealVerb Pro Timing 3 Adjust the Band edge controls for the second and third bands so they are adjace
474. r 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 control configurations to support the widest ar ray of source material Finally the Precision Enhancer Hz includes control over the final output with metering to compensate for gain changes created by the effect Precision Enhancer Hz does for low frequencies what Precision Enhancer kHz does for the highs Together they are a great complementary pair Precision Enhancer Hz Screenshot e EE Tu UNIVERSAL AUDIO ENHANCER Hz A B fi 1 SLOPE Figure 100 The Precision Enhancer Hz plug in window UAD Powered Plug Ins Manual 330 Chapter 32 Precision Enhancer Hz Precision Enhancer Hz Controls Effect Knob Effect Meter Effect Solo Mode Control knobs for the Precision Enhancer Hz behave the same way as with all UAD plug ins Effect Hz Frequency and Output values can be modified with text entry The Effect Knob controls the amount of pro cessing that occurs in the plug in The avail able range is from 0 00 to 100 0 7 0 Lid Technically speaking Effect scales the input to the enhancer Increasing this parameter makes the enhancer have a higher amplitude output for a given input level Increasing Effect increases the overall enhancement effect Note The signal level at the plug in input will interact with the Eftect c
475. r Diffusion values are frequently desirable when the material has a lot of percussion Higher Diffusion can also contribute to a smoother sounding re verb With low Diffusion values the early reverb will be grainy and sparse but will produce a clear bright sound that is very useful with strings horns and vocals Low Diffusion is also useful in classical music or in adding a sense of depth to an overall mix Note that in Lexicon 224 lower frequencies are generally less diffuse Note If Immediate mode is active the Diffusion value is retained when changing programs Predelay produces a short delay between the sound source and the onset of reverberation Higher Predelay values increase the time before reverb onset The range of this parameter varies depending on the active program see Table 16 on page 196 for the available values The default value is program dependent Table 16 Lexicon 224 Predelay Ranges Program Predelay Range Predelay Range 1 Small Concert Hall B 24 152 6 Small Concert Hall A 24 152 2 Vocal Plate 0 107 24 256 3 Large Concert Hall B 24 152 8 Constant Density Plate A 5 185 4 Acoustic Chamber 25 255 9 Chorus A 0 253 5 Percussion Plate A 0 107 Note Predelay values are in milliseconds 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 paramet
476. r passages little or no meter movement will occur Use make up gain to get a good gain match between active and bypassed Traditionally the SSL G is most commonly used from the beginning of the mix process and the engineer is mixing to the sound and behavior of the com pressor The ideal way to audition this plugin is on a new mix dropped into an insert on your stereo master fader In this case you will be spending a lot of time keeping an eye on gain reduction metering and you may make tweaks to the setup as the mix progresses Of course it can also be dropped in exist ing mixes at any time but keep in mind it may take a bit more effort 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 Finally Auto Fade is useful when the end of a song needs a gradual decrease in volume The speed of the fade can be tuned from 1 to 60 seconds and in corporates SSL s unique fade curves fade in is also available UAD UAD 1 UAD 2 and UAD 4K are trademarks of Universal Audio Inc All other names are trademarks of Solid State Logic which are in no way associated or affiliated with Universal Audio In
477. r settings without the need for additional band width controls Ideal for almost any application the widely versatile API 225L Compressor s auto output level remains at unity regardless of the threshold or ratio settings This feature allows for real time adjustments without the need for changing the output level Both New feed forward and Old feed back methods are selectable via the front panel providing two choices of gain reduction Soft provides a more subtle compression resulting in a natural sound while Hard results in a sharp knee type with a severe limiting effect UAD Powered Plug Ins Manual 52 Chapter 4 API Vision Console Channel Strip The 235L Noise Gate Expander is one of the fastest noise gates available The API 235L can reduce noise in any type of program without losing any part of the source lts extreme flexibility and superb sound make it ideal for all recording or mixing studio applications The Expander function uses a 1 2 ra tio allowing the signal to sneak up to the full signal level without any loss of under threshold vocal or percussion nuances Setting the threshold in the Gate function to the desired level then switching to the Expander mode is the perfect workflow The API 215L is a unique passive sweepable cut filter designed specifically to contour the sound in a way that preserves the natural tone of the signal The 215L is a low pass filter with a slope of 6 dB per octave and
478. r to the entire audio signal In normal use Split should be enabled causing only the ess spectrum as de fined by Frequency and Width i e the sidechain to be attenuated This pro vides the most precise de essing control Split can be disabled which causes the entire input signal to be attenuated instead of just the ess sidechain which results in more traditional compres sion However the sidechain still controls attenuation when Split is off Click the Split button to change the mode Alternately you can click hold the LED area and drag like a slider to change the value Note UAD DSP usage is slightly decreased when Split is disabled unless UAD 2 DSP Loadlock is enabled UAD Powered Plug Ins Manual 328 Chapter 31 Precision De Esser Gain Reduction Power Operating Tips GAIN REDUCTION The Gain Reduction meter provides a visual indica tion of how much attenuation compression is oc curing Signal peaks are held for 3 seconds before resetting When Split is on the amount of sidechain attenuation is displayed When Split is off it displays the attenuation of the entire signal 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 i g load is not reduced if UAD 2 DSP Loadlock is enabled Toggle the switch to change the Power state the UA logo is illuminate
479. range of the band will be re duced dependent upon the band threshold and input level This is the typical value in multiband compression EXPAND When a band is set to Expand the dynamic range of the band will be in creased dependent upon the band threshold and input level GATE When a band is set to Gate the band behaves as a gate A gate stops the signal from passing when the signal level drops below the specified threshold value Gates are generally used to reduce noise levels by eliminating the noise floor when the main signal is not present but they are also useful for special ef fects 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 O dB yields no processing The avail able range is 60 dB to O dB As the Threshold control is decreased and more processing occurs output level is typically reduced compression or increased expansion Adjust the Gain control to modify the output of the band to compensate if desired Ratio determines the amount of gain reduction or expansion for the band For example When a band is set to Compress a value of 2 expressed as a 2 1 ratio reduces the signal by half with an input signal of 20 dB being re duced to 10 dB The available range depends on the value of the Type parameter as follows e Ratio range in Compress mode is 1 1 to
480. rcuit lineage with variations including a more linear compression response transistor gain amplification and a change to the program dependency 1176AE Anniversary Edition This model Figure 155 on page 484 provides UA s rare 1176 40th Anni versary Edition complete with exclusive hotrod mods including its lower 2 1 compression ratio and a fixed super slow 10 ms attack mode UAD Powered Plug Ins Manual 485 Chapter 50 UA 1176 Classic Limiter Collection UA 1176LN SE The 1176 legacy bundle includes the UA 1176LN Legacy and UA 1176SE Legacy Legacy plug ins These first generation plug ins run on UAD 1 and UAD 2 devices To accommodate the limited DSP resources of the UAD 1 the input trans former and I O distortion characteristics were not modeled in these plug ins This makes the legacy LN SE versions especially useful in situations where less distortion is desirable UA 1176LN Legacy The UA 1176LN Legacy plug in Figure 156 on page 484 was along with the LA 2A the first plug in available for the UAD platform It still has a great sound and is very usable especially when there are not enough DSP re sources to use the second generation versions in the newer UA 1176 Limiter Collection UA 1176LN SE Legacy The UA 1176SE Legacy Special Edition Figure 157 on page 484 is de rived from the UA 1176LN Legacy plug in Its algorithm was revised in order to provide sonic characteristics similar to the
481. rding the source unit for the plug in modeling align the white OWR mark with the black dot on the adjustment screw Tip Click the OWR text label to return the control to the Ocean Way Re cording position These controls provide clean uncolored gain to the output signals The available range is f 20 dB The default value is O dB Tip Click the OUTPUT text label to return the control to the default position Note In the Fairchild 670 Legacy this is a stepped control with each step being separated by 0 5 dB and an available range of 18 dB to 6 aB UAD Powered Plug Ins Manual 169 Chapter 14 Fairchild Tube Limiter Collection Mix The output balance between signal processed by the plug in and the original dry source signal can be adjusted with the Mix control Mix facilitates parallel compression techniques without having to create additional routings in the DAW When set to 0 only the unprocessed dry source signal is output When set to 100 the default value only the pro cessed wet signal is output When set to 50 an equal blend of both the dry and wet signals is output The balance is continuously variable throughout the control range Tip Click the MIX text label to set the control to the 50 position Click the O text label to set the control to the minimum position Click the 100 text label to set the control to the maximum position RIGHT CHANNEL RIGHT
482. re available on the secondary panel in open mode The secondary controls panel Figure 4 on page 31 is accessed by clicking the OPEN button beneath the AMPEX label UAD Powered Plug Ins Manual 22 Chapter 2 Ampex ATR 102 Primary Controls Meters Input Output Peak VU The two Meters display signal levels of the plug in for the left and right chan nels Meter ballistics of the original hardware are modeled The Meters can be switched to display input or output levels in peak or VU modes Figure 3 One side of the Ampex ATR 102 penthouse showing meter and I O controls 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 O dBFS at the plug in input will equate to O dB on the Meters when Reproduce is in its calibrated position which is marked with the red arrow sticker When Path Select is set to Thru the Meters indicate signal levels at the input of the plug in prior to processing Note Although 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 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 Meter reflects the signal level after the Record
483. re 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 enables global control adjustments of all pa rameters for all Studer A800 instantiations This functionality may be accessed from within any active Studer A800 eS plug in GANG CTALS Click the Gang Controls buttons to alternate between the two states A red flashing LED is present whenever Gang Controls is enabled as a reminder to use this feature with caution Important When Gang Controls is ON and a Studer A800 parameter is modified the current value of that parameter on all other Studer A800 instan tiations will be overwritten and cannot be recovered Gang Controls Notes e Gang Controls is a read only non automatable parameter and its current value is not saved with the session UAD Powered Plug Ins Manual 463 Chapter 47 Studer A800 Calibration Controls e Gang Controls is a static control without the ability to make relative offsets Disable Gang Controls if offsets between the same control within different instantiations is desired e f Gang Controls is enabled when Auto Cal is enabled any adjustments made to Tape Type Tape Speed or Emphasis EQ causes the Calibration Controls to be automatically adjusted for all instantiations However if the Tape Type Tape Speed or Emphas
484. red Plug Ins Manual 445 Chapter 45 SSL E Channel Strip Pre Dynamics PRE DYN During normal operation PRE DYN disengaged the audio signal is output trom the dynamics module into the EQ module Activating PRE DYN reverses this routing so the EQ is ahead of the dynamics module instead Pre dynam ics is active when the LED below the button is illuminated Global 1 0 Meters The vertical LED style metering provides a visual indication of the signal levels at the input and output of the plug in the meters are not calibrated The input meter is the left LED column and the output 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 O 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 O to return the control knob fo ifs center position Output Output controls the signal level that is output from the plug in The default value is O dB The available range is 20 dB Tip Click the O to return the control knob to its center posi 20 tion OUTPUT inverted when the button is depressed Leave the button out for nor mal polarity Phase The Phase button inverts the polarity of the signal The signal is
485. ree plate models algorithms are available for reverb process ing This switch specities 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 Reverb Time meters The Reverb Time Meters display the re verb time of plates A B and C in sec onds The meter for the active plate model as specitied by the Plate Select switch is illuminated The Damper Controls the buttons beneath the Reverb Time Meters change the reverb time for each plate The range is from 0 5 to 5 5 seconds in intervals of 0 1 sec Click the buttons to increment or decrement the reverb time Note The reverb time can be changed by dragging a Reverb Time Meter needle in addition to its corresponding Damper controls UAD Powered Plug Ins Manual 131 Chapter 11 EMT 140 Plate Reverb Stereo Controls Width Witty Width allows you to narrow the stereo image of EMT 140 The gg range is from O 100 At a value of zero EMT 140 returns a 7 monophonic reverb At 100 the stereo reverb field is as wide as possible 0 5100 Balance This control balances the level between the left and right channels of rure BALANCE the reverb return Rotating the knob to the left attenuates the right r channel and vice versa it is not a mono pan control
486. rently selected channel left or right The currently selected channel is defined by lever 3 The coarse delay time range is O to 300ms selectable via 16 steps The green LEDs on the right side of lever 1 display the current value the red LEDs on the left side of lever 1 are inactive Fine Delay Time Lever 2 Lever 2 controls the fine delay time for the currently selected channel left or right The currently selected channel is defined by lever 3 Fine delay times of Oms 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 single delay time parameter is exposed for each channel and levers I and 2 in the plug in interface are both updated to match the value Channel Select Lever 3 In Delay mode lever 3 selects which channel left or right the delay time pa rameters levers 1 and 2 will affect When lever 3 is in position L the left channel delay time can be adjusted when in position R the right channel delay time can be adjusted The green LEDs on the right side of lever 3 display the channel selected for de lay time adjustment the red LEDs on the left side of lever 3 are inactive Wt Note Lever 3 position I is a duplicate of positi
487. riginal signal or to by Wi pass the plug in to reduce the UAD DSP load load is not reduced it UAD 2 DSP Loadlock is enabled Note The yellow LED in the Input Meter page 152 is illuminated when the plug in is active EP 34 Hardware History Originally designed by Mike Battle in the late 50 s as a portable echo device as an answer to the problem of tying up studio tape machines often employed for echo effects Legendary artists such as Jimmy Page Miles Davis Brian May Andy Summers Eddie Van Halen among many others have used the hardware to add simple slap echo effects all the way to self oscillation chaos to their sonic creations UAD Powered Plug Ins Manual 154 Chapter 13 EP 34 Classic Tape Echo The EP 3 is the favored unit by guitarists and EP 4 is the last unit that was re leased and has an improved feature set over its predecessors such as meter ing and tone controls making it even more useful as a mix tool Some didn t like the EP 4 because of a noise reduction circuit that was added that was not implemented correctly Unfortunately in a production mistake the circuit was placed in across both the direct signal 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 The Echoplex EP 3 hardware unit EP 34 Tape Echo is not affiliated with sponsored nor en
