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UAD Powered Plug-Ins Manual v4.4

1. Chapter 20 Neve 1073 apie Neve 1073 5 Neve 1073 and 1073SE Rn Meve sie e UAD Powered Plug Ins Manual 8 217 217 218 221 221 221 222 223 223 223 224 224 224 Contents TABLE OF CONTENTS Neve 1073 MT Er 234 Chapter 21 Neve 33609 Compressor 235 GR P Rr Dum 235 Neve 33609 sco cu besser 236 WI RETENTO E T UU IT 236 Neve 33609 Conttols 237 237 238 Other 239 3360 5 TMmMT 244 Neve 33609 Latency ccc dace 244 245 245 Thank 2 2224 2 247 UAD Powered Plug Ins Manual 9 Contents LIST OF FIGURES UAD card installation 25 Launching a UAD Powered Plug In in Steinberg Cubase and Nuendo 29 Launching a UAD Powered Plug In in BI
2. 75 Resonance Equalization nnna anaana nnna EA GR RR RUE 80 II M E Ried eae ae ia ate baw eee Pee bE 81 Positioning 83 levels P 85 E aded ade aie 85 RealVerb Pro Preset 87 Real Verb Pro Preset Dhu eed udu oe eee Sie erudite ee ete 87 Chapter 5 EG ERRARE P a RE ERR 88 OVENI 88 Signal FloW MEME 89 Resonance Equalization 2 90 Shape esu cs cece UE 92 Materials Panel 94 Reflections Panel n es anh test Eara 96 Reverberation Panel 22 222 2 22 4 6 e a REIN es 98 vnb od Et dd 99 Levels Panel 101 DreamVerb Preset Management 102 Spatial Characteristics cast pam eti a ee 103 UAD Powered Plug Ins Manual 4 Contents TABLE OF CONTENTS Preset Design Tips 104 Chapter 6 Plate 140 R9 RR uo naa rs 106 ucc xc ETT 106 Plate 140 Screenshot
3. 132 Band Controls cdo sete oe apre Rate non cade omen co 133 i s iran e d scm icu Re de temic abasic den 134 UAD Powered Plug Ins Manual 5 Contents TABLE OF CONTENTS EQ Displays D 138 Frequency Controls ta d euet RE due EAM Ea 140 Dynamics rererere 141 Global Colitis 142 Precision Multiband 144 QverVIGWa oh Oi SES sted LAGE 145 Precision Limiter 5 2 2222 146 Controls ais I adis 146 Precision Limiter Controls 22 146 Precision Limiter Meters 147 Precision Limiter 151 OVEINIOW seda ias pane ee eee dates acum 152 Precision Equalizer Screenshots 25224 e petra eere t a tte ne 152 Precision Equalizer Controls euer cete 153 Control Grouping LESE ee 153 Modes
4. 15 System 22 Manual Conventions 23 Chapter 2 Installation 4 55 24 Refer to the QuickStart ERR 24 Install Software First 2 2 2 2 4 24 About PCI and PCI 24 UAD and 5 DotA 24 Installing the UAD 25 Chapter Using UAD Powered Plug Ins 26 M Ecc 26 Launching UAD Powered Plug In 29 UAD DSP Performance Meter Application 30 Accessing Meter F ricllons eie jose tee ee by Gene Ivey cerca 31 Using the Meter ote tet ADU 32 UAD System Information 34 UAD Configuration Window 24 a c lt ciesa c2c401asseccheatdediniasgeanedareaccedas 37 Delay Compensation 44 UAD Delay Compensator plugin 2222321 ud 5054 E ER EY as 46 DelayComp
5. Chorus rh TIE ono Brom Finn Figure 82 The Mod Delay module The label and function of the second two knobs depend upon the Mode menu selection The Mod Delay is a short digital delay line that includes a low frequency os cillator The Mod Delay produces lush chorus flange and vibrato effects Because the Trem Fade amplitude processor can be used to control the Mod Delay sophisticated envelope controlled flange chorus and vibrato modula tions can be achieved Sync Button This button puts the plugin into Tempo Sync mode See Tempo Sync on page 58 for more information Rate Knob Sets the LFO modulation rate period of the delayed signal The available range is 0 01Hz to 25Hz UAD Powered Plug Ins Manual 201 Nigel Depth amp Time Sweep Knobs Sweep Knobs Depth Knob If the LFO Type menu is set to one of the Trem modes the Rate is linked to the Trem Fade module rate In this scenario the Rate knob value changes to Trem adjusting the Mod Delay Rate will have no effect and the modulation rate is determined by the Trem Fade module settings even if the Trem Fade module is disabled with the On Off button The function and label of the second and third controls in the Mod Delay mod ule are determined by the Mode pull down menu When the Mod Delay Mode is set to Flanger the second and third knobs are labeled Sweep Lo and Sweep Hi respectively When the Mod Delay Mode is set to Chorus or V
6. Chorus Intensity Knob The Stereo Mode switch determines the operating mode of CE 1 made p g when the plugin is used in a configuration with stereo input such as stereo audio track insert or stereo effects bus The hardware 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 modern era enabling a true stereo input Note This switch has no affect in a mono in mono out or mono in stereo out configuration When CE 1 is used in a stereo input configuration the Stereo Mode switch af fects the output as follows Dual Mode In Dual mode the CE 1 behaves as a dual mono device functioning as two in dependent CE 1 s each running in mono mode on one side of the stereo sig nal The left output contains a mix of the dry left input signal and the processed left channel signal while the right output contains a mix of the dry right input sig nal and the processed right channel signal Additionally the LFO s of the dual CE 1 channels are 90 degrees out of phase quadrature for maximum effect 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 sign
7. Extra buffers are required when the displayed Buffer size is smaller than the actual buffer size selected in your audio device settings AMD 8131 compatible made ix required For AMD Opteron machines using AMD 8131 PCI bus controllers NOTE The new settings will take effect only after vau stop and restart all Powered Plug Ins that are running force the plug ins to restart do any of the following Close and reopen the session Stop and restart the audio engine Modify or reset your audio device settings DSP settings Limit CPU load CPU load limit 55 2 User interface settings Controle made Circular Use host mode Changes will take effect when plugin editor is re apened PCI bus settings 4 4 Reset Some sound cards may require lower values of Figure 12 The UAD System Configuration window windows UAD Powered Plug Ins Manual 43 Using UAD Powered Plug Ins Delay Compensation Compensation Overview Host PDC Implementation When UAD Powered Plug Ins are used audio data to be processed by a Pow ered Plug In is sent by the host application to the UAD card The audio is then processed by the UAD card and sent back to the host application This back and forth shuffling of audio data produces a latency delay in the audio signal being processed Latency time is determined by the sample rate the hardware device driver ASIO o
8. 3 This control uses a logarithmic scale to provide increased resolution when selecting lower values When the knob is in the 12 o clock po sition the value is 50 milliseconds WIDTH 1 100 This control narrows stereo image of Plate 140 The range is from 100 At a value of zero Plate 140 returns a monophonic re verb At 100 the stereo reverb field is as wide as possible UAD Powered Plug Ins 109 Plate 140 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 Mix Knob WX This control uses logarithmic scale to provide increased resolution when selecting lower values When the knob is in the 12 o clock position the value is 1576 Note If Wet Solo is active adjusting this knob will have no affect Wet Solo Button The Wet Solo button puts Plate 140 into 100 Wet mode When eq Wet Solo is on it is the equivalent of setting the Mix knob value to 10076 wet Wet Solo defaults to On which is optimal when using Plate 140 in the clas sic reverb configuration placed on an effect group bus that is configured for use with channel sends When Plate 140 is used on a channel insert this control should be deactivated Note Wet Solo is a global per Plate 140 plugin instance control Its value is not saved within presets Power Switch This toggle switch enab
9. C Pon ERE 48 Compensating Pulled EQ 49 Compensating for Precision 50 Compensating for Precision Equalizer 22 242 eher re hte hehe 51 Compensating for Precision Multiband 52 UAD Track Avance oss 54 56 Live Processing ied 57 DSF Uso 4 eee eee e eee uet Te Tene ee ee eee Pree eee ree aet dit 58 UAD Powered Plug Ins Manual 3 Contents TABLE OF CONTENTS TEMPO To IT T T Yt 58 Wiltiple Gand 62 Optional Pa E GENERE RS Authorizing Multiple oca Lud bona ERR Let FERRO 66 Authorizations Window UIS eiu dip ate 68 Demo ee eee teed eee 70 Plug In Authorization Procedure cies ex cte rect Ree ra cease OE ERA m eas cae 71 Chapter 4 RealVerb Pro 73 GU EHI 73 RealVerb Pro Background s cce ee rr hte erepta Rh pease dae e ad 74 Spectral
10. Note There is one Cut Filter per plugin instance Each plate model A B C within a preset cannot have a unique Cut Filter value Plate 140 contains two types of cut filters original EMT electronics and Mar tech electronics which was is a common plate system retrofit In the modeled source units at The Plant plates A and B use the EMT electron ics while Plate C utilizes the Martech electronics In Plate 140 you can use ei ther cut type with any of the three available plates The values prefaced with an E designate the original electronics M 90Hz model This is a cut filter centered at 80Hz with three available M 125Hz So levels of attenuation AdB 10dB and 16dB M 25DH deem The values prefaced with an M designate the Martech electron ics model This is a shelf filter all frequencies below the frequency E 4dB are reduced Six shelving frequencies are available 90Hz 1 8 125 2 180Hz 250Hz 270Hz and 360Hz E 16dB This stereo control balances the level between the left and right channels of the reverb return Rotating the knob to the left attenuates the right channel and vice versa it is not a mono pan control The Plate 140 reverb time can be modulated by a low frequency oscillator us ing rate and depth controls The effect is subtle but it can increase dispersion and reduce ringing on some source material such as loud signals with sud den endings and
11. i for whom you have provided registration details your name hardware ID s user e mail ID buyer s name and buyer s e mail address to Universal Audio at info uaudio com in advance of such transfer and ii who has agreed to be bound by the terms of this license by registering with Universal Audio at my uaudio com and confirming such agreement during installation of the software Any such permitted transferee may not subsequently transfer this license and the limited 90 day warranty set forth in the first two sentences of Section 5 shall expire upon such permitted transfer 5 Limited Warranty Universal Audio grants solely to you a limited warranty for a period of ninety 90 days from the original purchase date that the media on vidi the software is distributed shall be substantially free from material defects Your exclusive remedy at Universal Audio s option is to return and have replaced the inaccurate media containing the software programs or receive a refund of the price paid within the warranty period UNIVERSAL AUDIO DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT ITS OPERATION WILL BE UNINTERRUPTED OR ERROR FREE EXCEPT AS SPECIFIED HEREIN UNIVERSAL AUDIO MAKES NO WARRANTIES OR REPRESENTATIONS EXPRESS OR IMPLIED REGARDING THE SOFTWARE DOCUMENTATION OR MEDIA AND HEREBY EXPRESSLY DISCLAIMS THE WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS
12. wide 153 Band 155 Precision Equalizer Latency Facete di dade 157 Chapter 12 Cambridge 158 Overview 158 Cambridge EQ Screenshot Lua in Lebe Mte ra M x Kd 158 Cambridge EQ onlrels iy esc teet Ro owe ttes Sad M eas 159 Low Cut High Cut Filters 162 lem po H 163 Parametric 164 Shelf EO 167 UAD Powered Plug Ins Manual 6 Contents TABLE OF CONTENTS Chapter 13 Pultec and Pultec Pro 169 Gc LH 169 Pultec Latency 170 Screenshot u 2o etes ules diete nS Eden 170 EQP TA Controls goed scan duis ue 170 Low Frequency Controls oobi NEVER at 171 High Frequency Controls ede IQ ae 172 High Attenuation Controls 172 Pultec 5 5
13. Damping Knob LFO Type Menu Sets the modulation delay time The available range is from O to 125 millisec onds In Vibrato mode this setting will appear to have no effect if the Recir culation value is zero because the signal is 100 wet in Vibrato mode Note The Time knob is only visible in Chorus and Vibrato modes Sets the amount of processed signal fed back into its input Higher values in crease the 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 Recirculation has the potential to make some very inter esting sounds Try turning RECIR fully clockwise or counter clockwise and set the delay to very short values This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness of the sound Higher values yield a brighter signal Damping also mimics air absorption or high frequency rolloff inherent in tape based delay systems Determines the LFO low frequency oscillator source waveshape and phase used to modulate the Mod Delay signal When the LFO Type is set to one of the Trem modes the Rate is linke
14. 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 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 104 DreamVerb 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 which yields added am bience without mucking up the mix This is a powerful EQ so experiment 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 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 The Positioning panel is
15. UAD Powered Plug Ins Manual UAD 1 Configuration DSP wi Limit CPU Load CPU Load Limit 9595 ai User Interface Controls Mode Linear Hd Use Host Made Modifier key for set to initial editor value gt Command Mate Changes will take effect when plugin editor is re opened PCI Bus Some sound cards may require lower values of GNT AMD 8131 Compatible DMA required for most G5 models Mate You must quit and relaunch your plugin host application after changing this setting Misc FA Release all resources on Audiollnit bypass Mate Checking this will enable maximum UAD 1 DSP savings when plugins are bypassed but may cause dropouts when bypassing during playback in some AU hosts You must quit and relaunch your AU host application after changing this setting Force Logic to use live made for tracks with 1 plugins Note You must quit and relaunch Logic after changing this setting Gc D Figure 11 The UAD System Configuration window Mac OS 42 Using UAD Powered Plug Ins Configuration Window Windows AE UAD 1 Configuration 1 Ei x Plugins running 15 Sample rate 44100 Hz Buffer size 256 samp 5 8 ms 0 17 30 Current latency 512 samp 11 61 ms 0 35 30 fps New latency 512 samp 11 61 me 0 35 30 fps Current OMA settings Extra buffers AMD 8131 made New settings Extra buffers 0 AMD 8131 compatible