488. rma as the company s chief engi neer After his time at Fairchild Narma moved to Northern California and was a vice president at Ampex The Fairchild was advertised as The World Accepted Standard for Level Control back in the 1950s when it was origi nally sold It is still revered for its extremely smooth artifactfree sound UAD Powered Plug Ins Manual 171 Chapter 14 Fairchild Tube Limiter Collection JARCHILD The Fairchild 660 and 670 Original Hardware UAD Powered Plug Ins Manual 172 Chapter 14 Fairchild Tube Limiter Collection CHAPTER 15 Harrison 32C EQ Overview The Harrison 32C is the EQ channel module from the prestigious Harrison 4032 console Countless hit records have been made with Harrison consoles with artists from Abba to Sade Most notably the 4032 is famous as the mixer from which many Michael Jackson records including Thriller the bestselling album of all time were made An original 4032 still resides in Florida with Thriller engineer and Bill Putnam prot g Bruce Swedien where he continues his love affair with the desk he calls marvelous sounding Universal Audio s plug in version of the all important 32C EQ module is measured from Mr Swedien s personal console This colorful 4 band EQ with high and low cut fil ters will impart the same warm and rich sound from his Harrison and will impart the same impact sonic clarity and creativity as he experienced mak ing s
489. rols 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 available low band center frequencies are 33Hz 56 Hz 100 Hz 180 Hz 330 Hz and OFF When OFF is specified the band is disabled UAD CPU usage is not reduced when the band is OFF 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 Low Peak Select peaking EQ The band is in shelf mode by default it is in peak mode a The Low Peak button switches the low band from a shelving EQ to a when the button is down darker UAD Powered Plug Ins Manual 253 Chapter 25 Neve 1081 Equalizer Cut Filters Phase EQ Enable The independent low and high cut filters are controlled by the dual concentric knobs to the right of the low band see Figure 77 on page 250 The controls specify the i fixed frequency of the cut filter The cut filters have an 18 dB per octave slope aa Click drag the control to change the value or click the silkscreen frequency values Note You can also click the high cut low cut symbols below the knob to cycle through the available values or shift click to step back one frequency High Cut The inner blue dual concentric knob controls the high cut filter The available frequencies for the high cut filter are 18 kHz 12 kHz 8 2 kHz 5 6 kHz 3 9
490. rom 0 dry unprocessed to 100 wet processed sig nal only This control uses a logarithmic scale to provide increased resolution when se lecting lower values When the slider is in the center position the value is 15 Note If Wet Solo is active adjusting Dry Wet will have no effect The Wet Solo button puts the EMT 250 into 100 Wet mode When Wet Solo is on it is the equivalent of setting the Dry Wet control to 100 wet Wet Solo defaults to On which is optimal when using the EMT 250 in the classic reverb configuration placed on an effect group buss that is config ured for use with channel sends When 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 When Noise is active the noise characteristics of the original iat 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 Click the LED to change the setting The Noise parameter is unique to the UAD EMT 250 plug in Noise is dy namic to the response of the effect processing and the noise level differs from program to program The noise floor of the hardware EMT 250 may seem a bit high when compared to modern digital processors but it adds to the EMT 250 s quirky character UAD Powered Plug Ins Manual 148 Chap
491. roup 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 the threshold and or gain controls to obtain the optimum results with your par ticular source audio UAD Powered Plug Ins Manual 270 Chapter 27 Neve 33609 Compressor Power The Power 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 is enabled Toggle the switch to change the Power state the switch is illumi nated in red 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 Neve 33609SE io 200 800 o agg i600 5 i2 ay El A B mi j ro 00 a ag a En 00 Aam a ao 6 lt r 12 Y eye Face aa a me ee os ae g ee Oe oy az i q OF iaz O 20 Py 1 i 20 s jE gain reduction 2 al Hii a comp 3 J r E fi eshalddB attac gain atio gain i fa 9 10 200 g0 a 4d g 800 1500 Biz a 21 a 420 a9 Loo 100 8 ast ae e mali ee 6 oo a 3 iF Wii sour J a2 fe oo Wf iar OF 20 yy j i j lL F
492. ry in both Repro and Sync modes The Repro EQs are used as filters to shape the frequency response of the sys tem in maintaining a flat response and enable compensation for any tape fre quency loss or head wear UAD Powered Plug Ins Manual 32 Chapter 2 Ampex ATR 102 Bias Noise Enable Repro HF Adjusts the tape playback high frequency content when Path Select is set to Sync or Repro Repro LF Adjusts the tape playback low frequency content when Path Select is set to Sync or Repro This control adjusts the amount of bias in the record signal Bias is defined as an oscillator beyond the audible range ap plied to the audio at the record head allowing for adjustment of the record behavior Ideal bias voltage settings provide maximum record sensitivity and low distortion Intentionally overbiasing is a common technique especially for tape compression which produces a warmer gently satu rated sound Underbiasing can also be used to add distortion and other non linear responses similar to gate chatter or cold solder joints extremely low voltages may even cause audio 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 This is a global enable control for the Hum and Hiss effect When Noise is ON the le
493. s UAD Powered Plug Ins Manual 456 Chapter 47 Studer A800 Primary amp The primary controls those that are typically most Secondary used are on the main panel at the bottom portion Controls fi lt of the interface Additional typically less used controls are available on the secondary panel STUDER The secondary panel see Figure 144 is ac ERBO 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 458 and Secondary Controls on page 461 t ae zF EQUALISER gt TF Tir w AUTO GAL GANG CTALS MULTICHASHEL TAPE RESSAOER Figure 144 The Studer A800 plug in window with exposed secondary controls UAD Powered Plug Ins Manual 457 Chapter 47 Studer A800 Ganged Operation Mono Stereo Operation Primary Controls Path Select The UAD Studer A800 implements a control ganging feature that allows easy simultaneous parameter modification for all instances of the plug in The fea ture enables the DAW to emulate the multitrack tape deck scenario more ac curately where a single change to some multitrack machine parameters such as tape speed formula and calibration settings would affect all tape chan nels See Gang Controls on page 463 for details The UAD Studer A800 is designed with a single channel interface to emulate the individual channels of a multitrack tape recorder Howev
494. s Slope the amplitude down from left to right e Use ER filtering as this improves the reverb sound in almost all situations e Try a gradual Lf or Hf roll off or boost with the EQ section The left and rightmost EQ bands are shelf filters which are perfect for this job The ad jacent bands can be used to shape the roll off e Try natural materials and air densities before the unnatural custom or in verse materials and air densities e Try adding onset slope to the LF as many environments naturally have an LF onset For additional info e Read Chapter 40 RealVerb Pro page 396 of this manual UAD Powered Plug Ins Manual 115 Chapter 9 DreamVerb CHAPTER 10 Empirical Labs EL7 FATSO Introduction FATSO Jr Endorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs originator of the hugely popular Distressor UA has painstakingly rec reated the highly regarded FATSO Jr as a plug in capturing the sonic nu ances of the hardware The FATSO Full Analog Tape Simulator and Opti mizer is designed to musically integrate frequencies and transients and increase the apparent volume of your source material in the same way classic analog equipment does It achieves this through an ingenious design and a creative feature set giving users the ability to impart the wonderfully warm and pleasing sonic characteristics of magnetic recording tape and class A transformer and tube circuits The Input control g
495. s output level is typically re duced Adjust the Make Up control E RELE SE S to modify the output to compensate if desired Make Up controls the signal level that is output from the plug in The range is O dB to 15 dB Generally speaking adjust the Make Up control after the desired amount of compression is achieved with the Threshold and Ratio controls Make Up does not affect the amount of compression 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 O Ims 0 3ms Ims 3ms 10ms and 30ms The availability of relatively slow attack times as compared to other compres sors is one factor that can provide the in your face pumping quality that is so popular with large console VCA style compressors Release sets the amount of time it takes for compression to cease once the in put signal drops below the threshold level Slower release times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set the Release time too long compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals UAD Powered Plug Ins Manual 450 Chapter 46 SSL G Bus Compressor Ratio Power
496. s 327 Precision De Esser Screenshot 326 Precision Enhancer Hz 330 Precision Enhancer Hz Controls 331 334 Precision Enhancer Hz Screenshot 330 Precision Enhancer Hz Usage Notes 334 Precision Enhancer kHz 335 Precision Enhancer kHz Controls 336 Precision Enhancer kHz Screenshot 336 Precision Equalizer 339 Precision Equalizer Controls 340 Precision K Stereo Ambience Recovery 345 Precision K Stereo Controls 347 Precision K Stereo Screenshot 345 Precision Limiter 356 Precision Limiter Controls 357 Precision Limiter Latency 344 363 383 UAD Powered Plug Ins Manual Precision Limiter Meters 358 Precision Limiter Screenshot 357 Precision Maximizer 364 Precision Maximizer Controls 365 Precision Maximizer Operating Tips 369 Precision Maximizer Screenshot 365 Precision Multiband 370 Precision Multiband Latency 383 Precision Multiband Screenshot 370 Pre Delay 113 Predelay Knob 134 Preset Design Tips 114 Preset Management 14 Primary Controls 193 458 Pultec EQP 1A 386 388 Pultec EQP 1A Program Equalizer 384 Pultec HLF 3C 393 Pultec MEQ 5 391 Pultec Passive EQ Collection 384 Pultec Passive EQ Collection Screenshots 385 Q Q Bandwidth Knob 75 Rate Knob 91 Ratio 491 Ratio Knob 89 R Delay Knob 90 ReadMe 14 RealVerb Pro 396 RealVerb Pro Background 397 Recirculation RECIR Knob 91 94 Recovery 264 265 Reflections End 108 Reflections Panel 107 Reflections panel 101 Reflections Start 108 Release 490
497. s 393 PSION ance Sheree E enter ekeeuees E karat E ene ke pacent 395 Chapter 40 RealVerb Pro 2 ccc ccc cc cccccccccsssccssssees 396 OVEIVICW otc 4b nao sae nes Bae memes ena 2 E Read eee ene see ane aees 396 RealVerb Pro Background 0000 eee een nett een eee e es 397 SpecielOnareaclelisicSans aiecusnesedsukanaedsuseenerseeaugeteisasneussee eases 398 Resonance Equalization 0 0 0 0 0c nnn e nes 403 an EEEE E E E N darks Gate ee 404 oc enine CEE E EE E E EA EE EE E E EE 406 C E E E E E E E EE EE 408 UAD Powered Plug Ins Manual 10 Table of Contents TABLE OF CONTENTS GR OMINGs 42 44n0 EE dame ieee cee eee deme oNGeh eee ane sone EE 408 RealVerb Pro Preset Management 000 cece eee teen nnn 410 RealVerb Pro Preset List 0 0 nannan annuau anaana eenean aaaeeeaa 410 Chapter 41 Boss CE 1 Chorus Ensemble ccccceeeeeeee0 411 Overview 2 eee eee eb nee e eben eed enn e ebb nn neennnnes 411 Boss CE 1 Screenshot 0 0 ccc cece cee cee e eben bebe be bebbenenneaes 411 Boss CE 1 Controls o oo ccc cee e een eet n bbe b bbe bebbenbnnenes A12 Chapter 42 Roland Dimension D ccccccccccssccccccsssees 415 Overview 20 nn eben nn bebe bebe bbb bbb b bbb bbb bbb nas 415 Roland Dimension D Screenshot ccc cece cece eee ebb b been ebbbbnnebnny 415 Roland Dimension D Controls aoao naoa anaana aa aaa aaa aa aaa aaa 416 Chapter 43 Roland RE 201 Space Echo ccc
498. s Manual 160 Chapter 14 Fairchild Tube Limiter Collection Lateral Vertical Operating Levels One of the design goals of the Fairchild 670 hardware was to facilitate its use as a limiter when producing vinyl phonograph masters The terms lateral side to side and vertical up and down refer to the mechanical modulations in a vinyl record groove that are transduced into electrical audio signals by the phonograph stylus and cartridge The Fairchild 670 can perform dynamics processing on the lateral Lat and vertical Vert components of stereo signals independently In other words the monophonic middle and or stereo side components of a stereo source signal can be compressed or limited separately from the other component Lat Vert processing facilitates maximum usable levels and efficient use of available groove space in phonograph mastering resulting in higher volume recordings with longer playing times Of course the feature can also be used for creative effects outside of the phonograph environment Note Lat Vert processing is an operating mode of Fairchild 670 For addi tional details on the modes and how to access them see Fairchild 670 Modes on page 162 Lat Vert processing is accomplished by first routing the stereo source signal through a sum difference mid side matrix which separates the stereo source into lateral middle or center without stereo and vertical side or ste reo without mono sig
499. s algorithm has been revised in order to provide sonic characteristics very similar to the 1081 but with significantly less DSP usage It is provided to allow 1081 like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the 1081 but it still sounds great and is very usable in most situations The 1081SE interface can be differentiated from the 1081 by color and the module name The 1081SE is black instead of the 1081 s dark blue and the module name on the lower right of the interface panel includes SE Neve 1081SE The Neve 1081SE controls are exactly the same as the Neve 1081 Please re Controls fer to the Neve 1081 section for Neve 1081SE control descriptions see Neve 1081 and 1081SE Controls on page 250 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 Chapter 9 UAD Delay Compen sation in the UAD System Manual for more information The Neve 1081SE does not require additional latency compensation because it is not upsampled Note Compensating for Neve 1081 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 All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all u
500. s can be made Each of these control points and their corresponding available adjustments are de tailed below UAD Powered Plug Ins Manual 377 Chapter 38 Precision Multiband Adjusting Gain Adjusting Gain and cF Adjusting Gain and Bandwidth Adjusting xF UAD Powered Plug Ins Manual The gain of a band can be adjusted by click drag ging the top of its colored line In this case the cursor changes to an up down arrow when hovered over the hot spot to indicate the direction available for dragging If the cursor is moved slightly lower than the above ex ample the gain and center frequency can be ad justed simultaneously without adjusting the band width In this case the cursor changes to an up down left right arrow when hovered over the hot spot to indicate the direction available for dragging 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 If the cursor is moved to where two bands crossover the crossover frequencies can be adjusted without changing the gain or center frequency In this case the cursor changes to a left right arrow when hov ered over the hot spot to indicate the direction avail able for dragging Note Frequencies
501. s depend on the current Tape Speed and represent the actual delay time poe Ale Defaults that would occur in the physical realm reflecting the 15 IPS 124 ms elapsed time between the signal put on tape at the 7 5 IPS 248 ms i e 3 75 IPS 496 ms record sync head and its reproduction at the play back repro head These physical default times are shown at right Important When the tape speed is changed the current delay time is changed to reflect the new physical time between the sync and repro heads for the new tape speed and previously set values are lost see tip below Tip To retain custom delay times when changing Tape Speed hold Shift when changing Tape Speed UAD Powered Plug Ins Manual 36 Chapter 2 Ampex ATR 102 Manual Calibration Tools About MRL Alignment Tapes J These controls are the suite of tools included to perform See manual calibration of the recorder These UAD only Aiea tools are not in the original hardware Manual calibra eine sume tion is entirely optional as the Auto Cal feature can quickly and automatically calibrate the system a m l E ET 25k The manual calibration tools consist of an externa keii tone generator with multiple test tones and levels a dis tortion meter with digital readouts and a full suite of modeled Magnetic Reference Laboratory MRL alignment tapes Note The Manual Calibration Tools are operational only when Path Select
502. s full plug in delay compensation throughout the signal path or when if is used only on the outputs Notes from Manley Laboratories e Do not assume the knob settings mean what you expect they should mean Part of this is due to the interaction of the controls Part is due to the new shelf slopes and part due to a lack of standards regarding shelf spec ification e You may find yourself leaning towards shelf frequencies closer to the mids than you are used to and the action seems closer to the edges of the spec trum than your other EQs Same reasons as above UAD Powered Plug Ins Manual 224 Chapter 21 Manley Massive Passive EQ e You may also find yourself getting away with what seems like massive amounts of boost Where the knobs end up may seem scary particularly for mastering Keep in mind that even at maximum boost a wide bell might only max out at 6 dB of boost less for the lowest band and only reaches 20 dB at the narrowest bandwidth On the other hand because of how transparent this EQ is you might actually be EQing more than you could with a different unit Taste rules test benches don t make hit records believe your ears Sometimes the shelves will sound pretty weird especially only at the nar row bandwidth settings They might seem to be having a complex effect and not only at the dialed in frequency This is certainly possible Try wider bandwidths at first If you seem to be boosting all 4 b