16. u 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 138 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 134 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 to 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 Gain value can also be adjusted by dragging the Gain handle in the EQ Display see EQ Display on page 138 Note No change occurs to the parameter values unless
17. AMD 8131 Compatible box This will improve UAD performance on these sys tems For the new setting to take affect you must reset the ASIO device using one of the following methods Close the re open the session eStop then restart the audio engine Modify or reset the audio device settings Note Do not enable AMD 8131 Mode unless your computer uses this PCI controller chipset AMD 8131 Compatible Mode is only required when the card is attached directly to an AMD 8131 PCI bus If the UAD is in an external PCI expansion chassis this mode should be disabled unchecked Macintosh G5 Systems The AMD 8131 chipset is used in most Macintosh G5 systems The UAD soft ware automatically determines when it is running on a G5 with AMD 8131 and sets the mode appropriately If the UAD is in an external PCI expansion chassis AMD 8131 mode should be unchecked UAD Powered Plug Ins Manual 40 Using UAD Powered Plug Ins Misc Settings Mac OS Release all DSP resources on AudioUnit bypass Some Audio Unit hosts dynamically bypass plugins when they are not being used during playback for example when no audio is present at the current playback position As of version 3 9 0 UAD plugins are no longer un loaded reloaded each time the host performs this dynamic bypass Instead the UAD plugins stay loaded on the card which reduces playback glitches Checking the Release all DSP resources on AudioUnit bypass option will un load UAD plugin
18. EE OH X 010 m 8 5 3 5 241 RELEASE LIMITER REDUCTION AUTO MEL ERIN METER OUTPUT 1000 DE MODE E NORM SCALE NORMAL 100 f Figure 51 The Precision Limiter plugin window Controls Overview Control knobs for the Precision Limiter behave the same way as all UAD plu gins Input Output and Release values can be modified with text entry See Text Entry on page 26 for more information The Precision Limiter introduced a new control style for UAD plugins 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 OdB The default value is OdB The available range is 6dB to 2448 Output The Output knob determines the maximum level at the output of the plugin This control does not affect the actual limiting The Precision Limiter always limits the signal to OdB internally and the actual output is set by attenuating this internal level Likewise the input control can drive the signal over OdB 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 the highest peak in the resultant audio file The def
19. Figure 33 on page 92 and Reverberation panel Figure 36 on page 98 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 certain 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 36 on page 98 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 35 on page 97 is set to a non zero value Air Density Air percentage selector menu M d t erna Is 29 95 Air Density display First material display Air Blending Bar Solid materials Second Blending Bar material display First material First material selector menu percentage Hardwood 2nd material 2 Second material percentage 42 96 Cork selector menu Figure 34 DreamVerb Mater
20. Figure 43 LA 2A signal flow LA 2A Controls A TELETROM mouren m 3 ENGINEERING CO MODEL LA 2A AT LEVEL INDICATOR 9 a LIMIT 8 2 J o COMPRESS gt 8 47 PEAK REDUCTION Figure 44 The LA 2A plugin window Limit Compress Changes the characteristics of the compressor I O curve When set to Com press the curve is more gentle and presents a low compression ratio When set to Limit a higher compression ratio is used Goin Adjusts the output level by up to 40 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 compression UAD Powered Plug Ins Manual 117 LA 2A 1176LN Peak Reduction Meter On Power Switch Stereo Operation Adjusts the amount of gain reduction as well as the relative threshold A Peak Reduction value of O yields no compression Rotate this control clockwise until the desired amount of compression is achieved to monitor the Peak Reduc tion set the VU Meter to Gain Reduction The Peak Reduction should be ad justed independently of the Gain control This knob in the upper right sets the mode of the VU Meter When set to Gain Reduction the VU Meter indicates the Gain Reduction level in dB When set to 10 or 4 the VU Meter indicates the output level in dB Determines whether the LA 2A plugin is active When the Power swi
21. 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 95 below Figure 95 Signal flow within UAD Neve 33609 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 241 for more info When the compressor and limiter are both disabled some good coloration of the signal occurs just like the hardware If a true bypass is desired use the power switch Power on page 243 to disable the plugin UAD Powered Plug Ins 236 Neve 33609 Compressor Technical Article 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 www uaudio com webzine 2006 august index2 html Neve 33609 Controls Limiter Limiter Threshold Limiter Recovery Limiter In Each feature of the UAD Neve 33609 interface is detailed below DONT EUNT Controls in this section only function E 200 80 793 when the limiter is enabled with the v 12 sof 2 limit In switch the Power switch must a 3 t md 1 also be Note The compre
22. This LED style VU meter displays the level of the signal at the input of Preflex For minimum distortion and maximum signal to noise the input level should be as high as possible The signal is at OdB just before the red LED is illumi nated Enables or disables the Gate module within Preflex The Gate is engaged when the button indicator is bright red Use this switch to compare the Gate settings to that of the original signal or bypass the entire Gate section to re duce UAD DSP load UAD Powered Plug Ins Manual 181 Nigel Gate Fast Button Gate Threshold Knob Boost Button Compressor Threshold Knob Compressor Ratio Knob The Fast control reduces the release time of the gate It has no effect on the at tack time When enabled the gate will release immediately On signals that slowly decay and or have a wide dynamic range a smoother less choppy sound may be obtained with Fast mode turned off Fast mode is engaged when the button indicator is bright red The time values are 50ms when engaged and 170ms when off Sets the threshold level for the gate Any signals that exceed this level are passed into the module Signals below the threshold level are increasingly at tenuated A Threshold of OdB means the gate is always open The range is OdB to 96dB In typical use it s best to set the gate threshold value to just above the noise floor of the desired signal so the noise doesn t pass when you are not play ing bu
23. You can paste Hardware ID text if it is in the clipboard The ID text must match EXACTLY After payment is received a link to the reg file is provided The reg set 9 tings file containing the authorization key for the UAD is then downloaded directly from your account page at the web store Save the reg file to disk control click the link to view the save menu Load the resulting reg settings file using one of the following techniques eDrag and drop the file onto the UAD Meter application icon or its alias NOT the CPU Memory bar graph window eSelect Load Settings from the File Menu within the UAD Meter navigate to the location of the file on disk then click Open 9 The UAD card is authorized to run the plugin 10 Back up the reg settings file containing the authorization key and keep it in a safe place for future authorizations The authorization procedure for Mac OS is complete Important The reg settings file contains the authorization key for the spe cific UAD card It is required every time the card needs to be authorized such as if it is installed into a different computer or OS Back it up and keep it in a safe place Note If the UAD Registry file in Mac OS X it is Library Prefer ences com uaudio uad plist is moved or deleted you will lose your authori zation s and the reg authorization key will need to be reloaded UAD Powered Plug Ins Manual 72 Using UAD Powere
24. gether come two versions The 1073 EQ with absolute sonic accuracy and the 1073SE EQ for high instance counts Neve 1073 Screenshot Figure 92 The Neve 1073 plugin window UAD Powered Plug Ins 230 Neve 1073 Equalizer Neve 1073 and 1073SE Controls Each feature of the UAD Neve 1073 and 1073SE interfaces are detailed be low Input Gain High Shelf Midrange Band The Input Gain control sets the level at the input of the plugin The range is from 20dB to 10dB When the Input Gain knob snaps to the OFF position plugin processing is disabled and UAD DSP usage is reduced 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 18dB of smooth fixed frequency shelving equalization at 1 2kHz 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 7 The response for this band has a dependence on the bandwidth as the gain is adjusted At higher center fre quencies the Q goes up for a more focused peak The inner knob controls the band gain and the outer ring selects the fre quency or band disable These two controls are detailed below Midrange Gain The eq
25. passed with this control If a true bypass is desired use the OFF position of the Input Gain on page 231 control H OFF 0 20 29 Hz 1073 SE Figure 93 The Neve 1073SE plugin window Overview The UAD Neve 10735 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 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 UAD Powered Plug Ins 233 Neve 1073 Equalizer Neve 1073SE The Neve 1073SE controls are exactly the same as the Neve 1073 Please re Controls fer to the Neve 1073 section for Neve 1073SE control descriptions see Neve 1073 and 10735E Controls on page 231 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 plugins You may enter a value in the Sam ples parameter in DelayComp or TrackAdv to compensate The latency and its compensation is identical to that
26. plays signal level at the output of the plugin Sig 7 nal peaks are held for 3 seconds before resetting LJ Mc PER 1 JE ME BEJ The Output Level knob controls the signal level that is output from the plugin The default value is OdB The available range is x20dB 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 phase coherent results are desired Minimum Minimum phase mode provides a more analog i e colored sound and 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 UA
27. CPU Load Limit 38 Cross Platform Solution 23 CS 1 Channel Strip 19 207 Curve Control Bats 160 Curve Control Points 138 Cut Enable Button 162 UAD Powered Plug Ins Manual Cut Filter 112 Cut Frequency Knob 162 Cut Type Menu 162 D Damper Controls Reverb Time 108 Damping Knob 203 206 213 216 DC Bias 130 Decay Time 99 Default Preset Location 102 Delay Compensation 44 Delay Compensator 46 Delay Knob 215 Delay Size Settings Interaction 215 DelayComp Examples 48 Demo Mode 70 Depth Knob 199 212 Desktop 30 Diffusion 99 Dimension D 221 Dimension D Controls 222 Dimension D Screenshot 221 Dimension Mode 222 Disabling Cards 62 Distance 101 DM 1 Controls 211 DM 1 Delay Modulator 20 211 DM 1L211 DM 1L Overview 213 DMA Settings 37 DreamVerb 88 Dry 102 DSP Settings 38 DSP Usage 58 Dual Mode 154 219 Dynamics Meters 141 E Early 100 Early amp Late Adjustment 100 249 Index INDEX Echo On Off Button 206 Echo Overview 205 Emagic Logic Audio 29 Enable Button 163 Enable Menu Windows 33 Enable Bypass Switch 209 210 213 216 energy 90 Envelope Mode 195 EQ 108 EQ Bands 163 EQ Display 138 EQ Enable Button 161 EQ Enable Switch 108 EQ Response 138 EQP 1A 169 EQP 1A Program Equalizer 169 ER Relative Timing 99 EX 1 Compressor Controls 209 EX 1 Equalizer and Compressor 208 EX 1 Equalizer Controls 208 EX 1 Equalizer Compressor 19 EX 1M Overview 210 Extra Buffers 37 Factory Presets 102 Fade
28. MA TRO deberue 106 Plate 140 eoo ease medien stes ees aux edd caiman Risa SIUS Na ad OUS 2 107 up ESOS E EE 107 EP Sock lel tnd Scab Qe nnd deed pin 108 Hidden Controls NT Rc Tp 111 e crm 113 Compressor BASICS crepa aes 114 Teletronix LA 2A Leveling 116 poer eo PTT 117 1176LN Solid State Limiting 119 TEZOUN I Contre Lo 556 dtd Su ips 120 1176 Special Edition ES UR ER M 122 e 123 Fairchild Screenshot RE RI ERE EE 124 2 Compressors 4 Modes c c csse 4 tee datu ete darKrene let pce E RAE 124 Controls OVBEVIBWO oasis Lad 125 Fairchild ari ERR 126 DD E A E E E 127 Chapter 9 Precision Multiband 131 Gul ELEME 131 Precision Multiband 5 131 Precision Multiband
29. With the Limit CPU Load feature the UAD CPU can also be limited so the load cannot exceed 100 thereby increasing overall system stability in high load situations With very heavy UAD loads CPU load limiting may also improve host CPU performance There are many variables that affect DSP load sample rate bit depth buffer size parameter values mono stereo automation host system etc Although these variables are taken into account the resulting measurement cannot be absolutely accurate This is due to variations in system configurations specif ically PCI bus loading which is impossible to predict Systems that are heavily loaded due to the presence of other devices or suboptimal configuration may cause additional DSP loading that cannot be predicted by the plugin load cal culator The CPU load limit should be reduced in this case It is possible for certain non typical conditions to be met where another UAD plugin can t be added even when the UAD Meter says you should have CPU available when compared to the CPU Load Limit value Limit CPU Load UAD CPU Load Limiting is enabled when this box is checked CPU Load Limit This setting controls the maximum UAD CPU when load limiting is enabled It has no affect when CPU load limiting is off Note When Limit CPU Load is enabled and the CPU Load Limit is exceeded when instantiating a new UAD plugin the plugin that was just added will be disabled Even though its interface will load
30. is determined by the room shapes in the Shape panel Figure 33 on page 2 Early reflec tion pre delay slope timing and amplitude are specified in the Reflections panel Figure 35 on page 97 The Materials panel Figure 34 on page 94 is used to select relative late field decay rates as a function of frequency The late field predelay decay rate room diffusion slope and level is specified in the Reverberation panel Figure 36 on page 98 Finally the Positioning panel Figure 37 on page 100 contains controls for the placement of the source early reflections and late field reverberation Resonance Equalization Panel The Resonance panel Figure 31 on page 91 is a five band equalizer that can control the overall frequency response of the reverb effecting its perceived brilliance and warmth By adjusting its Amplitude and band Edge controls the equalizer can be configured as shelving or parametric EQs as well as hy brids between the two The EQ curve effects the signal feeding both the early reflections and the late field 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
31. it will not process audio UAD Powered Plug Ins Manual 38 Using UAD Powered Plug Ins User Interface Controls Mode Settings This setting determines how Powered Plug In parameter knobs respond to ad justment Three control modes are offered Circular Relative Circular and Lin ear Note To increase resolution when in adjusting rotary controls in circular and relative circular modes increase the radius of the mouse relative to the knob while dragging i e move the mouse farther away from the knob while drag ging in a circular motion User Interface Controls Mode Linear Hd Use Host Made Modifier key for set to initial editor value Command HJ Mate Changes will take effect when plugin editor is re apened Circular jump In Circular mode the software knobs behave similar to physical knobs Val ues are changed by clicking on the knob then rotating in a circular direction When the edge of the knob is clicked the parameter value jumps to the mouse position Relative Circular grab Relative Circular mode operates similar to Circular mode but the knob value does not jump to the mouse position when clicked Instead the knob value is modified relative to its original value In this mode you can click anywhere on the knob to make an adjustment orig inating at the original value You don t have to click on the current knob po sition Linear slider In Linear mode the knob is adjusted by dragging hor
32. sweet top end and the ability to dial in seemingly dangerous amounts of boost with out getting into trouble All front panel controls are included and all of the knob tapers are accurately modeled The Pultec has long been a choice of re cording and mastering engineers for its ability to bring out individual fre quency ranges without significantly altering other frequencies In addition the Pultec is one of those magical pieces of gear that makes audio program sound better just by passing through it The sophisticated modeling technol ogy used in the Pultec plugins captures both of these key attributes Note The Pultec and Pultec Pro plugins always operates at a high internal sample rate for maximum accuracy Therefore the UAD DSP load does not in crease even when processing audio at the highest sample rates UAD Powered Plug Ins 169 Pultec and Pultec Pro Pultec Latency The Pultec and Pultec Pro plugins introduce an additional 13 samples of delay due to upsampling when the session sample rate is below 1 OOkHz This ad ditional latency does not occur at sample rates above 100kHz You may en ter a value of 13 in the Samples parameter in DelayComp or TrackAdv to compensate See Compensating for Pultec EQ on page 49 for more informa tion Note Compensating for and Pultec Pro is not required if the host appli cation supports full plugin delay compensation throughout the signal path or when it is used on outpu
33. COLOR BENT AMP A bright MORPH Figure 74 The Preflex plugin window Preflex Modules The Preflex plug in consists of three sub modules gate compressor amplifier and cabinet simulator Controls for each of these sub modules is described be low UAD Powered Plug Ins Manual 180 Nigel Gate Comp Module Gate Level Display Gate Off On Button RELEASE boast Figure 75 The Gate Comp module The Gate is the first sub module in the Preflex signal chain Its output is passed to the input of the Compressor The compressor output is then passed to the in put of the Amp module within Preflex A gate stops the input signal from passing when the signal level drops below a 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 effects The Preflex Gate is optimized for use with guitars The threshold is dynamic and the gate output has multiple soft knees and dynamic slope providing a more natural and less choppy sound The Compressor reduces the dynamic range of the signal based on the thresh old and ratio settings Guitarists often use compressors to increase perceived sustain on long notes and for special effects Refer to Chapter 5 for more de tails on compressor theory and operation Note that Nigel s compressor sounds different than the CS 1 EX 1 compressor it sounds more vintage
34. Enable Menu allows you to disable all UAD Windows E x Powered Plug Ins that are currently running This en B0 B ables you to add new plugins for offline processing 25 IvEnabied if the UAD is low on DSP or easily compare the Enable all sound of the processed and unprocessed audio Disable cur When the menu displays Enabled all UAD plugins are active Select Dis able current from the menu to disable the active plugins New UAD plugins can then be added Select Enable all to re activate all UAD plugins On Off Button Mac 05 Meter 2o 10 29 The On Off button allows you to disable all UAD Pow ered Plug Ins that are currently running This enables you to add new plugins for offline processing if the UAD is low on DSP or easily compare the sound of the processed and unprocessed audio When the button displays On all UAD plugins are active Click the button to disable the active plugins New UAD plugins can then be added Click the button again to reactivate the plugins UNIVERSAL AUDIO UAD Powered Plug Ins Manual 33 Using UAD Powered Plug Ins UAD System Information Window Card Enabled Windows The UAD System Information window Figure 9 on page 35 and Figure 10 on page 36 displays the version of the UAD software drivers in use by the UAD hardware and also allows you to confirm that the card is working properly When the window displays UAD Status OK and UAD DSP OK t
35. In Knob 199 Fade Mode 199 Fairchild 670 123 Fairchild screenshot 124 Features 15 Filter Type Menu 196 Filtering 97 Frequency fc Knob 209 Frequency Controls 140 Frequency Knob 156 163 G Gain G Knob 209 Gain Knob 156 164 UAD Powered Plug Ins Manual Gain Reduction Meter 149 Gate Fast Button 182 Gate Level Display 181 Gate Off On Button 181 Gate Threshold Knob 182 Gate Comp 181 Grit 121 Group Bus 48 57 Grouping Tracks Requiring DelayComp 47 H Headroom 241 Headroom Switch 242 Hi Knob 191 195 202 Hidden Controls 111 High Attenuation Controls 172 174 High Frequency Controls 172 High Frequency Knob 109 High Gain Knob 109 High Resolution 28 High Pass Filter 156 History 245 Host Application 103 Host Application Settings 45 Host CPU 63 How to use TrackAdv 55 In Out Toggle Switch 171 173 Input 101 120 Input Mode Switch 222 Install Software First 24 Installation 24 Installing the UAD Hardware 25 Introduction 14 K KCS Selector Switch 172 Keyboard Control 27 K System 147 250 Index INDEX LA 2A 113 245 LA 2A Leveling Amplifier 16 Late 100 Late Field Relative Timing 98 Late Field Start 99 latency 44 Latency Calculator 37 Launching a Powered Plug In 29 Launching the Meter Mac OS 31 Windows 30 L Delay Knob 211 Leveling Amplifier 16 Levels 101 LFO Mode 195 LFO Type Menu 192 199 203 LFO Type Pop up Menu 212 Limit CPU Load 38 Limiter 145 Linear slider 39 Link Button 214 L
36. LI LJ 1 87 era Figure 16 Tempo Sync note value display The UAD DM 1 and UAD DM 1L plugins and DM 1 within CS 1 have a Mode menu see Mode Pop up Menu on page 212 that switches the plugin operation between delay chorus and flanger mode In these plugins when the Mode is set to DualDelay and PingPong the delay Time and modulation Rate parameters are simultaneously available for Tempo Sync However when the plugin is set to a Chorus or Flanger mode only the Rate is available for Tempo Sync This enables the more typical and musical cho rus flange effect by only syncing the modulation Rate to the tempo while the delay time remains constant In UAD Nigel and the submodules within Nigel there are several ModFilter modes that cannot be tempo synchronized Additionally ModDelay does not sync to tempo when the LFO is set to one of the Trem types In these cases the Sync enable switch is greyed out and cannot be enabled Additionally the UAD Nigel TremFade Fade In and Onset parameters have a setting of None which allows you to set these parameters to the corre sponding normal None value when in Tempo Sync mode The Rate param eter has an Off setting which corresponds to a normal value of O Hz When the 20115 in Tempo Sync mode note values can be imprecise due to the fixed tape head relation ships Values that are imprecise approximations but are within the available delay time range are displayed
37. Neve 1073SE Special Edition equalizer derived from UAD Neve 1073 Optimized for efficient DSP usage Five bands of parametric or shelving equalization Additional low cut and high cut filters with seventeen filter slope types in cluding butterworth bessel and elliptic Complex Lattice Filters provide smooth analog like sound Graphical display of equalization curve with bats for adjusting the fre quency gain and bandwidth directly on the EQ curve Three types of resonant shelving a peak at the edge of the stopband a peak at edge of the passband or both provide smooth Pultec like low end Two channels of EQ instantly accessible within one preset for quick A B switching between two curves Special Type modes automatically adjust Q as band gain is changed Proprietary algorithm avoids problems typical to digital EQs Filters work at high frequencies without oversampling Parametric section controls emulate popular high end analog consoles Mono or Stereo operation Plate 140 Delivers highly prized smooth and natural plate sound Stunningly accurate models based on plates from The Plant Studios Three plates to choose from each with a unique sound Look and feel based on original 140 reverb system Mono or Stereo operation DreamVerb Amazing sound quality rivals high end dedicated hardware reverbs Comprehensive interface for in depth parameter editing 2 room s
38. Nigel DM 1 Delay Modulator Mono or Stereo operation 2400ms maximum delay per channel Multiple modulation waveforms with adjustable phase including quadra ture in phase and out of phase Mode selector provides all popular forms of chorus flanging and echo RS 1 Reflection Engine Mono or Stereo operation 300ms maximum pre delay per channel Adjustable room size from 1 99 meters Wide range of delay presets including single echo pattern echo and spa tial room simulations Room shapes simulations developed in conjunction with NASA scientists Special effects include forward and reverse gated reverb Preflex advanced guitar processor with user updatable amp models Continuously variable morphing between any two amp types Gate Compressor for noise and dynamics control Phasor capable of modern and classic sounds such as those produced the Mutron Bi Phase Small Stone and MXR series of phasors Mod Filter capable of wah auto wah and envelope follower effects mod eled after the Mutron Ill and other popular filters Tremolo with Classic Shimmer VariTrem and Fade modes Fade in for gorgeous swells and reverse tape effects Modulated Delay capable of chorus flange and vibrato can be synchro nized to the Trem Fade module for unprecedented new sounds Echo Delay with 1200ms of stereo delay time No compromise professional audio quality All parameters are MID
39. Ratio Knob 210 R Delay Knob 211 RealVerb Pro 19 73 RealVerb Pro Background 74 Recirculation RECIR Knob 212 215 Recirculation Recir Knob 191 203 205 Recovery 237 238 Reflections End 97 Reflections Panel 96 Reflections panel 90 Reflections Start 97 Relative Circular grab 39 Release 120 Release all DSP resources on AudioUnit bypass 41 Release Knob 209 Resonance Res Knob 195 Resonance panel 90 resource load 30 resources 26 Response Curve Color 159 Response Curve Display 159 Reverb 107 Reverb Time Meters 108 Reverberation panel 90 98 Roland CE 1 217 221 Roland CE 1 Controls 218 222 Roland CE 1 Overview 217 221 Roland CE 1 Screenshot 217 221 Roland Dimension D 221 Roland Dimension D Controls 222 Roland Dimension D Screenshot 221 Roland RE 201 223 Roland RE 201 Controls 224 Roland RE 201 Interface 224 Roland RE 201 Screenshot 224 Room Shape and Material 73 R Pan Knob 213 216 RS 1 Controls 215 UAD Powered Plug Ins Manual RS 1 Reflection Engine 20 214 S Samples parameter 47 56 Save Load 102 Sends 48 Sens 194 Sens Rate Wah Knob 194 Shape Blending Bar 93 Shape Menus 93 Shape Panel 92 Shape panel 90 Shape Pop up Menu 215 Shelf Enable Button 167 Shelf EQ 167 Shelf Type Button 167 Shimmer Mode 199 Shortcuts 27 Sidechain Link 129 Signal Flow 89 Size 103 Size Knob 215 Slope 99 Solo Display 142 Space 104 Spatial Characteristics 103 Spectral Characteristics 75 spectral characteris