503. s output from the plug in The available range is 20 dB to O dB a OUTPUT i 20 db i UAD Powered Plug Ins Manual 337 Chapter 33 Precision Enhancer kHz Generally speaking adjust the Output control after the desired amount of pro cessing is achieved with the Effect and kHz Frequency controls Output does not affect the amount of enhancement processing nor does it have any effect when the plug in is disabled Output Meter The 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 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 is enabled Power Toggle the switch or click the UA logo 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 UAD Powered Plug Ins Manual 338 Chapter 33 Precision Enhancer kHz CHAPTER 34 Precision Equalizer Overview The Universal Audio Precision Equalizer is a stereo or dual mono four band EQ and high pass filter designed primarily for mastering program material The Precision Equalizer may also b
504. s self oscillating and restarting the feedback loop is desired fat F This switch disables the signal sent into the echo portion of the ema Woema processor when set to NORMAL The switch will have no effect if Mode Selector on page 419 is set to Reverb Only This control is some times affectionately referred to as the dub switch This switch puts the plug in into tempo sync mode See Chapter 8 Tempo Sync in the UAD System Manual for more information SS E These LCD style readouts display the current de lay time s of the RE 201 The three displays ee a gt 0 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 a particular head is in active see Mode Selector on page 419 a dash is displayed When in tempo sync mode note values that are out of range will flash Im precise note values due to head relationships are displayed with superscript or symbol before the note Ga n the original hardware the tape loop is contained in a user re nem wef ALE Hlaceable cartridge As the tape wears out it is subject to fidelity BW loss plus increased wow and flutter The Tape Age switch allows E the plug in to mimic the behavior of new used and old tape car tridges Newer tape may b
505. s unit is equally famous for its ability to dial in seemingly dangerous amounts of boost and famously smooth as silk vintage tone The EQP 1A is also known as the quintessential magic studio piece that makes audio simply sound better just by passing through it Pultec MEQ 5 The Pultec MEQ 5 Mid Range Equalizer is the richly colorful tube amplitied companion piece to the EQP 1A With two bands of midrange boost and one band of midrange dip the MEQ 5 is designed to enhance and control the power region where sound energy is often concentrated covering the finer tone requirements in the Pultec Collection with an abundance of band overlap and filter interaction Pultec HLF 3C The HLF 3C completes the Pultec Passive EQ Collection This plug in has 12 dB per octave low and high cut filters providing broad retro tonal sculpt ing or bygone era special effects without the inconvenience of insertion loss found with the unamplified passive hardware UAD Powered Plug Ins Manual 386 Chapter 39 Pultec Passive EQ Collection Pultec Legacy The Pultec EQP 1A Legacy and Pultec Pro Legacy plug ins Figure 117 on page 385 are the original versions of our Pultec emulations that run on both UAD 1 and UAD 2 devices They still have a great sound and are very usable especially when there are not enough DSP resources to use the second generation versions in the newer Pultec Passive EQ Collection To accommodate the limited DSP resources
506. s used only on the outputs UAD Powered Plug Ins Manual 383 Chapter 38 Precision Multiband CHAPTER 39 Pultec Passive EQ Collection Introduction The Pultec Passive EQ Collection is the final word in fastidious circuit repro duction of Pulse Techniques revered passive EQs considered to be the most popular outboard studio equalizers ever made With the UAD 2 s increased DSP power and ten years of UA s technological advancements since the orig inal Pultec and Pultec Pro plug ins UA has revisited the Pultec family Main taining the spot on filter fits and all important EQ band interactions the Pultec Passive EQ Collection expands on sonic detail by modeling the overbuilt transformers and complex tube amplifiers of these must have production tools The sophisticated technology used in this new plug in collection captures all of these tone enhancing characteristics for individual sources to full program ma terial UAD Powered Plug Ins Manual 384 Chapter 39 Pultec Passive EQ Collection Pultec Passive EQ Collection Screenshots ATTEN SEL 1 2 20 PULTEC BANDWIDTH HIGH FREQUENCY OFF 2000 LOW CUT OFF PCT ECOFETER AEA HIGH CUT OFF rA 3 amp 500 4 5 930 200 T PULTEC MIDRANGE EQUALIZER ME Q 5 BOOST ATTEN BOOST ATTEN ATTEN SEL 4 38 4 5 g 4 5 4 5 amp sa 3 F 7 PULTEC aE PROGRAM EQUALIZER EQP i4 1 UNIVERSAL AUDIO INC 0 SANTA CRUZ CA SHARP BROAD LOW FREQUENCY BAND
507. sal Audio founder M T Bill Putnam Additionally the Ocean Way plug in grants virtual access to 250 000 worth of hand picked vintage microphones from Allen Sides personal collec tion one of the largest in the world all of which are capable of being moved and changed dynamically within the studio spaces as three separate stereo microphone pairs UA s proprietary Dynamic Room Modeling combines DSP and exclusive mea surement techniques to reinvent room ambience processing The end result is an uncanny recreation of Ocean Way s iconic studio rooms A and B By na ture of its specialization the Ocean Way Studios plug in invites its users to ex plore the entire space of these never before available temples of legendary sound Allen Sides microphone setups are the centerpiece of Ocean Way Studios They capture the ideal microphone selections and placements for each room and source type and create Ocean Way Studios fundamental sound Mr Sides eight expertly chosen positions are featured per studio as discrete in strument or vocal source selections each is designed to recreate its inherent UAD Powered Plug Ins Manual 288 Chapter 29 Ocean Way Studios dispersion patterns This enables users to recreate the same set ups used to record some of the biggest acts of all time including Michael Jackson Ma donna U2 Ray Charles Radiohead Beck Tom Petty The Rolling Stones and many many more Even the unique c
508. sampling results in a slightly larger latency than most other UAD plug ins See Chapter 9 Delay Compensation in the UAD System Manual for more information UAD Powered Plug Ins Manual 47 Chapter 3 API 500 Series EQ Collection API 550A Controls Band Controls The three EQ bands HF MF LF are controlled by dual concentric switches The inner knob controls the band frequency and the outer knob controls the band gain Available values for these controls are listed in Table 7 below Table 7 API 550A Frequency and Gain Values Band Frequency Values High Frequency 5 7 10 12 5 15 HF KHz Mid Frequency 0 4 0 8 1 5 3 5 Low Frequency 50 100 200 300 400 LF Hz dB Default values are in bold 0 2 4 MF kHz 12 Frequency Frequency determines the center frequency of the band when the filter is in peak mode and the cutoff fre quency when the filter is in shelf mode The frequency for the band can be set using any of these four methods 1 Drag the inner concentric knob to the desired value or 2 Hover over the inner concentric knob then use the mouse scroll wheel or 3 Click directly on the frequency value label to switch to that value or 4 Click on the band label HF MF LF or units label kHz Hz to cycle through available values Gain The gain for the band can be set using any of these three methods 1 Drag the outer concentric knob handle to the desired value or 2 Clic
509. se of AMS Neve s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 255 Chapter 25 Neve 1081 Equalizer CHAPTER 26 Neve 31102 Console EQ Overview The Neve 8068 console featuring the 31102 EQ was used to hand mix one of the best selling debut albums of all time Appetite For Destruction by Guns N Roses Artists ranging from Primus and Metallica to My Morning Jacket and The Red Hot Chili Peppers have also called on the distinct tone of the Neve 8068 and 31102 EQ in the studio Universal Audio s officially licensed and endorsed Neve 31102 EQ plug in delivers the same sonic experience as its analog cousin with exacting detail Complete with its own distinct filter shap ing 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 with two Q types a four frequency 220 110 60 and 35 Hz low shelving EQ a four frequency high pass filter 45 70 160 and 360 Hz and five fre quency 6 8 10 14 and 16 kHz low pass filter Other features include a 30 dB range of Gain Trim plus phase reverse and EQ bypass The UAD Neve 31102 license a
510. se of the UAD Ampex ATR 102 is to obtain tape mixdown sonics within the DAW environment To obtain the classic tape mixdown sound instantiate the plug in as the last insert on the output bus after other processing is applied or possibly as the second to last insert before a brick wall processor such as the UAD Precision Limiter Of course creative non standard results can be obtained by placing the Ampex ATR 102 in any channel insert or on busses in a send return configuration The UAD Ampex ATR 102 models seven popular magnetic tape formulas Each type has its own subtle sonic variation distortion onset and tape com pression characteristics The tape types that can be selected depend on the active tape speed and head type all tape types are not available for all tape speeds and head types Lower fidelity types are included to facilitate more signal coloration options 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 recalli brating the electronics As track width increases subtle improvements to sta bility fidelity and noise become apparent A popular custom aftermarket tape head is available which enables the use of 1 tape stock enabling even higher fidelity with its greater track widths All three tape head widths are ac curately modeled and selectable in
511. se the power and presence in the mix UAD Powered Plug Ins Manual 427 Chapter 44 SPL Transient Designer Drums Ambience e Shorten the sustain period of a snare or a reverb tail in a very musical way to obtain more transparency in the mix e When recording a live drum set shorten the toms or overheads without physically damping them Usual efforts to damp and mike are reduced re markably Since muffling of any drum also changes the dynamic response the Transient Designer opens up a whole new soundscape Micing live drums is considerably faster and easier because you can correct the apparent distance of the microphone by simply varying the ATTACK and SUSTAIN values The Transient Designer is a perfect alternative to noise gates in live drum micing Adaptively reacting to the duration of the original signal the sustain is shortened more musically than with fixed release times and a drumset is treed from any crosstalk quickly and effectively Create unusual dynamic effects including new and interesting pan effects For example patch a mono loop through two 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 amazing
512. see Figure 151 Each band has four selectable tixed frequencies and 15 dB of gain These were the good old days before sweepable frequencies and bandwidth controls but the results are wonder tully 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 bell filters The midband interactions can be significant if the center frequencies are near each other Band Layout Each of the four main EQ bands have similar controls The band frequency is controlled by its knob and the band gain is controlled by its slider low pass high shelf low mid filters band band high mid low shelf high pass band band filters Figure 151 Trident A Range band control layout UAD Powered Plug Ins Manual 478 Chapter 49 Trident A Range EQ Trident A Range EQ Controls Phase Low Pass Filters High Shelf High Mid Band The Phase button inverts the polarity of the signal The signal is in verted when the button is engaged darker Leave the button inactive lighter for normal phase Phase is independent of the EQ IN setting Three low pass filters are available and they can be used simul taneously in any combination The available cutoff frequencies are 15 kHz 12 kHz and 9 kHz with a slope of 12 dB per oc tave Each filter is active when its button is engaged darker Each low p
513. self because of the higher level of control and detail available at that stage Of course Precision K Stereo can be used across the stereo bus during mixing and or in other creative applications as well However since the process is optimized for broad spectrum mixes with at least some ambient content the effect may be extremely subtle on individual tracks depending on the ambi ent content in the recording The Precision K Stereo processor does not use or require mid side encoding or decoding techniques to achieve ambience recovery nor enhancement However the plug in has an independent mid side ratio leveling feature that can be useful during mastering to compensate for overall center to side level imbalances within the stereo field The ambience recovery feature can then be used to recover ambience and space that is lost when the mid channel level is increased such as when rais ing a center located vocal or instrument UAD Powered Plug Ins Manual 346 Chapter 35 Precision K Stereo Ambience Recovery Configurations Presets Precision K Stereo is optimized for use in stereo in stereo out configurations However ambience recovery is possible on monophonic source recordings when the plug in is used in a mono in stereo out configuration Mono signals are stereo ized in the MISO context Note Due to the inherent stereo nature of the ambience recovery process Precision K Stereo is not intended for use in mono in mono out c
514. set the gain to O dB Pultec EQP 1A Legacy This is the plug in bypass control The knob can be used to com pare the processed settings to that of the original signal or to dis able the plug in to reduce UAD DSP load DSP load is not reduced if UAD 2 DSP LoadlLock is enabled Note Output gain is unavailable on the Pultec EQP 1A Legacy plug in Low Frequency This switch determines the frequency of the low shelf portion of the equalizer Four frequencies are available 20 30 60 and 100 CPS Tip To cycle through the available values click the CPS text label or shift click the text label to cycle through available val ues in reverse This function is unavailable with the Legacy ver sion of the plug in UAD Powered Plug Ins Manual 389 Chapter 39 Pultec Passive EQ Collection High Boost Controls LF Boost This knob determines the amount of low shelf gain to be applied to the fre quency set by the CPS switch LF Attenuation This knob ATTEN determines the amount of low shelf cut to be applied to the frequency set by the CPS switch Background In the documentation supplied with hardware version of the EQP 1A it is rec ommended that both Boost and Attenuation not be applied simultaneously be cause in theory they would cancel each other out In actual use however the Boost control has slightly higher gain than the Attenuation has cut and the fre quencies they affect are slightly diff
515. should be lower in amplitude lt 60 dB to keep within our line of thinking Second har monic is considered to be the warmest and most consonant harmonic dis tortion High Frequency Saturation This circuit is meant to simulate the softening of the high frequencies that oc curs with analog tape Basically as the Warmth is increased overly bright signals and transients will be quickly attenuated The time constants are very nearly instant so the high frequencies return very quickly after a loud burst The Warmth circuit is by far the most complex part of the FATSO Basically it is a very strange high frequency HF gain control circuit or HF limiter It is very unobtrusive in operation since it gets in and out of the way very quickly The desired result is akin to the HF saturation that analog tape exhibits when the HF amplitude interacts with the tape recorder bias to produce self 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 tirst because it affects the operation of Warmth There is heavy interaction be tween the compressor and Warmth settings Perhaps the best way to think of the settings is as compressor threshold with 7 having the lowest threshold and the most Warmth responding quickly and of
516. signal When Ocean Way Studios is in Re Mic mode the original dry signal is not mixed back in with the wet processed signal Instead the dry signal is pro cessed to sound as if it were recorded inside the studio space itself by emu lating the direct signal component This processed source signal thus inherits the sonic characteristics of the studio acoustics source dispersion patterns and microphones with more accuracy and realism than is possible with re verb processing The concept is similar to that of guitar re camping whereby previously re corded guitar tracks are routed out of the DAW into a guitar amplifier then re recorded using a microphone to replace the original guitar track with a new track that inherits the sonic characteristics of the amp This technique is also used in studios to great effect by re micing any pre existing audio to in herit the sonic characteristics of the recording room In the same way with Ocean Way Studios any track or bus can be routed into the plug in to re record the original source so it inherits the sonic char acteristics of the Ocean Way studio acoustics source dispersion patterns and microphones In artificial reverb processors the direct signal component is not actually part of the processed signal Instead the original dry signal is simply mixed back in with the reverb ambience the wet signal Although great results can be ob tained with this method it is only an