40. Table 4 on page 52 in addition to the appropriate Plugs value for each instance of Precision Equalizer Important Compensating for Precision Equalizer is not required if the host application supports full plugin delay compensation throughout the entire sig nal path or when it is used only on the outputs See Host PDC Implementa tion on page 44 UAD Powered Plug Ins Manual 51 Using UAD Powered Plug Ins The compensation value to use depends on the session sample rate Use the following values to compensate for Precision Equalizer latency when using it on track inserts or buses Table 4 Precision Equalizer Latency Compensation Values Session Sample Rate UAD DelayComp Samples Value 48kHz and lower 31 Samples 88 2kHz and 96kHz 13 Samples 176 4kHz and 192kHz Zero Precision Situation You have a song with bass drums guitar and 4 string tracks You want to change the EQ for all the strings so you put the string tracks a ni group bus and apply one instance of Precision Equalizer to the string bus Re sult The string tracks play late in relation to the other instrument tracks Solution Send the output of the unprocessed instrument tracks but not the string tracks or the Precision Equalizer return to a different group bus and put one DelayComp with a Plugs value of 1 and a Sample value from Table 4 on page 52 on this group bus that contains the dry non string tracks If you put 2 Prec
41. The Gate Comp module 181 The Amp module within Preflex 184 The Cabinet module within Preflex 188 The Phasor plugin window 190 The Mod Filter plugin window 193 The TremModEcho plugin contains three modules 197 The Trem Fade module 198 The Mod Delay module 201 The Echo module 205 The CS 1 Channel Strip plugin window 207 The EX 1 EQ Compressor plugin window 208 The DM 1 Delay Modulator plugin window 21 1 The DM 1L includes a Link button 214 The RS 1 Reflection Engine plugin window 214 The Roland CE 1 plugin window 217 The Roland Dimension D plugin window 221 The Roland RE 201 plugin window 224 The Neve 1073 plugin window 230 The Neve 1073SE plugin window 233 The Neve 33609 plugin window 236 Signal flow within UAD Neve 33609 236 The Neve 336095E plugin window 244 UAD Powered Plug Ins Manual 12 List of Figures LIST OF TABLES Keyboard shortcuts 27 Host Application Plugin Delay Compensation Implementations 44 Precision Limiter Latency Compensation Values 50 Precision Equalizer Latency Compensation Values 52 Precision Multiband Latency Compensation Values 53 Tempo Sync available note values 59 Materials with high frequency absorption 79 Materials with high frequency reflection 79 RealVerb Pro Presets 87 Fairchild Operating Modes 127 Fairchild Time Constants 129 Precision Equalizer Band Frequency Ranges 156 Precision Equalizer band gain values 156 Precision Equalizer high pass filter frequencies 156 Availab
42. The control set for any particular band is displayed by selecting the band see Band Se lect on page 133 GAIN p Y i Foa 12 I i Band Select Selecting a band causes the controls for that band to be displayed in the Band Controls area Bands can be selected by using the Band Select buttons or by clicking in the EQ display Band Select Buttons 1 LF LMF HF 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 133 Precision Multiband EQ Display Selection A band can also be selected by clicking within the area of E the band in the EQ Display For example clicking within WI the area shown here will se lect the LMF band Band Parameters Because the Band Controls for each of the five bands are identical they are only described once All Button Im 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 135 The ALL button can perform three functions Relative Link Absolute Link and Copy Value Note that the ALL button cannot be automated Relative Link
43. and Compressor iai 421020202 dar eise lei dus EX T Equalizer Controls PME RARE RE MARE dads EX 1 Compressor EXIM OVEIMEW 2555555 DM 1 Delay Modulator DM 1 ENERO RS 1 Reflection Engine ken kai edt eu Pa EU Mte edu eden ein ine e eg E eee LE ELEC ELE due Chapter 16 Roland CE 1 LEE Overview 22 2 22222222 Roland CE 1 5 Roland CE 1 Chapter 17 Roland Dimension Overview sus eode GES edd ta eon Gah e eed ute bien Roland Dimension D Screenshot Roland Dimension D s D MI CPI PTT Chapter 19 Roland RE 201 LEE E E E E E E E E 9 Roland RE 201 Screenshot Roland RE 201 Roland RE 201
44. appears and can be manipulated but audio is not processed by the plugin Once the demo mode is activated the plugin will run without functional limi tations for 14 days Demo mode can only be activated one time Once the demo period has expired demo mode cannot be activated again on the same UAD card Important The 14 day demo period can only be activated once and can not be stopped or restarted during this period We recommend you do not ac tivate demo mode until you have the opportunity to thoroughly check out its sound and functionality To activate demo mode 1 Ensure UAD Powered Plug Ins version 4 0 or higher is already installed and configured properly see Installation on page 24 2 Quit all open VST DirectX MAS and Audio Units host applications Launch the UAD Meter application page 3 1 4 When the UAD Meter is in the foreground select Authorizations from the System Menu Windows page 31 or File Menu Mac OS page 32 The Authorizations window Figure 18 on page 68 appears 5 Click the Start Demo button A confirmation window appears and the timed demo can be activated or demo activation can be cancelled The timed demo is activated for 14 days Important Demo mode relies on the computer system date and time Ma nipulating the system clock can result in a decreased demo period UAD Powered Plug Ins Manual 70 Using UAD Powered Plug Ins Plug In Authorization Procedure Authorizatio
45. applied before the limiter stage UAD Powered Plug Ins 238 Neve 33609 Compressor Ratio Compressor In Other Controls Ovtput Gain Gain Reduction Meters Link 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 plugin The compres sor has no effect unless this switch is in the In down position gain reduction 1 POWER dB gain reduction 2 unlink mono 22 i e 3 lk sterea DLITPUT 2 0 61 aiERED 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 plugin to compensate for reduced levels as a result of compression and or limiting The available range is 2 to 20 in 1dB 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 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
46. automation and or controls mode Table 12 Precision Equalizer Band Frequency Ranges Low Frequencies L1 and L2 19 572 Hertz 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 13 below Table 13 Precision Equalizer band gain values The high pass filter is useful for reducing low frequency content It is a global filter it always affects both left and right channels regardless of the active mode See Table 14 below for available settings Table 14 Precision Equalizer high pass filter frequencies Of dati UAD Powered Plug Ins 156 Precision Equalizer Precision Equalizer Latency UAD Powered Plug Ins The Precision Equalizer uses an internal sample rate of 192kHz to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plugins You may enter a value in the Samples parameter in De layComp or TrackAdv to compensate See Compensating for Precision Equalizer on page 51 for more information Note Compensating for Precision Equalizer is not required if the host appli cation supports full plugin delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 44 157 Precision Equalizer CHAPTER 12 Cambridge EQ Overview The UAD Cambridge E
47. band is enabled Note To modify the Q of a band with its bat hold down the Control key while dragging vertically When a band is enabled the EQ curve usually touches the bat However be cause the EQ curve always displays the actual frequency response of Cam bridge EG 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 160 Cambridge EQ Master Level This control adjusts the signal output level of Cambridge EQ This Knob may be necessary if the signal is dramatically boosted or re duced by the EQ settings The available range 15 20dB A B Selector The A B Selector switches between two separate sets of Cam Button bridge EQ plugin 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 shiftclick the button The active curve will be copied to the inactive curve s Enable This button enab
48. begin with MSTR BUSS or TRAK These indicate the setting of the headroom parameter 14dB 18dB and 22dB 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 group This type of application often has lower levels than full mixes but higher levels than a track insert Track TRAK presets are optimized for track inserts where signal levels typi cally aren t as hot as groups or outputs The preset names are guidelines and not rules In many cases you can use any preset on any source with good results You will probably need to adjust the threshold and or gain controls to obtain the optimum results with your par ticular source audio The Power switch determines whether the plugin is active This is useful for comparing the processed settings to that of the original signal or to bypass the plugin to reduce the UAD DSP load Toggle the switch to change the Power state the switch is illuminated in red when the plugin 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 243 Neve 33609 Compressor Neve 33609SE Overview Neve 33609SE Controls limit slow 2 LIMIT 2 ir Figure 96 The Neve 33609SE plugin window The UAD Neve 336095E is derived from the UAD Ne
49. bottom of the Resonance panel The values can also be entered directly using the text entry method UAD Powered Plug Ins Manual 90 DreamVerb Bypass Band Amplitude Band Edge Bypass switch Band Amplitude control bats Resonance 16 Hz Hz 250 Hz 1 0 KHz Z kHz 148k 3 6 dB 2 4 dE 6 6 dE 7 0 dE 22 dB 40 0 Hz 200 Hz Band 1 low Band 2 3 and 4 Band 5 high shelving control Edge control bats shelving control Figure 31 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 30dB to 20dB To adjust the amplitude of bands 2 3 and 4 grab its control bat 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 bein
50. 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 plugin is used in an aux iliary effect send configuration The default position in is stereo mode Click the pushbutton switch out to en able Mono mode This switch determines whether the plugin is active This is useful for comparing the processed settings to that of the original sig nal or to bypass the plugin to reduce the UAD DSP load Click the pushbutton switch to change the Power state The Power LED is illuminated when the plugin is active This LED style meter indicates the level of the signal at the output of the plugin When the Dimension Mode is OFF but the Power switch is ON audio is not processed but the Output Level meter is still active analog ears digital minds UAD Powered Plug Ins 222 Roland Dimension D CHAPTER 18 Roland RE 201 Overview In 1973 Roland created the Space Echo
51. cards For example let s say you have two UAD cards installed the UAD Meter dis plays 90 you load another UAD plugin that requires 6 CPU yet you get a plugin unable to load message This would occur if both cards are al ready at 95 the meter shows the total available CPU not the per card CPU so a 6 plugin can t load UAD CPU and memory resources used for each installed card and the ability to enable disable individual cards is displayed in the System Information window see page 35 Individual UAD cards can be disabled using the Card Enabled function see page 34 This can be useful for example if creating a session on a system with multiple cards that will be transferred to a system with fewer cards Note For optimum results quit any applications using UAD plugins before disabling enabling cards If a Powered Plug In is loaded on a card then that card is subsequently dis abled an error message will be displayed This occurs because a plugin is as signed to a card when it is first instantiated It stays assigned to the same card until it is de instantiated i e removed from the insert slot UAD Powered Plug Ins Manual 62 Using UAD Powered Plug Ins Host CPU Optional Plug Ins Overview UAD PAK Using more than one card can cause a slight increase in host CPU require ments so disabling unused cards can help you squeeze in a bit more host per formance if you need it Using additional devices on the PC
52. 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 channel 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 154 Precision Equalizer Power Switch The Power Switch determines whether the plugin is active This is useful for comparing the processed settings to that of the original signal or to bypass the plugin to reduce the UAD DSP load Click the rocker switch to change the Power state Alter nately you can click the blue UA logo to toggle the Power state Band Controls 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 Bandwidth Knob Bandwidth knob defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The numbers rep
53. energy is specified at the top of the Timing panel The Material panel is used to select relative late field 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 field 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 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 0 100 All parameters can be adjusted dynamically in real time without causing distortion or other artifacts in the audio Second shape First shape shape Blending bar First shape selector Second shape pop up selector pop menu N td up menu First shape Second size control shape size control Figure 21 RealVerb Pro Shape panel UAD Powered Plug Ins Manual 75 RealVerb Pro Material and Thicknes
54. every regard the signal will be slightly processed when this switch is in the Out po sition If a true bypass is desired use the On Off rotary switch This switch enables or disables the EQP 1A altogether You can use this switch to compare the processed settings to that of the original signal or to bypass the plugin to reduce UAD DSP load Low Frequency Controls CPS Selector Switch Boost Knob Attenuation Knob This switch determines the frequency of the low shelf portion of the equalizer CPS is an acronym for Cycles Per Second Hertz Four frequencies are avail able 20 30 60 and 100 Hertz This knob determines the amount of low shelf gain to be applied to the fre quency set by the CPS switch This knob determines the amount of low shelf cut to be applied to the fre quency set by the CPS switch UAD Powered Plug Ins 171 Pultec and Pultec Pro Note In the documentation supplied with hardware version of the EQP 1A it is recommended that both Boost and Attenuation not be applied simulta neously because 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 frequencies they affect are slightly different too The EQ curve that results when boost and attenuation are simultaneously applied to the low shelf is an additional feature High Frequency Controls KCS Selector This switch determines the frequency of the high boost
55. features of RealVerb Pro is the ability to separately position the direct path early reflections and late field reverberation The Position panel see Figure 25 provides panning controls for each of these reverb com ponents In addition a proprietary Distance control adjusts perceived source distance These controls allow realistic synthesis of acoustic spaces for in stance listening at the entrance of an alley way where all response compo nents arrive from the same direction or listening in the same alley next to the source where the early reflections and reverberation surround the listener Positioning Mix 40 Fw Distance EE za 100 100 D M Figure 25 RealVerb Pro Positioning panel 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 pans the signal hard right A value of lt O gt places the signal in the center of the stereo field UAD Powered Plug Ins Manual 83 RealVerb Pro Distance Wet Dry Mix 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 ri
56. for all cards UAD Precision Multiband Not authorized 2 days left in demo Figure 18 The UAD Authorizations window UAD Powered Plug Ins Manual 68 Using UAD Powered Plug Ins On Windows systems access the Authorizations window from the System Menu or alternate system menu On Mac OS use the File Menu See Access ing Meter Functions on page 31 for specific instructions Hardware IDs This section of the window is where the unique hardware identification num bers of all installed cards are displayed These ID numbers are required to ob tain the authorization key The Copy button can be used to copy the hardware ID text to the operating system clipboard This text can then be pasted into the web form Authorizations The status of each authorizable plugin and function is displayed in this area A Start demo button is present if any UAD demo timer has not been started When the Start demo button is clicked it checks to see if any UAD plugins are running and if they are a message instructing you to quit the host application is displayed The demo cannot be started if any UAD plugins are running UNIVERSAL AUDIO UAD Powered Plug Ins Manual 69 Using UAD Powered Plug Ins Demo Mode Demo Activation If demo mode has never been activated and a copy protected plugin is started the message Close the program and run the UAD Meter to start the timed demo appears If you click Cancel the plugin interface
57. 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 These four pushbutton switches to the left of the VU Meter determine the com pression ratio Ratios of 20 1 12 1 8 1 and 4 1 are provided The 20 1 and 12 1 settings are typically used when peak limiting is desired while the 4 1 and 8 1 settings are used for general dynamic range compression UAD Powered Plug Ins Manual 120 LA 2A and 1176LN All Buttons mode Meter Grit Stereo Operation Just like the hardware version of the 1 176LN it is possible to depress all the Ratio buttons simultaneously a well known studio trick In this mode the ratio is around 12 1 and the release happens faster and the shape of the release curve changes With lower amounts of compression the attack is delayed slightly as there is a slight lag before the attack attenu ated the signal That attack value remains at whatever the value is on the tack control To enter All Button Mode Shift click any of the Ratio buttons All of the buttons will appear depressed To exit All Button Mode Click any Ratio button without the shift key modifier These four pushbutton switches to the right of the VU Meter determine the mode of the VU Meter and whether the plugin 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 indic
58. impedance ra tio This transformer is critical due to the fact that it uses several additional sets of windings to provide feedback which makes it an integral component in the operation of the output amplifier Putnam spent a great deal of time perfecting the design of this tricky transformer and carefully qualified the few vendors ca pable of producing it The first major modification to the 1176 circuit was designed by Brad Plunkett in an effort to reduce noise hence the birth of the 1176LN whose LN stands for low noise Numerous design improvements followed resulting in at least 13 revisions of the 1176 Legend has it that the D and E blackface revisions sound the most authentic The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology the first true peak limiter with all transis tor circuitry offering superior performance and a signature sound Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters the 1176LN retained the proven qualities of these industry leaders and set the standard for all limiters to follow UAD Powered Plug Ins Manual 246 History Thank You We would like to thank you again for becoming a Universal Audio customer We urge you to fill out your registration card and send it back to us as soon as possible so we can keep you informed about new Powered Plug In prod ucts that we will be releasing in the months to come We alwa
59. less gain thus reducing or compressing the dynamic range of the signal In Figure 41 a compressed signal with an input level of 30 dB results in an output level of 20 dB indicating a gain of 10 dB How ever with input levels of 20 dB and 10 dB the compressor exhibits gains of 5 dB and O dB respectively thereby illustrating that the gain decreases as the input signal increases This increase in output level by 5 db for every 10 dB is defined as a compression ratio of 2 1 reduced from 10 5 Perfect Amplifier 10 Compression o Output Level dB 710 30 20 10 0 10 Input Level dB Figure 41 Input and output characteristics of a compressor and perfect amplifier UAD Powered Plug Ins Manual 114 LA 2A and 1176LN The amount of compression or gain reduction typically expressed in decibels dB is defined as the amount by which the signal level is reduced by the compressor Graphically this can be represented see Figure 42 by the difference in output levels between the original signal without compres sion and the compressed signal The LA 2A and 1176LN display this value when their VU Meters are set to Gain Reduction Compression region 10 dB of 10 f A 0 La 2 1 compression ratio Output 40 Level dB knee 20 Em 30 J 30 20 10 0 10 Input Level dB Figure 42 Input and output curve of compressor with 2 1 ratio and 20 dB threshold As me
60. modes chorus and vibrato Only one mode can be active at a time The operating mode is set using the Vi brato Chorus switch 2 The red Clip LED illuminates when signal peaks in the plugin 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 plugin 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 plugin faithfully and like the hardware unit when the effect is by passed with this switch audio is still processed to sound like the CE 1 in nor mal mode To disable audio processing use the CE 1 Power Switch The yellow Rate LED blinks according to the current low frequency os cillator rate When CE 1 is in Vibrato mode the 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 plugin 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 UAD Powered Plug Ins 218 Roland CE 1 Stereo Mode Switch
61. 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 18dB per octave which enables precise filtering of power robbing sub harmonic content or other creative uses The Precision Equalizer also features flexibility in auditioning There 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 STEREU Dua Hii 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 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 purpo
62. parameters are named with A and B instead of L and R because that s how the plugin operates depending on the mode i e lat vert the channel parameters are not always associated with the left and right chan nels UAD Powered Plug Ins Manual 125 Fairchild 670 Fairchild Modes Dual Left Right Lateral Vertical Stereo coupled left right In Dual L R mode the Fairchild operates as two monophonic compressors with completely independent controls for the left and right channels There is no interaction between the left and right channels In Lat Vert mode the 670 acts on the lateral and vertical the sum and differ ence components of the two stereo channels This is accomplished by first bringing the two stereo channels through a matrixing network which divides them into their respective lateral and vertical components limiting these lat eral and vertical components then recombining them through a second ma trixing network into the left and right channels again The L R mono signal is sent to one compressor and the LR stereo signal is sentto the other The two compressors work independently of each other and after compression the L and R signals are recovered once again by sum and difference This mode was created for use in mastering records where the mono and stereo components of the signal are encoded in this way It also has application for psychoacoustic processing since the stereo panning will change dyn
63. percussive content Mod Rate controls the rate of reverb time modulation The available range is from 0 01Hz to 1 0Hz This parameter controls the amount of reverb time modulation The available range is from 10 cents Note The Plate 140 distills 1800 pounds of sound into a single plugin Exercise caution when lifting UAD Powered Plug Ins 112 Plate 140 CHAPTER 7 LA 2A and 1176LN Overview The LA 2A and 1176LN compressor limiters long ago achieved classic sta tus They re a given in almost any studio in the world relied upon daily by en gineers whose styles range from rock to rap classical to country and every thing in between With so many newer products on the market to choose from it s worth looking at the reasons why these classics remain a necessary part of any professional studio s outboard equipment collection The basic concept of a compressor limiter is of course relatively simple It s a device in which the gain of a circuit is automatically adjusted using a pre determined ratio that acts in response to the input signal level A compres sor limiter rides gain like a recording engineer does by hand with the fader of a console it keeps the volume up during softer sections and brings it down when the signal gets louder The dynamic processing that occurs at ratios be low 10 or 12 to one is generally referred to as compression above that it s known as limiting Modern day compressors offer a
64. 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 23 Introduction CHAPTER 2 Installation Refer to the QuickStart Guide Software installation and removal for each of the various platforms and oper ating systems has its own particular procedures Please refer to the QuickStart Guide documentation that is included in the software bundle and the support pages on our website for complete instructions on how to install and remove the software on each system The QuickStart Guide can be found on the product CD ROM and it is placed into the Powered Plug Ins Tools folder during software installation The Quick Start Guide and other important technical information is online at http www uaudio com support software UAD techbulletins html Install Software First For best results the Powered Plug Ins software should be installed before installing the UAD card See the QuickStart Guide for instructions Instructions for hardware installation follows in a following section About PCI and PCI Express PCI or PCI X should not be confused with PCI Express also known as PCle PCle is not compatible with PCI or PCI X because PCle uses a completely dif ferent connector UAD 1 and UAD le Note IMPORTANT The UAD 1 will ONLY work in PCI and PCI X slots and the UAD 1e will ONLY work in PCle
65. re mw 0 0 placeable cartridge As the tape wears out it is subject to fidelity loss plus increased wow and flutter The Tape Age switch allows the plugin to mimic the behavior of new used and old tape car tridges Newer tape may be 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 228 Roland RE 201 Splice Wet Solo Caution 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 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 plugin is placed on an effect group bus that is configured for use with channel sends When the plugin is u