517. signal or to bypass plug in processing to reduce UAD DSP load DSP load is not reduced if UAD 2 DSP Loadlock is enabled Note The behavior of this toggle switch differs from the other UAD Pultec plug ins Because the HLF 3C hardware is not internally amplitied there is no I O circuitry modeling to maintain when the EQ portion of the circuit is by passed the entire hardware unit is the EQ portion This rotary switch specifies the cutoff frequency of the low cut filter Eleven fre quencies are available 50 80 100 150 250 500 750 1000 1500 and 2000 CPS Tip To cycle through the available values click the CPS text label or shifttclick the text label to cycle through available values in reverse This rotary switch specities the cutoff frequency of the high cut filter Eleven fre quencies are available 1 5 2 3 4 5 6 8 10 12 and 15 KCS Tip To cycle through the available values click the KCS text label or shift click the text label to cycle through available values in reverse UAD Powered Plug Ins Manual 394 Chapter 39 Pultec Passive EQ Collection History In 1951 Pulse Techniques introduced the first passive Program Equalizer the EQP 1 The passive EQ filter designs were originally licensed from Western Electric Founders Ollie Summerland and Gene Shenk made up the Teaneck New Jersey operation of Pultec These two men comprised the engineering marketing sales and production staff for the en
518. 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 O dBFS up to 6 dBFS within the plug in can be pro cessed This can increase the distortion characteristic at the output particularly when the Limit function Limit on page 367 is en gaged The available range is 12 dB A good starting point for sonic experimenta tion is to set the input level so the input peaks occur around O dB then adjust the other controls to taste UAD Powered Plug Ins Manual 365 Chapter 37 Precision Maximizer Shape Bands The Shape knob is the primary saturation control for the Maximizer effect It contours the harmonic content and ap parent dynamic range of the processor by changing the small signal gain of the saturator The available range is O 100 At lower settings apparent loudness is not as dramatic but harmonic processing still occurs producing a richer sound with minimal reduction of dynamic range As Shape is increased the sound becomes more saturated with sonically pleasing distortion and perceived loudness punch and clarity Shape values between 0 50 will make the effect more subtle but a richer sound is still obtained Lower Shape values accentuate louder peaks which can sound great on percussive instruments Solo instruments can also benefi
519. signal with a mini mum of noise and distortion requires precise adjustments to the system elec tronics The calibration settings are based on the current tape speed formulation emphasis EQ and tape width The hardware must be meticu lously re adjusted each time a different tape speed emphasis EQ or head width is used and for system wear and drift even if these variables are not changed UAD Ampex ATR 102 has an automatic calibration feature that tunes all calibration electronics with a single button UAD Powered Plug Ins Manual 21 Chapter 2 Ampex ATR 102 Low Level Tuning Manual Calibration Tools Mono Stereo Operation Quick Setup Artist Presets Primary amp Secondary Controls Even though automatic calibration is available the individual controls that ad just calibration are exposed for sonic manipulation Playback EQ record tape EQ and record bias can easily be altered for manual calibration and or creative purposes UAD Ampex ATR 102 includes the full suite of tools required to manually cal ibrate the recorder Manual calibration tools are provided so expert users can calibrate the system to their preferred methods for obtaining desired results The manual calibration tools consist of a tone generator with multiple test tones and levels a distortion meter with digital readouts and a full suite of Magnetic Reference Laboratory MRL alignment tapes which are used to cal ibrate playback electronics
520. signals or as a Re Mic processor when full immersion of the original source audio within Ocean Way s studio spaces is desired Re Mic mode is by nature fully wet and includes the impulse response s di rect signal Re Mic can be used to entirely replace previous rooms and mi crophones or create new complimentary room sounds Ocean Way Studios was collaboratively developed under the creative direc tion of renowned producer engineer Allen Sides As the owner operator of Ocean Way Recording for more than 30 years see The History of Ocean Way Recording on page 315 his knowledge of how to record various sources within these studios is integral to the high quality results that can be achieved with Ocean Way Studios Allen Sides is not only known for his audio engineering expertise but also for his collection of prized microphones The specific microphones that were used to develop Ocean Way Studios and their placement positions on a va riety of sources were selected by Mr Sides himself UAD Powered Plug Ins Manual 290 Chapter 29 Ocean Way Studios Hybrid Technology Concise Modeling Presets Ocean Way Studios is not a general impulse response IR convolution re verb nor a typical algorithmic reverb Instead Ocean Way Studios utilizes breakthrough hybrid technologies combining expertly sampled impulse re sponses with advanced algorithmic DSP techniques Ocean Way Studios focuses on a lim
521. ss UAD 2 DSP Loadlock is enabled Power Lamp The lamp beneath the Power switch is illuminated when the plug in is active Tip Click the Power Lamp to toggle the enable disable state of the plug in VU Meters There are two VU meters one for each channel The VU meters can display input levels output levels or gain reduction levels as determined by the Meter Switch UAD Powered Plug Ins Manual 163 Chapter 14 Fairchild Tube Limiter Collection Meter Switch This switch determines what is displayed on the VU meters In IE n METERING put output or gain reduction GR levels can be selected a The default value is GR If GR is selected the meter will show gain reduction in dB for the corresponding compressor channel If the AGC Switch is set to left right the GR shown will be for the left or right channel If the AGC switch is set to Lat Vert the GR shown will be for the middle upper meter or side lower meter channel In GR mode the upper labels show gain reduction in dB If the meter select switch is set to IN or OUT then that meter will reflect the rel ative level of the right or left input or output signal the O meters are not cal ibrated Channel Input This is a stepped attenuation control which always applies to LEFT CHANNEL Gain left or right input regardless of the AGC control setting The or steps are approximately 1 dB apart Fairchild 670 The available range is
522. stain The sound tends to become mushy simply reduce SUSTAIN to change that If you how ever want to cre ate soaring guitar solos that would make even David Gilmour blush just crank up the SUSTAIN control to the max and there you go With miced acoustic guitars you can emphasize the room sound by turning up SUSTAIN If you want the guitars to sound more intimate and with less ambi ence simply reduce SUSTAIN Speaking of bass Imagine a too sluggishly played bass track you may not have to re record it 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 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 intensity of the reverb is now much higher in the beginning while the reverb time is reduced The opposite can be just as intriguing manipulate a reverb pattern so that it takes on a pyramidal slope Turn the ATTACK all the way to the left and SUS TAIN all the way to the right Now the beginning of the reverb is strongly re duced whereas the sustain blossoms and seems almost endless obviously that will only happen if the decay of the reverb in the actual reverb device has been set to a sufficient value a signal must always be present as long as the sustain time l
523. stically alter the presence or dynamics of individual tracks or groups Unlike other enhancers that function by fre quency delay or filtered clipping the Precision Enhancer kHz works on spe cialized techniques of equalization and dynamic expansion that can be used as a highly versatile 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 signal For these modes Effect is used as a fader on the way into the expander The release can be adjusted to either Fast or Slow via the Speed button giving a greater range of dynamic frequency enhance ment For Mode C the sweepable filter applied to the expander s output is identical to the filter used with Mode A For Mode D and All the expander s output is passed to a set of filters in parallel Finally the Precision Enhancer kHz includes control over the final Output level metering to compensate for gain changes created by the effect UAD Powered Plug Ins Manual 335 Chapter 33 Precision Enhancer kHz Precision Enhancer kHz Screenshot MODE es 0 00 WE EEE Ei UNIVERSAL AUDIO gpeg me FAST ENHANCER kHz a EFFECT A H i a
524. style design which effects the distortion characteristics of the output stage UA 610 A The low frequency L F shelf EQ has a fixed cutoff frequency of 100 Hz Lo EQ Gain This rotary switch determines the amount of boost or cut applied to the low fre quency signal Fixed values of 6 dB or O dB can be selected When set to O dB the filter is inactive er UA 610 B The low frequency LO shelf EQ has a selectable cutoff fre quency which can be cut or boosted by various amounts Lo EQ Frequency d This switch determines the cutoff frequency 70 100 or 200 Hz of the low shelf EQ This switch has no effect if the Lo EQ Gain value is zero Note Like the hardware low frequency values are not consecutively or dered Lo EQ Gain This rotary switch determines the amount of boost or cut applied to the low fre quency signal Fixed values of plus or minus 9 6 4 5 3 or 1 5 dB can be selected When set to O dB the filter is inactive UA 610 A The high frequency H F shelf EQ has a fixed cutoff frequency of 10 kHz Hi EQ Gain This rotary switch determines the amount of boost or cut applied to the high frequency signal Fixed values of 6 O 3 or 6 dB can be selected When set to O dB the filter is inactive UAD Powered Plug Ins Manual 502 Chapter 51 UA 610 Tube Preamp amp EQ Collection Polarity Power 610 History UA 610 B The high frequency HI shelf EQ
525. such a way that depending on the set tings entire EQ circuits are switched in and out In the hardware that often meant audible popping For the plug in we use smoothing to reduce these au dio spikes but they may be more audible than with other UAD plugs ins This is most audible when engaging the Bass or 10 kHz band from OFF to any other setting Each feature of the UAD Helios 69 interface is detailed below UAD Powered Plug Ins Manual 179 Chapter 16 Helios Type 69 Equalizer Bass Bass Gain Mid Freq Mid Gain The Bass knob has a dual purpose It specifies the amount of attenuation when the low band is in shelving mode and specifies the frequency of the low frequency peak filter when the Bass Gain knob is not zero fete When Bass is set to one of the frequency values 60 Hz 5 100 Hz 200 Hz or 300 Hz the low band is in peak mode In this mode the amount of gain bass boost applied to the specitied frequency is determined by the Bass Gain knob When this knob is set to one of the decibel values 3 6 9 12 15 dB the low band is in bass cut shelving mode with a set frequency of 50 Hz Note Like the original hardware simply putting this control on any frequency will yield approximately 3 5 dB in gain increase even if the Bass Gain control is set to O 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 1
526. such combinations don t affect the sound in the hardware e These models can be used as tone boxes without compression limiting by disengaging the Ratio control altogether all Ratio buttons up This is ac complished by clicking any Ratio button so only one button is engaged then shift clicking the engaged button so none are engaged In UA 1176LN SE Legacy e To select All Button mode on the UA 1176LN SE Legacy shitt click any Ra tio button Figure 158 The Multi Button modes available in the UA 1176 Limiter Collection All Button mode far right is available in 1176LN and 1176SE UAD Powered Plug Ins Manual 492 Chapter 50 UA 1176 Classic Limiter Collection VU Meter This is a standard VU meter that displays either the amount of gain reduction or output level depending upon the setting of the Meter Function switch Meter Function These four pushbutton switches to the right of the VU Meter determine the mode of the VU Meter and whether the plug in is enabled When set to GR the VU Meter indicates the Gain Reduction level 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 O corresponds to an output level of 4 dB When the Meter Function is set to GR mode and multiple Ratio buttons are en gaged the Meter will appear to behave strangely This is normal behavior in the 1176 hardware and is faithfully recreated in the plug in When the OFF switch
527. switch is in the In darker ag position To disable the EQ put the switch in the Out lighter posi tion Click the button to toggle the state In the hardware 31102 the audio is still slightly colored even when the EQL switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Therefore the signal will be slightly colored when this switch is in the Out position UAD DSP usage is reduced when the EQ is by passed with this control unless UAD 2 DSP LoadLock is enabled If a true bypass is desired use the OFF position of the Input Gain control In put Gain on page 257 Figure 80 The Neve 31102SE plug in window Overview Neve 31102SE Controls 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 sounds great and is very us able in most situations The 31102 interface can be differentiated from the 31102 by color and the module name The 31102SE background is black instead of the 31102 s dark blue and the module name on the lower right of the interface panel in cludes SE The Neve 31102SE controls are exactly the same as the Neve 31102 Please refer
528. switch setting will yield a slightly different effect See Front Rear Outputs on page 138 for more information Global Controls The global controls are not program specitic they apply to all program modes Power The Power button the red EMT logo determines whether the plug in is active It is useful for comparing the processed signal to the original signal Click the button to disable the plug in See 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 LoadlLock is disabled If DSP LoadlLock is enabled the default setting disabling Power will not reduce DSP usage Input Meter The Input Meter indicates the level going into the plug in On the original hardware the red Register LED illumi nates when digital full code is reached at 6 dB above O dB Ode i e there is 6 dB of headroom on the hardware as the BJB meaning of O dB digital wasn t yet standardized in those days Registar 1245 The distortion characteristics of the A D converters are modeled therefore EMT 250 style clipping can be heard when the EMT 250 input is over driven UAD Powered Plug Ins Manual 147 Chapter 12 EMT 250 Electronic Reverberator Dry Wet Wet Solo Noise The Dry Wet slider control determines the balance between the original and the pro cessed signal The range is f
529. t Ocean Way Studios is not an upsampled plug in However due to its unique design requirements Ocean Way Studios is subject to increased latency ver sus other UAD plug ins The increased latency may be objectionable when tracking through Ocean Way Studios if the plug in is in Re Mic mode and or on individual inserts in Reverb mode This impediment also applies with Apollo when using the Con sole application for Realtime UAD Processing The latency is typically not an issue when used in a typical effect send return configuration in Reverb mode nor during mixdown when latency is not a concern Therefore when tracking live performances and the performer is monitoring through Ocean Way Studios we generally recommend using it in Reverb mode using a typical effect send return configuration where latency with time based effects does not affect the monitored performance Note Latency can be reduced further with Distance Delay on page 309 UAD Powered Plug Ins Manual 301 Chapter 29 Ocean Way Studios Load Time The latency of Ocean Way Studios depends on the sample rate The exact la tency values are provided in lable 23 Table 23 Latency in Ocean Way Studios Sample Rate Latency Latency Sample Rate Latency Latency kHz samples time kHz samples time 192 Note As with all UAD plug ins the latency of Ocean Way Studios is auto matically compensated by the DAW See Delay Compensation in the UAD System