66. section group bus Result The rhythm section plays late in relation to the vocal tracks UAD Powered Plug Ins Manual 53 Using UAD Powered Plug Ins Solution Send the output of the vocal tracks but not the rhythm tracks or the Precision Multiband return to a different group bus Then enter the numbers into the formula 15 360 1 024 15 Now put one DelayComp with a Plugs value of 10 and another DelayComp with a Plugs value of 5 on the group bus that contains the vocal tracks The latency of both groups buses is now the same so the playback timing is cor rectly aligned Here s another example with the same track setup but with a session sample rate of A8kHz and an I O buffer size of 1024 samples Use the formula to ar rive 16 896 2048 8 25 When a non whole number results from the formula the Samples parameter must be used in addition to the Plugs parameter The Samples value to use is the fraction in this case 0 25 times the UAD latency from the UAD System Info window in this case 2048 Therefore in this example the total Samples value is 512 To finish the example Insert one DelayComp with a Plugs value of 8 and a Samples value of 128 and three more DelayComps with a Plugs value of O and a Samples value of 128 each on the group bus that contains the vocal tracks The four Samples values sum to 512 samples which is 0 25 of one Plugs value 2048 x 25 512 The latency of both groups buses is now the same
67. settings to that of the original signal or bypass the entire compres sor section to reduce UAD DSP load Adjusts the relative output of the plugin 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 210 CS 1 Channel Strip DM 1 Delay Modulator 2 L DELAY R DELAY DELAY MODULATOR LI M id CX CX Ch 2 a 5 BYPASS 2 RECIR DAMPING 375 22 0 Figure 86 The DM 1 Delay Modulator plugin window The DM 1 Delay Modulator provides stereo effects for delay chorus and flange DM 1 Controls Sync Button This button puts the plugin into Tempo Sync mode See Tempo Sync on page 58 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 delay time between the original signal and the delayed signal for the rig
68. 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 73 RealVerb Pro RealVerb Pro Background Pan Direct Path Early Delay Reflections Pans amp Distance Source Input Gain Output Late Delay Field Reverb Figure 19 RealVerb Pro signal flow Figure 19 illustrates the signal flow for RealVerb Pro The input signal is equal ized and applied to the early reflection generator and the late field reverber ation unit The resulting direct path early reflection and late field reverbera tion are then independently positioned in the soundfield Preset Big Bright Hall Material Input Gain Output Gain iji 0 0 dB 154 Hz J 4 2 5 J L gj 10dB 50 E dB d D www kindofloud com Figure 20 The RealVerb Pro plugin window UAD Powered Plug Ins Manual 74 RealVerb Pro The RealVerb Pro user interface is similarly organized see Figure 20 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
69. 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 7 Materials with high frequency absorption Oma Table 8 Materials with high frequency reflection UAD Powered Plug Ins Manual 79 RealVerb Pro Resonance Equalization The Resonance panel has a three band parametric equalizer 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 Resonance Band Edge control Band Edge control second band third band Figure 23 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 Reso nance panel 2 Adjust the amplitude of the bands from 60 dB to dB by dragging their Amplitude controls either up or down The amplitude values for all three bands are indicated in the text
70. so the playback tim ing is correctly aligned Note You can keep it simple Use the Precision Multiband only on outputs as its design was intended or only in hosts that have full plugin delay com pensation UAD Track Advance Overview The previous discussions on delay compensation see Delay Compensation on page 44 apply mainly when using only audio tracks When MIDI tracks are played simultaneously alongside audio tracks a different but related synchronization issue can arise UAD Powered Plug Ins Manual 54 Using UAD Powered Plug Ins When to use TrackAdv How to use TrackAdv Let s say you have a MIDI track and an audio track with a UAD plugin on the audio track insert In this scenario the host application will automatically compensate for latency and no use of the UAD DelayComp or UAD Track Ad vance is required However if the audio track is sent to a send group bus and that send group bus has a UAD plugin on it the audio track will be delayed in relation to the MIDI track because the host does not compensate for latency automatically on groups buses unless full path latency compensation is im plemented in the host If the MIDI track was an audio track you would use the UAD DelayComp on it to compensate for the latency But you can t put a UAD DelayComp on a MIDI track so what to do Enter the UAD Track Advance plugin TrackAdv for short It operates just like the DelayComp plugin but backwards In
71. that are being used in sequence on the send group or bus that the track is assigned to For example if three separate sends are used and each send return has one instance of UAD plugins the TrackAdv Plugin value for the audio tracks insert would be one However if one send group bus is used that has three in stances of UAD Powered Plug Ins stacked up the TrackAdv Plugs value for the tracks inserts would be three Note The TrackAdv Plugs value on the track insert matches the total of UAD Powered Plug Ins used serially stacked one above another in series on the send group bus that the track is assigned to NOT the total number of UAD Powered Plug Ins used The Samples parameter shifts the audio with single sample accuracy in either direction It is provided mainly for compensation of the Pultec EQ Compen sating for Pultec EQ on page 49 for more information However it can be used anytime minute shifting of audio is desired Audio can be shifted up to 128 samples in either direction Note The keyboard shortcuts PageUp PageDown and Shift Arrow auto matically add the 13 sample Pultec value for your convenience TrackAdv Examples Insert Send Situation You have one track with MIDI and one track with audio You put a UAD plugin on the audio track Result All tracks are perfectly aligned Solution None needed Delay compensation on track inserts is handled av tomatically by most host applications Situation You hav
72. the vertical axis The vertical resolution of this display can be modified with the Zoom buttons Response Curve Color The color of the response curve depends on the value of the A B Selector con trol When A is active the curve is yellow When B is active the curve is green see A B Selector Button on page 161 When Cambridge EG is dis abled the response curve is grey UAD Powered Plug Ins 159 Cambridge EQ Zoom Buttons 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 40dB 10 4 Sk 10 20k 5k 10k 20 20 10k 20 19 Figure 57 Vertical resolution of the Response Curve can be changed with the Zoom buttons Curve Control There are five control bats on the curve display Each bat is color coded Bats 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 Figure 58 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
73. 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 OdB on the level meter yields 83dB sound pressure level SPL per channel in the mon itor output level B6dB running two channels in stereo when measured with 20 20kHz pink noise on an SPL meter set to C weighted slow i e average re sponse It is this calibrated meter monitor relationship that establishes a con sistent average perceived loudness with reference to OdB on the meter UAD Powered Plug Ins Manual 147 Precision Limiter Type 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 OdB point is always tied to the same calibrated moni tor SPL The Precision Limiter provides several meter ranges for various types of program material see on page 148 Long Live Dynamic Range The K System can help combat the bane of the loudness wars which is all too common in today s musi
74. 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 UAD Powered Plug Ins 239 Neve 33609 Compressor Mono Stereo 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 data 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 dual mono mode This switch determines the active mode Mono 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
75. 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 64 on page 168 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 63 on page 168 B the edge of the passband Figure 64 or C at the edge of the stopband and the passband Figure 65 When a band is in shelf mode the Q knob sets the resonance of the band The range of the knob is 0 100 when in shelf mode Note When a band is in shelf mode the Gain 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 mu
76. 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 78 UAD Powered Plug Ins Manual 76 RealVerb Pro Second material First material Blending bar First material selector pop up menu Second material selector pop up menu First material Thickness control Second material Thickness control Figure 22 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 24 on page 82 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 default thickness of 100 yields normal real world decays for the ma terial Thicknesses beyond the default up to 200 exaggerate how the frequen cies are absorbed an
77. using UAD Powered Plug Ins on audio tracks while si multaneously running MIDI tracks see UAD Track Advance on page 54 For optimum results the Plugin Delay Compensation option setting should be enabled in the host application This will provide automatic latency com pensation when UAD plugins are used on track inserts and sends groups buses if full compensation is supported so the UAD Delay Comp will not have to be used This option is usually found in the audio or plu gin preferences window The specific location of the setting for this option within some popular applications is as follows Cubase 5 x Options Menu gt Audio Setup System Nuendo 1 x Cubase SX 1 x File Menu gt Preferences gt VST Cubase SX 2 3 Nuendo 2 3 Always on Steinberg s Constrain Delay Compensation feature can be used to disable delay compensation on individual plugins Devices Menu gt Plug in Informa tion Emagic Logic Audio PC Options Menu gt Preferences gt Audio Preferences Apple Logic Pro Preferences Audio MOTU Digital Performer 4 5 Setup menu Configure Audio System Con figure Studio Settings UAD Powered Plug Ins Manual 45 Using UAD Powered Plug Ins Cakewalk Sonar Sony applications Mackie Tracktion Automatic No preference for enabling disabling other than turning off or removing plu gins that require delay compensation Samplitude Options Menu gt Project Properties Mixer Setup Pr
78. values Arrow Keys After clicking the parameter to select it the arrow keys can be used to scroll through available note values Text Entry Direct text entry is also available see Text Entry on page 26 Any notation values can be entered fraction or decimal and the values are automatically converted to the nearest appropriate setting For example If 3 4 or 6 8 is entered using text entry 1 2D is displayed be cause a dotted half note equals three quarter notes which is the duration of one measure in a time signature of 3 4 or 6 8 If 12 8 is entered with text entry 1 1D is displayed because a dotted whole note equals six quarter notes which is the duration of one measure in a time signature of 12 8 or two measures in a time signature of 3 4 or 6 8 This means you can create a tempo sync duration of one measure for any time signature by simply typing in the time signature assuming there is a match in the beat table Similarly if 1 12 is entered with text entry 1 8T is displayed because an eighth note triplet is equivalent to one twelfth of a measure if in 4 4 time UAD Powered Plug Ins Manual 60 Using UAD Powered Plug Ins Out of range Modes with Tempo Sync Roland RE 201 Tempo Sync When a parameter note value is out of range of the current tempo note value the note value is displayed in parentheses on a red background see Figure 16 L DELAY R DELA Y sync 7 an 2 MODE
79. who in 1966 was responsible for the initial design of the 1176 Its circuit was rooted in the 1108 preamplifier which was also designed by Putnam As is evident from entries and schematics in his design notebook he experimented with the recently developed Field Effect Transistor F E T in various configurations to control the gain reduction in the circuit He began using F E T s as voltage variable resistors in which the resistance be tween the drain and the source terminals is controlled by a voltage applied to the gate His greatest challenge was to ensure that distortion was minimized by operating the F E T s within a linear region of operation UAD Powered Plug Ins Manual 245 History After several unsuccessful attempts at using F E T s in gain reduction circuits Putnam settled upon the straightforward approach of using the F E T as the bottom leg in a voltage divider circuit which is placed ahead of a preamp stage The output stage of the 1176 is a carefully crafted class A line level amplifier designed to work with the then standard load of 600 ohms The heart of this stage is the output transformer whose design and performance is critical Its primary function is to convert the unbalanced nature of the 1176 circuit to a balanced line output and to provide the proper impedance matching to drive the line impedance of 600 ohms These two jobs are accomplished by the pri mary and secondary windings whose turns ratio defines the