530. t stereo counterpart control to snap to the same position Important When Unlink mode is active and Link is enabled the left chan nel control values are copied to the right channel Control offsets between channels are lost in this case UAD Powered Plug Ins Manual 25 Chapter 2 Ampex ATR 102 Emphasis EQ Power When Link is active automation data is written and read for the left channel only In this case the automation data for the left will control both channels Additionally changing the right channel parameters from a control surface or when in controls only non GUI mode will have no effect Unlink When Unlink is active the controls for the left and right channels are indepen dent When unlinked automation data is written and read by each channel separately The Emphasis EQ buttons determine the active Emphasis EQ pman values and the frequency of the Hum noise NAB or CCIR curves can be selected when the Tape Speed is 7 5 or 15 IPS When the Tape Speed is 30 IPS neither value is avail able the LEDs are dimmed because the EQ is fixed with the AES emphasis curve per the original hardware At 3 75 IPS only NAB is available as it is with the hardware When the value is set to NAB traditionally 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 33 and
531. t trom lower Shape values by taming the peaks while maintaining dynamic range As Shape is increased beyond 50 presence excitement and harmonic col oration can be dramatic yet still highly 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 Wiig Precision Maximizer can operate in one band or three band mode T in one band mode all frequencies are processed equally In three ue band mode the frequency spectrum is split into three separate bands before maximizing is applied One band mode is the normal setting for general usage In this mode more dramatic results can often be obtained because more saturation effect is pos sible before the output is clipped At higher levels of distortion the phase of the harmonics are also better retained in this mode which usually produces a more desirable sound quality Higher levels of perceived loudness may be obtained in three band mode es pecially if the frequency spectrum of the source material is not balanced In this mode certain settings can produce higher output levels than input levels and potential clipping so it may be necessary to compensate by reducing the input output levels and or engaging the Limit control UAD Powered Plug Ins Manual 366 Chapter 37 Pr
532. t accomplishes the same function as manually moving an audio region for wards in the timeline so it plays back a little later in relation to other regions This switch bypasses the Delay Adjust parameter Delay Adjust is bypassed when the switch is engaged darker Phase Adjust is the main parameter in the Little Labs IBP It is a continuously variable 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 1 80 switch The Little Labs IBP hardware is an all analog device that uses analog allpass tilters to produce phase shifting Allpass filters displace signals in time as a tunction of frequency they are frequency dependent The modeled UAD ver sion accurately models the hardware along with all its idiosyncrasies Therefore phase shifting using the Phase Adjust knob is not perfect like mathematically manipulated signals in the digital domain When Phase Ad just is set to 180 on one of two identical tracks side by side the signals will not cancel as you may expect Note If a standard 180 phase shift is desired use the Phase Invert switch If digitally pure frequency independent phase shift is desired use the Delay Adjust parameter This switch bypasses the Phase Adjust parameter The signal phase is normal when the switch is engaged darker This switch inverts the polarity of the input signal like the phase button on a mixi
533. tch UAD Powered Plug Ins Manual 269 Chapter 27 Neve 33609 Compressor Factory Presets 22 dB Typical starting point for individual track inserts where maximum gain reduc tion is desired This setting is equivalent to having a real hardware 33609 connected to a 4 interface with 22 dB headroom 18 dB Typical starting point when used on a buss or group where nominal gain re duction is desired This setting is equivalent to having a real hardware 33609 connected to a 4 interface with 18 dB headroom 14 dB Typical starting point for mastering where minimal gain reduction is de sired This setting is equivalent to having a real hardware 33609 connected to a 4 interface with 14 dB headroom Note Keep in mind there are no hard and fast rules Use the above recom mendations as guidelines and feel free to experiment with the various posi tions of the headroom switch regardless of the audio source If it sounds good use it The UAD Neve 33609 33609SE includes a bank of factory presets These presets can be useful starting points for your particular source audio The factory preset names begin with MSTR BUSS or TRAK These indicate the setting of the headroom parameter 14 dB 18 dB and 22 dB respec tively Mastering MSTR presets are optimized for mixed program material that is al ready at a relatively high level Buss group BUSS presets are optimized for subgroups of audio such as a drum group or vocal g
534. te the delay Tip Click the ECHO VOL label text to mute unmute the delayed output Cooper Time Cube Hardware COOPER TIME CUBE MODEL 920 I UNIVERSAL AUDIO Figure 29 The opened acoustic module and the complete system UAD Powered Plug Ins Manual 85 Chapter 6 Cooper Time Cube CHAPTER 7 CS 1 Channel Strip Overview The CS 1 Channel Strip provides the EX 1 Equalizer and Compressor DM 1 Delay Modulator and RS 1 Reflection Engine combined into one plug 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 EQUALIZER 2 f ENgSLt BYPASS _ n COMPRESSOR o ATTACK RATIO GAIN REDUCTION THRESHOLD g a SLE el gt BYPASS O50 re RELEASE wes SYNC ry MODE 4 2 LFOTYPE ly Trio 450E R PAN ee ae ae me 25 0 A Ne 100 Ro REFLECTOR fr ENGSLE be BYPASS RECIR DAMPING eee R PAN 4 f a i 4 x 2 E wip MIX Ea 2 gt 20 0 M 25k 100 L Mme 100 R_ Figure 30 The CS 1 Channel Strip plug in window UAD Powered Plug Ins Manual 86 Chapter 7 CS 1 Channel Strip EX 1 Equalizer an
535. ted then Fade is clicked again after 20 seconds it will take 20 sec onds to fade back in Tip Shifttclick the Fade button to instantly return the level back to O dB this feature cannot be automated General Usage Notes The SSL G Bus compressor has been used to put the final touch of cohesive ness or glue to more mixes than any other compressor in history Its true use fulness and beauty is usually in its subtle ability to make your mix pop just a little more with a subtle increase in energy and excitement The SSL G is designed with the 2 bus in mind and the control set adjusts the L R simultaneously The ratios attack and release settings are also specially tailored for bus use and give just the right variety of options to make it useful for a wide variety of source material Attack and release times allow the com pression behavior to be tuned to the tempo and feel of the song to some de UAD Powered Plug Ins Manual 452 Chapter 46 SSL G Bus Compressor gree and the Auto setting provides a program dependent multi stage re lease for the greatest degree of transparency Use the 2 1 for the most transparent sound and 10 1 for tougher more audible sound or 4 1 for in between Usually this processor is meant to be used with minimal gain reduc tion In most cases setting the threshold for 1 2 dB average gain reduction is most common with occasional transients that go beyond the average In qui ete
536. ten to high frequency content Just remember that instead of controlling the overall level the Warmth com pressor threshold only affects the high frequencies Transformer amp Tape Head Emulation The Tranny circuit Tranny is short for transformer is a simulation of the ef fect of input and output transformers of older devices and adds the low fre quency harmonics that characterize analog tape This is extremely useful on pure low frequency type tones that don t cut through small speakers It adds upper warm harmonics to frequencies below 150 Hz especially those even lower such as 40 Hz the low string on a bass guitar helping it to cut through on smaller speakers UAD Powered Plug Ins Manual 118 Chapter 10 Empirical Labs EL7 FATSO Compression Processor Transformer design and use is an art and there are always trade offs How ever it has been widely known that a good audio transformer circuit can do wonderful things to an audio signal This was the goal of the Tranny circuit The hardware designers tried to emulate the desirable characteristics of the good old input output transformers in a consistent musical way and in a se lectable fashion The addition of harmonics and peak saturation along with frequency and phase changes on the low frequencies occurs They found that they could capture the low frequency effects of large and now expensive older output transformers in a weird internally buffered switchable
537. teps The green LEDs on the right side of lever 4 display the current predelay value The EMT 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 mono output only The EMT 250 hardware unit has four discrete outputs Two outputs were de signed to be used as the main stereo left right outputs or the front left right outs in quadraphonic applications The other two outputs were used for the rear lett right signals in quad or other creative applications The UAD EMT 250 fully models the individual sonics of all four outputs The name of the Front Rear Outputs switch is derived from the original hardware design This control which is unique to the plug in enables access to the processed quadraphonic signal in pairs at either the front L R or rear L R outputs When a different sound is available at the front and rear outputs the yellow LED ring around the control is illuminated For program modes that do not offer quadraphonic processing e g Delay the switch is re pur posed to sum the processed outputs to mono In Echo mode it functions as an input mute UAD Pow
538. ter 12 EMT 250 Electronic Reverberator CHAPTER 13 EP 34 Classic Tape Echo EP 34 Overview The EP 34 combines EP 3 and EP 4 sonics and features to achieve the best of the later solid state Echoplex designs The Echoplex uses an infinite tape loop combined with a sliding record head that allows the user to achieve the desired delay length EP 34 emulates the great idiosyncrasies of these tape based echo units such as the unique Echo Delay record head slider that can be moved in real time while used in conjunction with the Echoplex s Echo Repeats control to create echo and pitch chaos The distinct and musical input clipping is captured in the units Record Volume control making the EP 34 a tone box for distortion Echo Volume allows the blending of the original and effected signal however even the dry signal is affected by the unit The Echoplex self oscillation capabilities are captured as well including the squelch effect an interruption in self oscillation achieved at extreme set tings when processing low frequency material like drum loops with heavy kick drum All this makes the EP 34 more than just a delay 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 an
539. ter 7 of the UAD System Manual The Fairchild Tube Limiter Collection includes additional artist presets that are not available in the internal factory bank These additional presets can also be accessed using the Settings menu in the UAD Toolbar Note Presets created with the original Fairchild Legacy plug in are incom patible with the newer Fairchild Tube Limiter Collection plug ins Upsampling The Fairchild Tube Limiter Collection plug ins but not the Fairchild 670 Leg acy use an internal upsampling technique The upsampling results in a slightly larger latency than most other UAD plug ins See Chapter 9 Delay Compensation in the UAD System Manual for more information UAD Powered Plug Ins Manual 159 Chapter 14 Fairchild Tube Limiter Collection Fairchild 670 Legacy Mono Stereo Operation The original version of the Fairchild 670 was released in January of 2004 for the UAD 1 platform To accommodate the limited DSP resources of the first generation UAD 1 hardware the transformer and O distortion characteris tics were not modeled in this version of the plug in The Fairchild 670 Legacy has a great sound and is very usable especially in situations where less distortion is desirable or when there are not enough DSP resources to use the second generation models in the newer Fairchild Tube Limiter Collection It also has slightly less overall latency since it is not an upsampled plug in Note The Fairchild 670
540. ter frequency to be of fected The Bandwidth range is 0 03 32 higher values yield sharper bands In either of the first two bands when the Bandwidth value is at minimum the band becomes a low shelf filter and at maximum the band becomes a high pass filter Similarly in either of the last two bands when the Bandwidth value is at min imum the band becomes a high shelf filter and at maximum the band be comes a low pass filter Globally enables or disables 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 is enabled 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 Attack Knob Release Knob Sets the amount of time that must elapse once the input signal reaches the Threshold level before compression will occur The faster the Attack the more rapidly compression is applied to signals above the Threshold The range is 0 05 milliseconds to 100 00 milliseconds Sets the amount of time it takes for compression to cease once the input signal drops below the Threshold 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 Re
541. tereo Controls 0 0 0 0 00 n nee ennes 347 Ambience Recovery 0 0 enn ete e nent een nent eee eens 348 Amp ence Fillets 1 4228 4aceeusecesgsneeeaseeusacnse suse eueecuses seeeueennees 349 Mid Side Controls 0 0 ccc ccc ccc cence cece b bene n eben eee nenenenen 351 Output Gain Controls 2 0 0 een eee aaraa 352 Output Level Meters n n nanan nannaa anane eaeueuus soem sen oes 353 PONO e e a E E E A E E A ae heaters 353 Factory Preset Notes by Bob Katz 0 6 ccc ene ete nnn 354 Chapter 36 Precision Limiter ccc ccccccccccccsvscccccsece 356 Overview 20 a a e nbn bebe ebb bbb bbb b bbb bbb bbb nes 356 Precision Limiter Screenshot 0 0 cece cece cece bee ebb bebe bbb bbbbbbbebnny 357 Controls Overview 0 ccc ccc ccc ce bbb bbb bb bb bbb bbb bbb bbb bbb bbb bbb bbb bbe 357 UAD Powered Plug Ins Manual 9 Table of Contents TABLE OF CONTENTS Precision Limiter Controls 0c cc cee cee cece bbb b bbb bb bbb bbb bbbbbbbbbnny 357 Precision Limiter Meters Overview 0 00 ccc eee ee eee a 358 Precision Limiter Latency wave dees ener Gewa sees pena eee Pewee ees Boeaweeaw hs 363 Chapter 37 Precision Maximizer ccc ccccccccccccccscssece 364 OVO OW enre bovis Sans bees anes ee beds bene 4ees ben sans eee sd aaes eee Seeu ess 364 Precision Maximizer Screenshot 0 c cece eee eee e eee e eee ee eevee nennnes 365 Precision Maximizer Controls 0 0 c cece eee eee e ev
542. terials menus The first material is displayed in the lower left area of the Materials panel and the second material is displayed in the lower right area To select the first or second material click its material pop up selector menu to view the available materials then drag to the desired material and release For a discussion of the various materials see About the Materials on page 401 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 DreamVerb allows you to specify the density of the air in the reverberant space with this menu enabling another dimension of sonic control The more dense the air is the more it absorbs high frequencies At the top of the Air Density menu is Ideal Gas where no frequencies are absorbed The air quality increases in density with each selection as you go down the menu Inverse Air and Inverse Thick Fog ab sorb more low frequencies instead of high frequencies UAD Powered Plug Ins Manual 106 Chapter 9 DreamVerb Materials The Materials Blending Bars see Figure 41 on page 105 are used to blend Blending Bars the three materials together at any ratio The materials are n
543. that of the original signal or to bypass the individual band UAD DSP usage is slightly de creased when a band is disabled unless UAD 2 DSP LoadLock is enabled This parameter determines the center frequency to be boosted or attenuated by the Gain setting The available range for each of the five bands is the same for both parametric and shelf modes The ranges are shown in Table 10 on page 7 5 UAD Powered Plug Ins Manual 74 Chapter 5 Cambridge EQ Gain Knob Q Bandwidth Knob Parametric EQ Parametric Type Selector Parametric Q Table 10 Available ranges for the Band Frequency parameter Low Frequencies LF 20 400 Hz Low Mid Frequencies LMF 30 600 Hz Mid Frequencies MF 100 6 kHz High Mid Frequencies HMF 900 18 kHz High Frequencies HF 2k 20 kHz Note When operating at sample rates less than 44 1 kHz the maximum fre quency will be limited This parameter determines the amount by which the frequency setting for the band is boosted or attenuated The available range is 20 dB The behavior of the Q parameter varies depending on the band mode and the gain For this reason Q is detailed separately in the parametric and shelf mode sections see Parametric Q on page 75 and Shelf Q on page 78 A band is in parametric mode when shelf mode is disabled see Shelf Enable Button on page 78 Three types of parametric EQ are available as deter mined by the Parametric Type selector The
544. the Inout Gain on page 245 control Figure 75 The Neve 1073SE plug in window Overview Neve 1073SE Controls 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 significantly less DSP usage It is provided to allow 1073 like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the 1073 but it still sounds great and is very usable in most situations The 1073SE interface can be differentiated from the 1073 by color and the module name The 1073SE is black instead of the 1073 s dark blue and the module name on the lower right of the interface panel includes SE The Neve 1073SE controls are exactly the same as the Neve 1073 Please re fer to the Neve 1073 section for Neve 1073SE control descriptions see Neve 1073 and 1073SE Controls on page 244 UAD Powered Plug Ins Manual 247 Chapter 24 Neve 1073 Equalizer Neve 1073 Latency The Neve 1073 but not the 1073SE uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins The latency and its compensation is identical to that of the UAD Precision Equalizer See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information The Neve 1073SE does not require additional latency compensa