80. with a or symbol The leading head in the current mode is accurately synced the other values are based on the fixed tape head relationship Note that when a parameter note value is out of range of the current tempo note value the note value flashes instead of in pa rentheses on a red background as in Figure 16 UAD Powered Plug Ins Manual 61 Using UAD Powered Plug Ins Multiple Cards Power Requirement Multicard Use System Info indow Disabling Cards When multiple UAD cards are installed in the host computer the CPU and memory load of the cards are automatically balanced dynamically in real time With multiple cards there is no major difference in operating proce dures except that more Powered Plug Ins can be loaded in the session Note For information about authorizing copy protected plugins on multiple cards see Authorizing Multiple Cards on page 66 Up to four UAD cards can be installed simultaneously in the host computer Each UAD card uses a maximum of 14 watts of 5 volt power from the PCI bus The PCI specification provides for up to 25W per device however some host systems don t provide or require this much power Important If insufficient power is available to the UAD cards unpredict able behavior may result The UAD card that has the lowest resource usage will receive the next Pow ered Plug In load Note that an individual UAD plugin cannot be split across two or more UAD
81. 0 Determines the LFO waveshape used to modulate the signal The waveshape can be set to sine or square The Mode menu reconfigures the behavior of the Trem Fade algorithms and or the preset parameter settings Each of the Modes is described below Fade Mode In Fade mode when the input signal level crosses the threshold value the au dio will fade in ramp up according to the time set with the Fade In knob The Onset Rate and Depth controls are also active in Fade mode Two Fade modes are available Each has a different Fade In curve and there fore a different volume envelope shape Note If the Threshold value is set too high for the source signal in Fade mode the effect will not be triggered and the audio will never fade in Shimmer Mode In Shimmer mode when the input signal level crosses the threshold value the Tremolo effect will gradually increase according to the time set with the Onset knob The Fade In knob is also active in Shimmer mode Three Shimmer modes are available Each has a different Onset curve Note If the Depth value is zero and or the Threshold value is set too high in Shimmer mode you will not hear the Shimmer effect UAD Powered Plug Ins Manual 199 Nigel Trem Fade On Off Button Tremolo Mode When Tremolo mode is selected the Fade In and Onset controls are set to zero and the Trem Fade module behaves as a normal tremolo effect How ever the Fade In and Onset controls are still act
82. 126 and Table 10 on page 127 for detailed mode descriptions 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 trigger left right Lateral Vertical If Lat Vert is selected and Sidechain Link is off the compressor is in lat eral vertical mode and will receive mono stereo as the inputs If Sidechain Link is on the mode is stereo trigger mono stereo This continuously variable control determines the amount of compression to be applied Turn clockwise for more compression When fully counter clock wise the unit behaves as a simple unity gain line amplifier UAD Powered Plug Ins Manual 128 Fairchild 670 Time Constant This 6 position switch provides fixed and variable time constants attack and release times to accommodate various types of program material Positions 1 4 provide successively slower behavior and 5 and 6 provide program de pendent response The values published by Fairchild for each position are in Table 11 below The actual measured times are a bit different but the overall trend is the same Table 11 Fairchild Time Constants Time Constant Attack Time Release Time Position 1 200 microseconds 300 milliseconds Position 2 200 microseconds 800 milliseconds Position 3 400 microseconds 2 seconds Position 4 800 microseconds 5 seconds Position 5 200 microseconds Program dependent 2 seconds for trans
83. 173 Pultec MEQ 5 5 173 low Peak Controls Pr 174 54212 C ee 174 High Peak Controls MM 174 MEQ 5 Response uera te E ues 174 Chapter 14 Nigel 56 5 5845 5 554 6 6 178 lniesdueing Nigel i ioo tA N ATINA ARE 178 Preflex Plugin 180 Preflex Modules p RR DA 180 Gate Comp Modules FRI IN PEE 181 Amp Mod le MMNMNEIC et 184 Amp 185 ecc qu ene peace cine aid 188 Phasor Module 190 Mod Filter Module 193 TremModEcha PIUtjli c 197 Trem Fade 198 Med Delay Module Mmm C 201 Echo Mod le aai istoc osi ea nd e 205 Chapter 15 CS 1 Channel Strip 207 MISERERI ETC TUTTI 207 UAD Powered Plug Ins Manual 7 Contents TABLE OF CONTENTS EX 1 Equalizer
84. 207 223 230 235 P parameter 26 Parameter Copy Buttons 154 Parametric EQ 164 Parametric Type Selector 164 PCI Bus Settings 40 Peak Level 224 231 Peak Reduction 118 Performance Meter 30 Performance Meter Application 30 Phasor Module 190 Phasor On Off Button 192 Plate 140 106 Plate 140 Controls 107 Plate 140 Overview 106 Plate 140 Screenshot 106 Plate Select Switch 107 Plug In Authorization 71 Plugs parameter 56 Positioning panel 90 99 Post EQ Hi Knob 186 Post EQ LO Knob 186 Post EQ Mid Knob 186 UAD Powered Plug Ins Manual Power 220 Power Lamp 110 Power Requirement 62 Power Switch 110 155 Precision Equalizer 152 Precision Equalizer Controls 153 Precision Limiter 145 Precision Limiter Controls 146 Precision Limiter Latency 144 151 157 Precision Limiter Meters 147 Precision Limiter Screenshot 146 Precision LimiterGroup Bus Example 50 52 53 Precision Multiband 131 Precision Multiband Latency 144 Precision Multiband Screenshot 131 Pre Delay 104 Predelay Knob 109 Pre EQ Hi Knob 186 Pre EQ Lo Knob 185 Pre EQ Mid Knob 186 Preflex Features 21 180 Preflex Module 180 Preflex Overview 180 Preset Design Tips 104 Preset Management 102 Process 65 Pultec EQP 1A Program Equalizer 169 Pultec Group Bus Example 49 Pultec Latency 170 Pultec MEQ 5 169 Pultec Pro 169 Purchasing 65 Q Q Bandwidth Knob 164 R Rate 194 Rate Knob 190 194 201 212 Rate knob 199 252 Index INDEX Ratio 120
85. 609 connected to a nominal 4dBu interface with the selected amount of headroom Industry standards for most DAW in terfaces are 1 AdB and 18dB headroom The 22dB setting approximates some analog mixing environments and allows the entire useful dynamic range of the 33609 to be exercised The following settings are application guidelines for the Headroom switch 2298 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 22dB headroom 18dB Typical starting point for buses and groups where nominal gain reduction is desired This setting is equivalent to having a real hardware 33609 con nected to a 4 interface with 18dB headroom UAD Powered Plug Ins 242 Neve 33609 Compressor Factory Presets Power 14dB 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 14dB 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
86. 8 The frequencies for each band can be modified 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 see Text Entry on page 26 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 field will remain unchanged For the center frequencies if a value is entered that is still within the accept able min max range but the center frequency can not reach the input value because it would require a change to the width then the nearest allowable value is set If a lower or greater center 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 138 UAD Powered Plug Ins 140 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 matc
87. AD Powered Plug Ins 108 Plate 140 Low Frequency Knob Low Gain Knob High Frequency Knob High Gain Knob Output VU Meter Predelay Knob Width Knob This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low band Gain setting The range is 20Hz to 2kHz Because this is a shelving EQ all frequencies below this setting will be af fected by the low band 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 12dB in increments of O 5dB fine control or 1 0dB coarse control This parameter determines the high shelving band transition frequency to be boosted or attenuated by the high band Gain setting The range is 200Hz to 20kHz Because this is a shelving EQ all frequencies above this setting will be af fected by the high band Gain value This parameter determines the amount by which the frequency setting for the high band is boosted or attenuated The available range is 12dB in incre ments of O 5dB fine control 1 0dB coarse control vintage style VU Meter represents the plugin output 1 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 2 is controlled with this knob The range is 0 0 to 250 milliseconds
88. AL AUDIO UAD Powered Plug Ins Manual 119 LA 2A and 1176LN 1176LN Controls METER GR 1176LN LIMITING AMPLIFIER UNIVERSAL AUDIO Figure 46 The 1176LN plugin window Input Output Attack Release Ratio Adjusts the amount of gain reduction as well as the relative threshold An In put value of turned fully counterclockwise yields no compression and no signal level Rotate this control clockwise to increase the amount of compres sion Adjusts the output level by up to 45 dB Make sure to adjust the Output con trol after the desired amount of compression is achieved with the Input and At tack controls To monitor the Output level set the VU Meter to 8 or 4 The Output control does not affect the amount of compression Sets the amount of time from 20 800 microseconds that must elapse once the input signal reaches the Threshold level before compression is applied Faster attack times are achieved by rotating the Attack control clockwise The faster the Attack the more rapidly compression is applied to signals above the threshold Sets the amount of time from 50 1100 msec it takes for compression to cease once the input signal drops below the threshold level Faster release times are achieved by rotating the Release control clockwise Slower release times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with frequent peaks However
89. AS vBox 29 The UAD Performance Meter application window Windows 30 The UAD Performance Meter application window Mac OS 30 System menu for the UAD Performance Meter Windows 31 Alternate system menu for the Meter Windows 31 File Menu for UAD Performance Meter Mac OS 32 The UAD System Information window Windows 35 The UAD System Information window Mac OS 36 The UAD System Configuration window Mac OS 42 The UAD System Configuration window windows 43 The UAD Delay Compensator plugin window 46 The UAD Track Advance plugin window 55 The Tempo Sync feature within UAD DM 1L 58 Tempo Sync note value display 61 UAD PAK included plug ins 64 The UAD Authorizations window 68 RealVerb Pro signal flow 74 The RealVerb Pro plugin window 74 RealVerb Pro Shape panel 75 RealVerb Pro Material panel 77 RealVerb Pro Resonance panel 80 RealVerb Pro Timing panel 82 RealVerb Pro Positioning panel 83 RealVerb Pro Levels panel 85 RealVerb Pro Morphing panel 85 RealVerb Pro in Morphing mode 86 The DreamVerb plugin window 89 DreamVerb signal flow 89 DreamVerb Resonance panel 91 DreamVerb Resonance Shelving Bands 92 UAD Powered Plug Ins Manual 10 List of Figures LIST OF FIGURES DreamVerb Shape panel 92 DreamVerb Materials panel 94 DreamVerb Reflections panel 97 DreamVerb Reverberation panel 98 DreamVerb Positioning panel 100 DreamVerb Levels panel 101 The UAD Plate 140 plugin window 106 Plate 140 in Controls
90. B 4 4 4 4 RAM Speed MB sec 1200 1200 1200 1200 RAM Count 21 2 CPU Load 9 0 0 0 0 0 0 0 0 0 0 Mem Load 96 0 0 0 0 0 0 0 0 0 0 Plugins Running 0 0 0 0 Card Enabled f wi Host System CPU MHz 1000 x2 D5 Version MacOS 10 3 5 Figure 10 The UAD System Information window Mac OS UAD Powered Plug Ins Manual 36 Using UAD Powered Plug Ins UAD Configuration Window Latency Calculator DMA Settings Windows The UAD Configuration Window Figure 12 on page 43 and Figure 11 on page 42 displays additional information about the UAD card and is also used to modify some UAD settings The number of active UAD Powered Plug Ins the sample rate and the current buffer size are displayed The window uses this information to calculate and display the resulting latency in milliseconds In Mac OS the latency calculator is displayed in the System Information window Configuring Extra Buffers Extra Buffers are required when Buffer Size displayed in the UAD Configu ration Window is smaller than the actual ASIO buffer size selected for the ac tive ASIO hardware device Note Extra Buffers are not required for Cubase Nuendo version 2 or higher Logic Audio or Mac OS This situation may occur when users of Steinberg Cubase and Nuendo select ASIO buffer sizes of 2048 samples or greater or when UAD Powered plug Ins are used with a DirectX wrapper If the situation is not corrected the u
91. B per segment In Zoom mode the range is 8dB to 20dB with two dif ferent linear responses O 2dB per segment from 8 to 15dB and O 1dB segment from 15dB to 20dB K 14 In Normal mode the meter range is 46dB to 1 AdB with a linear response of O 5dB per segment In Zoom mode the range is 1OdB to 14dB with linear response of 0 2dB per segment K 12 In Normal mode the meter range is 48dB to 12dB with a linear response of O 5dB per segment In Zoom mode the range is 12dB to 12dB with linear response of 0 2dB per segment 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 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 plugins You may use DelayComp or TrackAdv to compensate See Compensating for Precision Limiter on page 50 for more information Note Compensating for Precision Limiter is not required if the host applica tion supports full plugin delay compensation throughout the signal path or when it is us