545. 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 13 on page 140 details the varying functions of the control levers and the front rear switch in each mode Important The function of the levers and the front rear switch changes depending on the program mode UAD Powered Plug Ins Manual 137 Chapter 12 EMT 250 Electronic Reverberator Lever 4 Predelay Mono Stereo Operation Front Rear Outputs Each unique parameter in the plug in retains a distinct value but only the pa rameters that are active in the current program mode are visible in the graph ical user interface All parameters are always visible in Controls View see Chapter 7 of the UAD System Manual even when they are not active in the current program mode Important The value of lever parameters that are not active in the current program mode are not saved in sessions or presets The unsaved parameters are marked with an asterisk in Table 13 on page 140 When switching between program modes that have different parameters mapped to the same control parameter values are retained within each mode controls jump back to the prior value that was set in each respective mode In all program modes lever 4 controls the predelay the initial delay before other processing occurs of both channels left and right Predelay times of Oms 20ms 40ms and 60ms are available in 4 s
546. the Meter switch is in Input mode the main level meters display the sig nal level at the input of the plug in and is not affected by the Input knob Output When the Meter switch is in Output mode the main level meters display the level at the output of the plug in When the Limiter is enabled the Output and Input knobs will affect this display The meter Scale switch increases the resolution of the main stereo level meter See Figure 110 below The meter range that is displayed in Normal and Zoom modes is dependent upon the meter Type setting see Type on page 359 UAD Powered Plug Ins Manual 361 Chapter 36 Precision Limiter GAIN fFOUGTIO UNIVERSAL AUDIO umiTeR SEBUETION PRECISION MASTERING INPUT SERIES METER OUTPUT AOLO are eee TYPE e NORMAL PK RMS Figure 110 Precision Limiter meter scale in PK RMS Zoom mode The main level meters in Normal mode and the gain reduction meter in both Normal and Zoom modes are linear level differences between LED segments is the same In PK RMS and K 20 Zoom modes however the main level meters use two different linear ranges for increased accuracy The ranges and response for each meter type and scale is detailed below PK RMS In Normal mode the meter range is 60 dB to O dB with a linear response of 0 5 dB per segment In Zoom mode the range is 18 dB to O dB with two dif ferent linear responses 0 2 dB per segment from 18 to 6 dB and 0 1 dB per s
547. the Output value to O The VU Meter provides a visual 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 O dBFS at the plug in input will equate to O dB on the plug in meters Secondary Controls The Secondary Controls are exposed by clicking the Studer A800 label or the OPEN text above it See Figure 144 and Primary amp Secondary Con trols on page 457 for more information Tip The last used state of the Secondary Controls panel open or closed is re tained when a new Studer A800 plug in is instantiated The state of the panel open or closed settings retained with new plug in in stantiations UAD Powered Plug Ins Manual 461 Chapter 47 Studer A800 Equaliser Emphasis EQ Noise Enable The Equaliser buttons determine the active Emphasis EQ val ues and the frequency of the hum noise Click the equaliser buttons to alternate between the two different types NAB or CCIR curves can be selected when the Tape Speed is BERMAS 7 5 or 15 IPS When the Tape Speed is 30 IPS neither value is available the LEDs are dimmed because the EQ is fixed with the
548. the UAD Ampex ATR 102 All four tape speeds in the original hardware are modeled in the UAD Ampex ATR 102 Speeds of 3 75 7 5 15 and 30 inches per second IPS are avail able Each speed provides distinct frequency shift head bump and distortion characteristics Higher speeds have higher fidelity 3 75 IPS has a distinc tively lo fi character Tape machines can be setup with different calibration levels which entails set ting unity gain from input through output based on the magnetic flux amount of magnetic field of a given tape formulation Different calibration levels pro vide different tape response characteristics for a given level into the recorder Four selectable calibration levels are available in the UAD Ampex ATR 102 UAD Powered Plug Ins Manual 20 Chapter 2 Ampex ATR 102 Ancillary Noises Modeled Transformer Tape Delay Automatic Calibration Tape recorders have inherent signal noises that are a by product of the elec tro mechanical nature of the machine While undesirable tape system noise is historically considered a negative and was an attribute that pushed the technical envelope for better machine design and tape formulas and ulti mately noiseless digital recorders noise is still an ever present character istic of the sound of using tape and tape machines The UAD Ampex ATR 102 models the hum hiss wow flutter and crosstalk characteristics of the original hardware These noise
549. the balance between the reverb processor and the source signal when Solo mode is inactive Click the DRY button to reduce the reverb amount click the WET button to increase the reverb amount The Dry Wet mix is indicated in the 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 the computer key board when clicking the controls Shift click will decrement DRY and incre ment WET by a value of 0 1 percent instead of one percent The Dry Wet controls are typically used when Lexicon 224 is inserted on in dividual channels When Lexicon 224 is used on a group bus in a typical re verb send return configuration set to 100 WET or activate SOLO mode Additional UAD controls are available in a hidden control panel Refer to Figure 63 in parameter descriptions PLICH SHLF tee a7 LAPUT GALA i lt j WUTRPUL LEWEL e ROLD POWER 8 Ki a Ea i a i Bo a 4 R z j i A E a im Figure 63 The Lexicon 224 Hidden Controls UAD Powered Plug Ins Manual 200 Chapter 18 Lexicon 224 Access Pitch Shift Input Gain Output Level Link The hidden controls are
550. the highest peak in the resultant audio file The default value is 0 10 dB The available range is from 12 dB to O dB Non zero values are always negative therefore during text entry operations positive or negative values may be entered and the result will be negative UAD Powered Plug Ins Manual 357 Chapter 36 Precision Limiter Release Mode Power The Release knob sets the value of the limiter release time The default value is Auto The available range is from 1 second to 0 01 milliseconds Auto Mode When the Release knob is fully clockwise Automatic mode is active In Auto mode release time is program dependent Isolated peaks will have a fast re lease time while program material will have a slower release Note You can type A or a to enter Auto mode during text entry The Mode switch affects the attack shape of the limiter Subtle tonal variations are possible by switching the Mode between A and B Mode A is the default shape suitable for most material while Mode B can be particularly useful on minimal and or acoustic program material yielding a more subtle touch The Power switch determines whether the plug in is 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 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 lev
551. the two position Speed button gives control over the envelope attack and release of the detector The Frequency knob sweeps a continuous target frequency range from 2 16 kHz allowing 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 highpass filter more com monly employed when tailoring individual voices For even greater transpar ency the Split feature gives the user the option to compress only the sibilant range or may be turned off to compress the entire spectrum for more tradi tional de essing Precision De Esser Screenshot THRESHOLD ete FREQUENCY ate WIDTH GAIN REDUCTION o Ald E 5 z l el cuts FAST 5 OFF 25 15 10 7 5 3 150 UNIVERSAL AUDIO O DEESSER 40 dh o SPEED SLOW il Figure 99 The Precision De Esser plug in window UAD Powered Plug Ins Manual 326 Chapter 31 Precision De Esser Precision De Esser Controls Threshold Speed Frequency Solo Control knobs for the Precision De Esser behave the same way as all UAD plug ins Threshold Frequency and Width values can be modified with text entry m oreshold controls
552. ther hardware cir cuitry is still modeled The plug in is active when the POWER switch is engaged and its associated LED is illuminated When this switch is off all plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 LoadLock is enabled UAD Powered Plug Ins Manual 49 Chapter 3 API 500 Series EQ Collection API 560 Controls Gain Sliders Output EQ In Power Note Like the original 560 hardware the signal is boosted by approxi mately 1 1 5 dB even when all gain sliders are set to O dB Each of the 10 sliders controls the gain for one fre quency band Each band can be adjusted to boost or cut the frequency by up to 12 dB The available band fre quencies are listed in lable 8 below Table 8 API 560 Frequencies Tip To return a slider to the O dB position click the slider s frequency text label To reset all sliders to O aB click the O text label above the sliders This control provides 24 dB to 12 dB of clean uncolored gain at the output of the plug in Tip Click the O text label to return Output to the O dB position ry ey Pai i ra i OUTPUT The EQ In switch enables the filter sliders The EQ bands are active when the switch is engaged and the associated IN LED is illuminated When disengaged the EQ bands are bypassed but other hardware circuitry is still modeled The plug in is active when the POWER switch is engaged and its assoc
553. tion 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 path or when it is used only on the outputs AU ne eae p ot as fetes oka aT ee ope FA n Saas All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS Neve s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 248 Chapter 24 Neve 1073 Equalizer CHAPTER 25 Neve 1081 Equalizer Overview The Neve 1081 channel module was first produced in 1972 by Neve and was used to provide the mic line amp and EQ sections in consoles such as the Neve 8048 Vintage 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 counts Neve 1081 Screenshot Figure 76 The Neve 1081 plug in window UAD Powered Plug Ins Manual 249 Chapter 25 Neve 1081 Equalizer Neve 1081 and 1081SE Controls Overview The Neve 1081 channel module is a four band EQ with high and low cut fil ters The 1081 features two parametric midrange bands
554. tional mic becomes more cardioid above 800 Hz Allen Sides favorite microphone The studio standard KM54 is a nickel capsule medium diaphragm pressure gradient cardioid condenser tube mic providing maximum on axis sensitivity The secret weapon omni MKH20 provides rise in directionality at high frequencies OWR B Far Strings Horns and Vocal Group has Allen placing the MHK20s at the walls Distance is unavailable when this mic is used for the OWR B Far selection A multi pattern dual diaphragm tube condenser mic with a distinct sonic signature This best of the best set was picked by Allen from his collection One of the most recognizable mics in recording this multi pattern tube condenser is prized for its amazing realism and clarity Only about a hundred of these amazing cardioid ribbon mics were ever made providing an impressionistic sound useful within a multi pair setup The iconic American figure 8 ribbon velocity mic used for broadcast studio and live sound is noted for its strong off axis rejection and smooth tone No mic locker is complete without this cardioid pattern high rejection dynamic studio workhorse which features a familiar bass roll off and mid range presence A razor flat small diaphragm omni reference grade mic found in OWR B s loft as a permanent installation Distance is unavailable when this mic is used for Far selection Microphone names are all trademarks of their respective owners wh
555. tire history of the company and made every item to order all by hand With the EQP 1A Pultec im proved the original design with tube amplification to overcome the typical in sertion loss of passive equalizers The EQP family of EQs would see many it erations but the fundamental design would be Pultec s flagship product until the company s closure in the early 80s UAD Powered Plug Ins Manual 1000 1500 2000 LOW CUT OFF OFF a ER HLF PEAK s 200 7 TI PULTEC MID RANGE EQUALIZER mEQ 5 ATTEN BOOST 5 5 4 6 4 7 PULTEC PROGRAM EQUALIZER EQP IA ANDWIOTH LOW FREQUENCY E The Pultec Passive EQ Collection Original Hardware 395 Chapter 39 Pultec Passive EQ Collection CHAPTER 40 RealVerb Pro Overview Room Shape and Material Resonance Timing and Diffusion Stereo Soundfield Panning RealVerb Pro uses complex spatial and spectral reverberation technology to accurately model an acoustic space What that gets you is a great sounding reverb with the ability to customize a virtual room and pan within the stereo spectrum RealVerb Pro provides two graphic menus each with preset Room Shapes and Materials You blend the shapes and material composition and adjust the room size according to the demands of your mix Controls are provided to ad just the thickness of the materials even inverse thickness for creative effects Through some very clever engineering the blending of room sh
556. to the microphone Distance and Gain settings are less audible in Reverb mode than Re Mic mode Ocean Way Studios contains meticulous models of rooms A and B at Ocean Way Recording Each room Figure 90 below has unique sonic characteris tics ij wE ae Figure 96 Interior photos of Room A left and Room B right at Ocean Way Recording UAD Powered Plug Ins Manual 304 Chapter 29 Ocean Way Studios OWR A Ocean Way Recording A is Ocean Way s most spacious studio 45 x 52 suitable for four piece bands to full orchestras With a rich sound exception ally clear low end and super smooth decay OWR A is a study in classic stu dio design Associated artists include John Mayer and Whitney Houston to classics like Frank Sinatra and Count Basie OWR B Ocean Way Recording B is M T Bill Putnam s crowning achievement in stu dio design This flawless miniature concert hall 35 x 45 makes recordings bigger than life The separate isolation room 18 x 45 is a second studio ideal for guitars providing an amazing response for distance micing Radio head and Green Day to Ray Charles and Duke Ellington have all made Room B their home Studio Menu The Studio menu selects between the two recording STUDIO rooms at Ocean Way Recording OWR A and OWR B To change the active studio click the current stu dio name then select the desired room from the drop menu Tip To ch
557. ton PREDYN re routes the 550L sig nal By default the audio signal is routed into the 550L mod ule after dynamics processing When PREDYN is enabled when the green in dicator is lit this routing is swapped and the EQ module precedes the dynamics processors instead When550L PREDYN is active the dynamics side chain is always tapped after the 55OL module regardless of the state of the 215L module s SC function Note PREDYN has no effect when the 5SOL s SC button is active The effect of the PREDYN button is shown in the diagrams below i 235L i i 225 Gate Exp Comp Lim Figure 10 PREDYN routes the 550L before the dynamics modules Out UAD Powered Plug Ins Manual 65 Chapter 4 API Vision Console Channel Strip Out Figure 11 The 550L always precedes the side chain tap when PREDYN is active 550L SC Dynamics Side Chain This control enables the side chain function for the 550L EQ When the 550L side chain is active signal output from the 550L module is removed from the audio path and is instead routed to control the 235L and 225L dynamics modules The default value is Off x x Out eee Figure 12 Signal flow with 550L SC enabled Note Both the 550L and 215L modules can both be routed simultaneously to the dynamics side chain In this case the 215L precedes the 550L in the side chain path as shown below 212L m Preamp o9 Out 235L Gate Ex y p 215L A
558. ton 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 background changes to blue When adjusting a control in Relative mode it may appear that the full range of the active control is unavailable this occurs when a different band not the active band has reached the end of its range In Relative mode the Gain value can also be adjusted by dragging the Gain handle in the EQ Display see EQ Display on page 377 Note No change occurs to the parameter values unless the control is actually moved This allows you turn off relative linking without making any changes UAD Powered Plug Ins Manual 373 Chapter 38 Precision Multiband Type Switch Note Relative mode is not available for the Type parameter because the available Type values are discrete Click and shift click both activate Absolute mode for Type Absolute Link In Absolute mode changes to a band control will force the same control in the other bands to snap fo the same value as the current band Shift click the ALL button to enter Absolute mode the button background changes to red In Absolute mode the
559. tortion sounds fat and analog and isn t heard as distortion at all wack The COMP button defines which compressor mode is active fame See Compression Processor on page 1 19 for a descrip meee tion of the modes Link LED Spank mode can be combined with any of the other three modes for a total of seven available compressor modes 20 15 Note Generally speaking the Input and compressor Mode controls should be set before the other FATSO processor settings because of the high degree of interaction between the compressor and the other processors The three Mode LED s indicate the active mode Refer to Table 12 on page 122 for each specific value The compressor is inactive when all Mode LED s are off UAD Powered Plug Ins Manual 121 Chapter 10 Empirical Labs EL7 FATSO GR Meter Warmth Warmth Meter Table 12 Compressor Mode LED States Compressor Mode LED State Active Compressor Mode s Yellow General Purpose G P Green Yellow Tracking most versatile ratio The Gain Reduction Meter displays the amount of gain reduction occurring within the FATSO compressor expressed as negative dB values ee 0 7 5 j 2 m 1 m Note At extreme settings the GR Meter may indicate gain reduction is oc curring even when the compressor is disabled This behavior is identical to the hardware unit This button defines the Warmth amount Warmth simulates the softening of the high frequen
560. tput Volume This control determines the output volume of the plug in It affects the dry and effect signals OUTPUT YOL The range of this control is 20 dB from unity gain Therefore some signal may still be heard when this control is set to its min imum value UAD Powered Plug Ins Manual 420 Chapter 43 Roland RE 201 Space Echo Repeat Rate Intensity Echo Volume Sears This knob controls the time interval of the echo effect Rotating the control clockwise will decrease the delay time and counter clockwise rotation will increase the delay time The available delay times are as follows e Head 1 69ms 177ms e Head 2 131ms 337ms e Head 3 189ms 489ms The head times available with this control are dependent upon the Mode Se lector on page 419 As with the original hardware this control varies the tape playback speed in realtime by manipulating the tape capstan motor and therefore has a musically useful ramp up and ramp down effect When Tempo Sync is enabled this control is quantized to allow only rhythmic notes available at the leading head Me his knob controls the repeat level feedback of the echo signal Rotating the control clockwise increases the number 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
561. ts the stereo position for the left channel allowing you to adjust the width or balance of the stereo signal For a mono signal set both the L Pan and R Pan to the left Sets the stereo position for the right channel allowing you to adjust the width or balance of the stereo signal For a mono signal set both the L Pan and R Pan to the left Enables or disables the Reflection Engine You can use this switch to compare the RS 1 settings to the original signal or bypass the entire RS 1 section to re duce UAD DSP load load is not reduced if VAD 2 DSP LoadLock is enabled Adjusts the relative output of the plug in UAD Powered Plug Ins Manual 95 Chapter 7 CS 1 Channel Strip CHAPTER 8 dbx 160 Compressor Limiter Overview The dbx 160 Compressor Limiter is an officially licensed and faithful emu lation of the legendary dbx 160 hardware compressor limiter still widely considered the best VCA compressor ever made Originally designed and sold by David Blackmer in 1971 this solid state design set the standard for performance and affordability The dbx 160 commonly referred to as the VU is a highly regarded studio staple famous for its simple control set and tirm 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
562. ttack LED s Unlit Compressor Active When the compressor is enabled and all Attack LED s are unlit the attack characteristic of the active compressor mode in FATSO Jr is used This de fault FATSO Jr behavior can then be manually overridden with the Attack button However when pure Spank mode is active Attack cannot be mod ified When Spank mode is combined with another compressor mode Attack can be changed but the results are typically very subtle Tip After experimenting with other time constants one can return to the de fault attack setting of the FATSO Jr if desired by cycling the attack control until NO LEDs are lit which indicates the default FATSO Jr time constant UAD Powered Plug Ins Manual 126 Chapter 10 Empirical Labs EL7 FATSO Release Attack LED s Unlit Compressor Inactive When the compressor is disabled and all Attack LED s are unlit the button is disabled Note This control has no effect when the compressor is inactive or when it is in pure Spank mode see Compressor Mode on page 121 Release sets the amount of time it takes for compression to cease once the input signal drops below the threshold level Slower re lease times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with fre quent peaks However if you set too large of a Release time com pression for sections of audio with loud signals m
563. tudios is very forgiving and great results can be obtained even if the original source has existing ambience Tip Using ambience reduction tools prior to processing with Ocean Way Studios can yield improved results with particularly ambient audio When to use Reverb mode Use Reverb mode to add Ocean Way Studios ambience to existing sources just as you would with other reverb processors and methodologies See Re verb Processing on page 293 for an overview of Reverb mode Figure 93 shows a traditional auxiliary effect bus send return configuration in a DAW In this example Ocean Way Studios is inserted on the effects bus the plug in is in Reverb mode and its Wet Solo control is enabled 100 wet Individual reverb amounts are set with the send control for each individ ual channel and the overall reverb amount is set with the bus return fader Tip This configuration conserves UAD DSP resources when the same effect settings are desired for multiple channels instead of using the plug in on indi vidual channels Reverb mode Bus 1 Aux 1 Return Figure 93 DAW signal routing in Reverb mode using a traditional effect send return configuration UAD Powered Plug Ins Manual 298 Chapter 29 Ocean Way Studios When to use Re Mic Mode Use Re Mic mode to replace existing audio with new audio that inherits the sonic characteristics of Ocean Way Studios The original dry signal compo nent is removed and completel
564. uced Additional sonic options are possible by increasing the delayed signal feedback regen eration to produce a deeper and more resonant effect and or reversing the polarity invert to give the sound a more hollow character Doubler When in Doubler mode all controls have the exact same functionality as Flanger mode the only difference is that the available delay times are longer in this mode The delayed signal produces a very short echo hence a dou ble of the original signal is heard UAD Powered Plug Ins Manual 237 Chapter 23 MXR Flanger Doubler Software Only Features Stereo Functionality In Use The UAD MXR Flanger Doubler plug in has some features not included in the original hardware The LFO rate can be synchronized to the tempo of the DAW session the LFO can be reset Stereo mode can apply processing to both sides of a stereo signal and stereo output can be summed to mono The original hardware is monophonic To accommodate modern applica tions the plug in can be used in mono in stereo out and stereo in stereo out configurations Two different stereo modes are available and the stereo out put can be summed to mono if desired See Stereo Mode on page 239 for details The MXR Flanger Doubler is well suited for sound shaping recording and mixing and even for adding some post production flavor Flanging is partic ularly popular as an individual effect on a wide range of musica
565. uch as Richard Dodd Vance Powell and Joe Chicarelli still swear by the Coo per Time Cube for its unique character The Cooper Time Cube Mkll 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 regard less of delay setting and either sound is available at the flick of a switch The Cooper time Cube MkII also incorporates other enhanced tone shifting fea tures such as the Color switch that presents the user with the original A or leveled B frequency response plus tone controls and a 2 Pole High Pass Filter Lastly a switch is presented for soloing the Wet signal and the Send switch disables the signal being sent into the delay processor Cooper Time Cube Screenshot GAIN I HPFILTER g e COOPER TIME CUBE Mk Il FERE an MODEL 920 16 DIGITAL 1 e ar C hale DECAY PAN EcHo veal WET SOLO DELAY I 1 AO 4 F l s Q rrr KJ O OW go i lo S 1 i EEE t E EE BASS 3 DECAY PAN EcHo vo POWER OFF 1 1 a oa G i O 9 Q O UNIVERSAL AUDIO i Figure 25 The UAD Cooper Time Cube plug in window UAD Powered Plug Ins Manual 80 Chapter 6 Cooper Time Cube Design Overview The original URE Universal Audio Model 920 16 Cooper Time Cube hard ware see Cooper Time Cube Hardware on page 85 has two audio chan
566. ue is O dB POWER Tip Click the O text label to return Output to the O dB position UAD Powered Plug Ins Manual 67 Chapter 4 API Vision Console Channel Strip Power The plug in is active when the POWER switch is engaged and its associated LED is lit When this button is off all plug in processing is disabled and UAD DSP usage is reduced unless DSP LoadLock is enabled Historical Background API Automated Processes Inc was formed in 1968 with Saul Walker and Lou Lindauer API is perhaps most noted for their modular approach to equip ment manufacturing and for their now legendary 2520 amplifier To this day the extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves API quickly became the leading audio broadcast console manufacturer for radio and television networks and high profile stations Soon after recording studios both large and small began using API The API brand and the company s commitment to excellent audio design endures to this day The API Vision Console UAD Powered Plug Ins Manual 68 Chapter 4 API Vision Console Channel Strip CHAPTER 5 Cambridge EQ Overview The UAD Cambridge EQ plug in is a mastering quality no compromise equal izer that enables powerful tonal shaping of any audio source Its algorithm was modeled from various high end analog filters providing a sonically rich foundation for timbral man
567. uencies while re tlecting 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 very heavy Keeping this in mind if you look at the graphics in the material control panel you can get a sense of how chosen materials material blend and thickness will affect the decay rate as a function of frequency Hard materials that have lots of small cavities Brick Gravel Plaster on Brick and soft materials Car pet Grass Soil tend to absorb high frequencies Flat somewhat flexible ma terials Heavy Plate Glass Hardwood Seats tend to reflect high frequencies Marble is the one material that tends to uniformly reflect all frequencies You probably noticed the artificial materials the top of the Materials menu These are materials designed to have predictable behavior and can be very handy for achieving a desired reverberation preset when you know what de cay rates you desire All these materials preferentially absorb high frequen cies they give the selected decay time at low frequencies and a much shorter decay time at high frequencies The frequency in each graphic is the transi UAD Powered Plug Ins Manual 401 Chapter 40 RealVerb Pro tion frequency the frequency at which the decay rate is halfway between the low frequency and high frequency values
568. ues for Distance de BESSIE A pend on the Studio and Source settings Some microphones have GN fixed positions See Fixed Distance Microphones on page 296 for details Note The colored rings around the encoders match the color of the micro phone pair icons in the Position display panel for visual feedback Tip To return to the default value for the current microphone pair click the DISTANCE text label Note Because these knobs are continuous encoders they don t have end stops mouse control is always linear even if controls mode is set to circular or relative circular When a Distance encoder is clicked the colored ring around the pempem encoder changes to black and aligned is displayed as the ATR j Pi value When microphone pairs are aligned the sonic character 4 of their placement in the room is maintained but the time delay EAS between the source and the microphone that occurs in the physi cal realm is eliminated Click the encoder a second time to return to normal Distance mode For additional details about this feature see Distance Delay Aligned Over view on page 296 For related information see Latency on page 301 UAD Powered Plug Ins Manual 309 Chapter 29 Ocean Way Studios Cut Filters Polarity Invert Mute Balance Independent High Cut and Low Cut filters can be enabled on each mi crophone Click the switch to toggle the filter state The filter
569. unit The selected value is shown in the Echo display page 151 The parameter can be adjusted by using the metallic slider handle or the slider nose both sliders control the same parameter see Figure 51 Figure 51 The Echo Delay gliders UAD Powered Plug Ins Manual 150 Chapter 13 EP 34 Classic Tape Echo Echo Display Echo Repeats The available delay range is 80 to 700 milliseconds When Sync is active beat values from 1 64 to 1 2 can be selected When the beat value is out of range the value is displayed in parenthesis This occurs in Sync mode when the time of the note value exceeds 700ms as detined by the current tempo of the host application See Chapter 8 in the UAD System Manual for more information about tempo synchronization Tip Click the control slider s then use the computer keyboard arrow keys to increment decrement the sync value This window displays the current delay time of the EP 34 Displayed values are defined by the Echo Delay parameter page 150 Delay values can be entered here directly using ECHO ne the text entry method When Sync mode is off delay times are expressed in millisec onds When Sync is on delay times are expressed as a frac tional bar value ECHO DELAY 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 te
570. urves and dynamics control to their music This unique plug in is distinguished by its remarkably authentic sound and its in clusion of both the Type E black knob and brown knob four band EQ and filters long considered favorites in SSL lineage Other features include high and low cut filters independent 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 Exo Gate offers Threshold fast or slow Attack time a 0 1 to 4 second Release time and a Range control to tailor the Gate or Expansion effect In addition the SSL E Series Channel Strip plug in adds a second Gate setting featuring a no chatter circuit bor rowed from later SSL designs For increased flexibility a PRE DYN button allows users to reorder the signal chain placing the EQ before the dynamics section With the DYN SC button users may engage a sidechain feature providing frequency dependent com pression using the EQ filters cut filters or both Lastly a Link button adds the ability to link or unlink the sidechain when using the stereo version of the plug in Taken together these features make the SSL E Series plug in for UAD 2 among the most flexible and bestsounding channel strip
571. ut filter is set to 10 kHz which softens the high frequency ambience to tighten the percussion If the hall or chamber in the original recording is missing some presence here s a suggestion on what to do This preset subtly raises the Mid level 1 dB above the side level and recovers a bit of the spacious ambience which is commonly lost when the mid side ra tio is raised This preset adds overall warmth to the recovery settings Try this preset on a stereo recording of a piano to enhance the size and body of the instrument without losing its definition This preset will illustrate how am bience EQ is very different from direct EQ Here we turn up the bottom end and lower midrange of the ambience channel It might turn a six foot Yamaha into a nine foot Steinway so be careful or maybe that s exactly what you want to do This preset turns up the ambience level a bit to quickly show you the possibil ities This preset turns up the ambience level very far to quickly show you extreme possibilities K Stereo is a trademark of Robert Katz and Digital Domain Inc Chapter 35 Precision K Stereo Ambience Recovery CHAPTER 36 Precision Limiter Overview The Universal Audio Precision Limiter is a single band look ahead brick wall limiter designed primarily for mastering with program material The easy to use Limiter achieves 100 attack within a 1 5ms look ahead window which prevents clipping and guarantees zero overshoot
572. ut to minimum within a specified time period This function enables extremely smooth sounding fade outs and fade ins plus it can be automated as well The Fade function processes the signal at the output of the compressor Fade Set Fade Set determines the amount of time that will pass between the Fade button being activated and the plug in output level be ing reduced to minimum or being raised to O 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 Set control itself has linear taper the fade signal level that is output has an exponential curve TE Fade Switch Activating the Fade switch initiates a fade out The fade out time is determined by the Fade Set parameter The Fade switch flashes red when a fade out is in progress and glows solid red when the fade out is complete when the Fade Set time has elapsed Deactivating Fade initiates a fade in During a fade in the signal i level is increased from the current level of attenuation to O dB of at tenuation The Fade switch flashes blue when a fade in is in progress and is no longer illuminated when the fade in is complete when the Fade Set time h
573. vel of Hum and Hiss can be indepen Gs dently adjusted using the Hum and Hiss Level controls The default values of O dB for Hum and Hiss are the actual modeled level in the original hardware Noise is not affected by automatic calibration Determines the amount of Hum in the signal Hum is added after the tape circuitry This control affects both the left and right channels Noise Enable must be ON for the Hum control to function A The default value of O dB for Hum is the actual modeled level in the original hardware This default value can be offset by 25 dB The Hum frequency is dependent on the Emphasis EQ control page 26 The frequency is 60 Hz when set to NAB US and 50 Hz when set to CCIR Eu ropean UAD Powered Plug Ins Manual 33 Chapter 2 Ampex ATR 102 Hiss Wow amp Flutter Enable When Tape Speed is set to 30 IPS the green Emphasis EQ LEDs are not illu minated and cannot be switched indicating that the Emphasis EQ is set to AES However the Hum frequency can still be set for 30 IPS mode by setting Emphasis EQ to NAB for 60 Hz or CCIR for 50 Hz prior to setting Tape Speed to 30 IPS Note When Tape Speed is 3 75 IPS only 60 Hz is available Hiss determines the amount of tape hiss in the tape playback signal The default value is O dB and can be offset by 25 dB to 50 dB for cre miss ative purposes Noise Enable must be ON for this control to function Like the hardware the amount of
574. velers their signature sound Lawrence later broke out on his own to start Teletronix setting up shop in his hometown of Pasadena California in 1958 Among the Teletronix line of products were transmitter tubes multiplex generators to full scale radio trans mitters Jim s first pass at his Leveling Amplifier was realized as the Teletronix LA 1 Around 100 units were made Lawrence then updated the design to the LA 2 with improved specs and circuit layout then moved quickly to the indus try standard LA 2A In 1965 just three years after the incarnation of the LA 2A Jim Lawrence sold the company to Babcock Electronics Enter Bill Putnam Putnam picked up Babcock s broadcast division including Teletronix and rolled it into his parent company Studio Electronics in 1967 From there Uni versal Audio resumed manufacturing of the LA 2A and Putnam began using the optical detector for new designs Whether serendipity or by intent Jim Lawrence s Teletronix Levelers and his T4 design had the right musical response that allowed the LA 2A the sonic and technological longevity it still retains Universal Audio spent a long time getting the T4 right for their hardware LA 2A reissue and the plug in But what was special about it wasn t fully understood until UA began the research to model the LA 2A for the UAD 1 Modern photocells are designed to be as fast as possible but they don t have the right multi stage response they need to sound like a Tel
575. ven it Reproduce is not in its calibrated position However if Reproduce is moved trom 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 signal level coming off the tape before it is sent to the Meters Note The graphical interface panel values for Reproduce which range from O 10 are arbitrary and do not reflect a particular dB value Record adjusts the signal level into the plug in and the tape cir cuitry There are two Record controls one for the left channel and one for the right These left right Record controls can be adjusted individually or simultaneously when Link mode page 25 is active The available range is dB off to 9 3 dB The default value is O dB The graphical interface panel values which range from O 10 are arbitrary and do not reflect a particular dB value Tip Click the RECORD label text to return the Record value to O aB UAD Powered Plug Ins Manual 24 Chapter 2 Ampex ATR 102 Open Close Link Unlink Record is a primary color control for the plug in Just like genuine magnetic tape lower Record levels will have a cleaner sound while higher levels result in more harmonic saturation and coloration Higher Record levels will also in crease the output level from the plug in The Reproduce
576. ver because the highs in the reverb can be rolled off with the Treble Decay control and usually are the midrange frequencies are of ten more prominent than a full range tail This control defines the crossover frequency the split point between the bass and upper frequency bands in the reverb tail Higher Crossover values make the Bass parameter control a wider range of frequencies Conversely lower values make the Mid parameter control a wider range of frequencies The available range is 100 Hz to 10 9 kHz Crossover affects the reverb decay because it works in conjunction with the Bass and Mid reverb time parameters which both define the length of the re verb tail one control for each frequency band If those parameters are set to very short times the result of adjusting Crossover may be very subtle Note Crossover will have no apparent effect if Bass and Mid are set to the same value UAD Powered Plug Ins Manual 194 Chapter 18 Lexicon 224 Treble Decay Treble Decay sets a frequency above which decay is very rapid Lower values will produce a darker reverb with less high frequency content If Treble De cay is set very low then adjusting Bass Mid and Crossover may have little to no audible effect The available range is 100 Hz to 10 9 kHz Tip Treble Decay adjusts the AMOUNT of reverb tail highs while Mid ad justs the TIME Depth Depth sets the apparent distance between a source and its reverb much like
577. vered and relied upon transparent optical gain reduction design The Teletronix LA 2A Leveling Amplifier rivals only the Universal Audio 1176 as the most ubiquitous outboard processor on the planet and is considered the most revered and relied upon vocal compressor in history With its trans parent program dependent optical compression and meticulously designed tube amplifier Teletronix Levelers instantly became favored for studio and broadcast use Teletronix founder Jim Lawrence first used photocells for con trolling gain in the early 60s His ingenious optical compression design was a technological breakthrough surpassing the stability and transparency of earlier tube detector circuits M T Bill Putnam later bought this patented technology and continued the manufacturing of the Teletronix LA 2A and its follow up products for years to come Universal Audio still hand makes this point to point tube amplitied studio staple including the LA 2A s all important TA electro luminescent gain reduction cell 50 years later the Teletronix LA 2A is still the workhorse compressor and the most transparently musical method to control dynamics Like with the 1176 Classic Limiter Collection s redesign from UA s legacy 2001 UAD 1 plug in advances afforded by greater processing power and over a decade of emulation experience gave the team at Universal Audio the latitude to upgrade the LA 2A in luxurious obsessive detail From improve ments to t
578. vior of the original hardware unit However in the software plug in version the output can be overloaded without causing distortion Link Link indicates 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 Power illuminate when the plug in is active When the plug in is inactive processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP Loadlock is enabled Note The On and Power switches perform the exact same function UAD Powered Plug Ins Manual 426 Chapter 44 SPL Transient Designer Acknowledgement Applications Drums amp Percussions In addition to creating an amazing piece of hardware Sound Performance Lab also wrote an extensive user manual for the Transient Designer Because Universal Audio has full license to make use of the Transient Designer technol ogy SPL has graciously authorized us to use their documentation as well The remainder of this chapter is excerpted from the SPL Transient Designer RackPack User Manual and is used with kind permission from SPL All copy rights are retained by SPL The SPL Transient Designer is ide
579. well Amplify or reduce the picking sound of an acoustic guitar hold the sound of strings longer or reduce the reverb time of a choir SPL Transient Designer Screenshot NiTlite aS t H F ch ir Cha a Fy z i ih ry Pa AVELI juanta T Transient EN Designer on E LINK gut P 2 G4 fay n pe F ma s 1 m a 1 p a S f 1 rag aH T a r m wet ey d To T Y ri Fe aa i 7 he See ae eta i d Vr D ESIG 4 Figure 134 The SPL Transient Designer plug in window UAD Powered Plug Ins Manual 424 Chapter 44 SPL Transient Designer SPL Transient Designer Controls Attack Sustain Gain Containing only two primary controls the UAD SPL Transient Designer is ex tremely simple to operate The technology behind the processor isn t as im portant as how it sounds However for those who desire a deeper under standing of the process a deeper explanation of the underlying technology is presented at the end of this chapter see Technology on page 431 wa Attack enables amplification or attenuation of the Lee ee attack of a signal by up to 15 dB The Attack control circuitry uses two envelope gen erators One follows the shape of the original curve and adapts perfectly to the dynamic gradient The second envelope generator produces an envelope with a slower attack From the difference of both en velopes the VCA control voltage is derived Positive Attack values emphasize
580. which yields added am bience without mucking up the mix This is a powerful EQ so experiment e Try different diffusion settings for your preset the slider on the right of the Re verberation panel Diffusion radically alters the reverberation sound and is source dependent Higher diffusion values yield a fuller sound good for percussive sounds lower diffusion values yield a less dense sound good for vocals synths etcetera e When monitoring your preset try switching from Dry solo Wet solo and a useful mix Solo the reflections and reverberation and disable enable EQ Try different sources and mixes Reach for the headphones every now and then In general just keep things moving as ear fatigue can be particularly deceiving with reverb sounds e The Positioning panel is generally only needed for automation Ignore these settings for preset design unless going for a panning effect or monitoring real world use e Often when you 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 e 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 starting shortly after ER e Place the ER timing preceding leading into the LF e ER amplitude naturally decay
581. xative EQ as sweetening The black EQ design changes were recommended by famed Beatles producer George Martin Each band is different from the brown design plus the The LC is a steeper 18 dB per oc tave The normal arrangement is dynamics first but the EQ can be put as the tirst process with the PRE DYN Pre Dynamics button It is interesting to note that the console labels did not change on the consoles moving from the 15 dB gain range to the 18 dB of the black EQ nor did the frequency or Q labels The gain section has remained largely the same on SSL consoles from the be ginning until now with dedicated VCA compressor and expand gate cir cuits UAD Powered Plug Ins Manual 447 Chapter 45 SSL E Channel Strip The compressor s simple control set allows for a wide variety dynamics con trol from transparent to aggressive A fully continuous ratio allows for the full range of knee from very gentle to fully limited A fixed two position attack and the continuously adjustable release are perfect control sets for general con sole dynamics control it is interesting to note that at heavy compression with quick release times the SSL design has a similar room expanding quality as the 1176 on things like drums and room mics While gates are not as relevant in the DAW as they once were for analog mixing the SSL has one of the most transparent and musical console gates available which can be used for fixative or creative purposes
582. y signal Tip Click the Echo control text to return the knob to center Note When the plug in is used in a mono in mono out MIMO configuration the Pan knob does not function and cannot be adjusted The original hardware unit had two inputs Instrument and Micro PETE phone The Input switch on the EP 34 toggles between the gain lev o ee els of these two inputs a The LO position captures the gain structure of the Instrument input while the HI position captures the gain structure of the Microphone input This allows for a cleaner LO or dirtier HI sound depending on the switch position Important Depending on the source material and gain structuring switch ing between LO and HI may cause a significant jump in output levels The original hardware provides a tension adjustment screw on the ad fate bottom of the Echo Delay slider Adjusting this tension screw varies io the pitch shifting effects technically the slew rate that are obtained when the Echo Delay parameter is manipulated in realtime TEP OR The Tension switch emulates two different tension adjustments of this adjust ment screw LO The LO position emulates a loose tension adjustment With this setting re altime adjustments to the Echo Delay parameter have a faster slew rate re sulting in snappier pitch shifting effects HI The HI position emulates a tight tension adjustment With this setting real t
583. y immersed with Ocean Way room sound See Re Mic Processing on page 293 for an overview of Re Mic mode Figure 94 shows how to configure the Re mic workflow in a DAW In this ex ample all the drums are routed to a submix bus instead of the main outputs Ocean Way Studios is inserted on the submix bus return and the plug in is in Re Mic mode Note that the effect sends are not used in this configuration In Re Mic mode the Dry Wet mix control is automatically fixed at 100 wet so the original dry signal does not stack or phase against the modeled di rect component signal Instead of an effect bus return or mix control the de sired ambience is adjusted with the studio source and microphone selec tions along with microphone placements and their relative levels Note Because Re Mic mode includes the direct signal path component in ad dition to the reverb components the plug in output is inherently louder in Re Mic mode Re Mic mode Bus l Return Insert OWS Output Output Output Output Output Drum Drum 1 Drum 2 Toms Overhead Room Figure 94 DAW signal routing with OWS in Re Mic mode on a drum submix UAD Powered Plug Ins Manual 299 Chapter 29 Ocean Way Studios Phase Considerations Dual Mode Example Figure 95 shows how to use both Re Mic and Reverb modes with two in stances of the plug in combining the workflows of the two previous examples The illustration combines a
584. y 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 modes The high peak of the flanger is con trolled by the settings of the L and R delay controls The low Peak of the flanger is determined by the setting of the Depth control When delay times longer than 300ms are desired use the DM 1L plug in in stead DM 1L has a maximum time of 2400ms per channel UAD Powered Plug Ins Manual 90 Chapter 7 CS 1 Channel Strip Mode Pop up Menu Rate Knob Depth Knob LFO Type Pop up Menu Recirculation RECIR Knob Determines the DM 1 effect mode The available modes are Chorus Chorus180 QuadChorus Flanger1 Flanger2 Dual Delay and Ping Pong Delay In addition to reconfiguring the DM 1 s settings the Mode also deter mines the available parameter ranges for L R Delay and Depth In Chorus mode both oscillators or modulating signals are in phase In Chorus 180 mode both oscillators the modulating signals are 80 de grees out of phase inverted In QuadChorus mode both oscillators the modulating signals are 90 de grees out of phase In Ping Pong delay mode you will only get a ping pong effect if you have a
585. z High Frequencies H1 and H2 617 27k Hertz 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 27 below Table 27 Precision Equalizer band gain values The high pass filter is useful for reducing low frequency 20 j E content Itis a global filter it always affects both left and i ELL right channels regardless of the active mode See ET Eia Toble 28 below for available settings r i pr A Table 28 Precision Equalizer high pass filter frequencies Of isabed UAD Powered Plug Ins Manual 348 Chapter 34 Precision Equalizer Precision Equalizer Latency The Precision Equalizer uses an internal sample rate of 192 kHz to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual 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 UAD 2 DSP LoadLock UAD Powered Plug Ins Manual 344 Chapter 34 Precision Equalizer CHAPTER 35 Precision K Stereo Ambience Recovery Psychoacoustic Ambience Recovery and Stereo Processor Created by Mastering Engineer Bob Katz Universal Audio s Precision K Stereo Ambience Recovery plu
586. z and OFF When OFF is specified the band is disabled UAD CPU usage is not reduced when OFF This knob specifies the fixed frequency of the Low Cut filter This filter has an 18 dB per octave slope The available frequencies are 50 Hz 80 Hz 160 Hz 300 Hz and OFF When OFF is specified the low cut filter is disabled UAD CPU usage is not reduced when OFF Note You can also click the low cut symbol above the knob to cycle through the available values or shift click to step back one fre quency UAD Powered Plug Ins Manual 246 Chapter 24 Neve 1073 Equalizer Phase EQL Neve 1073SE SE in the In darker position the phase is inverted Leave the switch Out lighter position for normal phase The PHASE button inverts the polarity of the signal When the switch is PHA The equalizer is engaged when the EQL switch is in the In darker G position To disable the EQ put the switch in the Out lighter posi tion Click the button to toggle the state In the hardware 1073 the audio is still slightly colored even when the EQL switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Therefore the signal will be slightly colored when this switch is in the Out position UAD DSP usage is reduced when the EQ is by passed with this control unless UAD 2 DSP Loadlock is enabled If a true bypass is desired use the OFF position of
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