92. D gt 8 E Roland RE 201 gt E Figure 17 UAD PAK included plug ins UAD Powered Plug Ins Manual 64 Using UAD Powered Plug Ins Purchasing Process re Authorization Key File To authorize the plugin for permanent unlimited use an authorization license key is purchased on the internet via our web based online store To purchase authorizations go to http my vaudio com store To purchase a plugin you must have an account on our secure web server at my uaudio com your account ID is your email address You enter your infor mation including UAD hardware identification number s into your account Plugins can then be securely purchased with a valid credit card or personal check After payment is received a reg settings file containing the authorization key s can then be downloaded directly from your personalized account pages at my uaudio com On the PC this file is loaded into the host computer containing the UAD card by simply double clicking the file On Mac OS this file is dragged onto the UAD Meter application icon not the DSP Memory bar graph window or loaded using the Load Settings File menu item from within the Meter The specific details of the authorization process is detailed later in this section see Plug In Authorization Procedure on page 71 The reg file contains the authorization key s that allow a plugin to run on the authorized cards and is independent of the machine and oper
93. D Powered Plug Ins 143 Precision Multiband Power Switch The Power Switch determines whether the plugin is active Click the toggle button or the UA logo to change the state When the Power switch is in the Off position plugin processing is disabled and UAD DSP usage is reduced When the plugin is bypassed with this switch but not by the host bypass the 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 plugins You may use DelayComp or TrackAdv to compensate See Compensating for Precision Multiband on page 52 for more information Important Compensating for Precision Multiband latency is not required if the host application supports full plugin delay compensation throughout the entire signal path or when it is used only on the outputs See Host PDC Im plementation on page 44 UAD Powered Plug Ins 144 Precision Multiband CHAPTER 10 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 performance Both the attack and release curves are optimized for mastering which minimizes alia
94. ESS 5 QU GS aur om P MODE on on MODTYPE RALTEZUM FILTER Figure 73 The Nigel plugin window Nigel Modules Nigel is comprised of eight modules Gate Compressor Phasor Mod Filter Preflex Cabinet Trem Fade Mod Delay and Echo In order to conserve UAD DSP resources when all of the modules are not required simultaneously some of the Nigel components are also supplied as separate plugins The following UAD Powered Plug Ins are part of the complete Nigel package Nigel all of the modules in one plugin Preflex Gate Compressor Amp Cabinet GateComp Gate Compressor Phasor Mod Filter TremFade Tremolo Fade TremModEcho Tremolo Fade Mod Delay Echo UAD Powered Plug Ins Manual 179 Nigel Preflex Plugin Preflex is the heart of Nigel All of our plug ins sound amazing but when it comes to guitar Preflex really shines This exciting new guitar processing technology offers truly dynamic sonic possibilities Multiple equalizers amp types and cabinets use sophisticated algorithms to provide analog sound quality never before available in a digital environment The Color and Bent controls modify frequency and gain characteristics in in teresting and musically useful ways and realtime componentlevel morphing between any two amp types is possible Additionally the Amp models are user updatable so your guitar sounds will never be obsolete 1
95. FURTHERMORE UNIVERSAL AUDIO DOES NOT WARRANT OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THESOFTWARE OR DOCUMENTATION IN TERMS OF THEIR CORRECTNESS ACCURACY RELIABILITY OR OTHERWISE NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY UNIVERSAL AUDIO OR A UNIVERSAL AUDIO AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY ORIN ANY WAY INCREASE THE SCOPE OF THIS WARRANTY EXCEPT AS SPECIFIED HEREIN SHOULD THE SOFTWARE PROVE DEFECTIVE YOU AND NOT UNIVERSAL AUDIO OR A UNIVERSAL AUDIO AUTHORIZED REPRESENTATIVE ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION SOME STATES DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES SO THE ABOVE EXCLUSION MAY NOT APPLY TO YOU 6 Limitation of Liability UNIVERSAL AUDIO SHALL HAVE NO LIABILITY TO YOU OR ANY THIRD PARTY WHETHER IN CONTRACT TORT NEGLIGENCE OR PRODUCTS LIABILITY FOR ANY CLAIM LOSS OR DAMAGE INCLUDING BUT NOT LIMITED TO LOST PROFITS LOSS OF USE BUSINESS INTERRUPTION LOST DATA OR LOST FILES OR FOR ANY INDIRECT SPECIAL INCIDENTAL OR CONSEQUENTIAL DAMAGES OF ANY KIND OR NATURE WHATSOEVER ARISING OUT OF OR IN CONNECTION WITH THE USE OF OR INABILITY TO USE THE SOFTWARE OR DOCUMENTATION OR THE PERFORMANCE OR OPERATION OF THESOFTWARE EVEN IF UNIVERSAL AUDIO HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE EXCLUSION OR LIMITA
96. Hz not supported 192kHz not supported Because manually compensating for Precision Multiband latency in hosts that don t support full plugin delay compensation can be complicated to avoid timing errors in these hosts we generally recommend using Precision Multi band only on outputs so no manual compensation is required To manually compensate for Precision Multiband latency when used on groups buses in hosts that don t support full PDC use the following formula L2 UAD DelayComp s value Where L1 is the Precision Multiband latency from Table 5 and L2 is the latency from the UAD Meter System Information window note that at least one UAD plugin must be running in the host to obtain a valid value This formula will arrive at the DelayComp Plugs parameter value whole num ber result or Plugs plus Samples value non whole number result needed for compensation Since the maximum Plugs Samples value in one DelayComp instance is 10 128 more than one DelayComp instance will be required in series if the Plugs Samples value exceeds 10 128 which can happen at lower buffer sizes and or higher sample rates Situation You have a session with bass drums piano and 2 vocal tracks The session is running at 44 1kHz and your I O buffer is set to 512 samples You want to tighten up the rhythm section so you put the bass drum and pi ano tracks on a group bus and apply one instance of Precision Multiband to the rhythm
97. I bus requires host resources so running 15 UAD plugins on three cards at five plugins per card may require more host CPU than running the same 15 UAD plugins on one card For example if you are trying to minimize latency during tracking by using a smaller buffer size which will increase host CPU and need a bit more host CPU disabling one or more UAD cards during tracking may give the extra pinch of host CPU you need The buffer size can then be increased and the UAD card s re enabled for mixing The UAD Powered Plug Ins software installation bundles always includes ev ery component that is part of the current software version such as drivers plu gins UAD Meter application and documentation Version 4 3 includes 12 optional copy protected plugins that can be authorized for an additional fee DreamVerb Plate 140 Cambridge Fairchild Pultec Pro Precision Limiter Precision Equalizer Precision Multiband Roland CE 1 Roland Dimension D Roland RE 201 and Neve 1073 1073SE also UAD 1176LN and UAD LA 2A with Project PAK require authorization for unlimited use see Figure 17 on page 64 Without authorization these plugins can be enabled to run for 14 days without functional limitations in a timed demo mode see Demo Mode on page 70 The UAD cards are available in a variety of retail packages The UAD 1 card comes with the Ultra PAK Studio PAK and Project PAK The UAD 1e card comes with the Expert PAK and Express PAK Th
98. I controllable with full automation Unlimited presets can be saved and loaded as desired Artifactfree smoothing all parameters no zipper noise UAD Powered Plug Ins Manual 20 Introduction Preflex Roland CE 1 Roland Dimension D Roland RE 201 Exciting guitar processing technology offers dynamic sonic possibilities Pre and post Lo Mid and High equalization controls Color and Bent controls modify frequency and gain characteristics in inter esting and musically useful ways Amp type menu provides a starting point for the classic guitar tones Selectable speaker cabinet emulation for complete tonal control Realtime componentlevel morphing between any two amp types Threshold control for Gate Threshold Ratio Attack and Release controls for Compressor Separate on off controls for each Preflex submodule for maximum flexibility and UAD DSP efficiency Reproduction of famous Chorus Ensemble in partnership with Roland Faithful to original Boss CE 1 hardware in every regard Chorus and vibrato modes Accurate model of unique Dimension D chorus effect Designed for subtle chorus and spatial effects Entrusted by Roland for accurate analog modeling dentical look controls and operation of its analog counterpart Meticulous model of original Roland RE 201 Space Echo Tape echo modeling complete with saturation wow amp flutter and splice Incredible tape oscillation ef
99. Manual 25 Installation CHAPTER 3 Using UAD Powered Plug Ins Overview Adjusting Parameters Text Entry Once the UAD card and Powered Plug Ins have been properly installed the UAD Powered Plug Ins are accessed and used just like any host based plugin All UAD Powered Plug Ins can run concurrently with each other and with host based plugins simultaneously in any combination Most UAD Powered Plug Ins support up to 32 bit 192KHz operation excep tions Plate 140 Precision Multiband Nigel and Roland RE 201 cannot run at 192kHz Resolution is limited only the by resolution of the host application Please note that Powered Plug Ins running at 96KHz use twice as much UAD DSP resources than those used at 48KHz and so forth The parameter settings for each of the UAD Powered Plug Ins can be adjusted to achieve a desired effect Parameter values are easily modified by dragging sliders rotating knobs clicking switches and buttons or by selecting values in a pop up menu The function of all parameters are detailed in later chapters The parameter adjustment style can be Circular Relative Circular or Linear For more information see User Interface Settings on page 39 Note To increase resolution when adjusting rotary controls in circular and relative circular modes increase the radius of the mouse relative to the knob while dragging i e move the mouse farther away from the knob while drag ging Parameter values ca
100. OdB is full scale digital code Note When the meters are in the K modes the displayed RMS level is 3 01dB 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 plugin processing is deactivated with the Precision Limiter Power switch Metering is disabled when the plugin 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 OdB There fore increasing the Input knob usually results in more gain reduction UAD Powered Plug Ins Manual 149 Precision Limiter Meter The Meter switch specifies the signal source for the main stereo meter either input or output Input When the Meter switch is in Input mode the main level meter
101. PU 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 controlclick 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 235 LJ AT 24 211 HB 18 712 HA 61 73 1 dh PEAK sd Meter displays the signal level at the input of the plugin Signal peaks are held for 3 seconds before resetting 2 008 EH Input Level Knob Input Level knob controls signal level that is input to the plugin Increas ing the input may result in more processing depending on the values of the band parameters The default value is OdB The available range is x20dB 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 Note that at O the signal is still being processed by the band splitter in the plugin 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 142 Precision Multiband Output Level Meter Level Kno EQ Display Switch Phase Mode Switch The stereo OUTPUT LEVEL peak hold Out at put Meter dis
102. Q plugin 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 manipulation Special attention was given to the han dling of higher frequencies resulting in a much smoother and more satisfying high end response than is found in most digital filters Cambridge EQ is highly flexible offering a broad spectrum of options facili tating surgical precision and delivering superior aural results in every appli cation This may be the most satisfying full featured equalizer in your arsenal of creative tools Cambridge EQ Screenshot FREQ 5 E 24 2 Hz 20209 50 100 500 1 5 101 UF gus ME EBS WF universal Audio Inc CAMBRIDGE EQUALISER amp FILTERS Figure 55 The UAD Cambridge EQ plugin window UAD Powered Plug Ins 158 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 Figure 56 Cambridge EQ Response Curve display The entire audio spectrum from 20Hz to 20KHz is displayed along the hori zontal axis Gain and attenuation of frequencies up to 40dB are dis played along
103. TION MAY NOT APPLY TO YOU IN NO EVENT SHALL UNIVERSAL AUDIO S TOTAL LIABILITY TO YOU FOR ALL DAMAGES LOSSES AND CAUSES OF ACTION WHETHER IN CONTRACT TORT INCLUDING NEGLIGENCE OR OTHERWISE EXCEED THE AMOUNT PAID BY YOU FOR THE SOFTWARE 7 Term This Agreement is effective until terminated You may terminate the license without recompense at any time by returning the Software and all Documentation and any copies thereof whether or not the copying was authorized hereunder to Universal Audio and by removing the Sofware from the memory of any computer into which the Software has been transferred by you or with your permission In addition to any other rights of Universal Audio this license may be terminated by Universal Audio immediately and without notice in the event you fail to comply with any term or condition hereof Upon termination by Universal Audio you will return to Universal Audio at your expense the Software and all Documentation and any copies thereof whether or not the copying was authorized hereunder 8 United States Government Rights The Software and Documentation are provided with RESTRICTED RIGHTS Use duplication or disclosure by the Government is subject to restrictions as set forth in subparagraph c 1 ii of the Rights in Technical Data and Computer Software clause at DFARS 252 227 7013 or subparagraphs c 1 and 2 of the Commercial Computer Software Restricted Rights at 48 CFR 52 227 19 as applicable Manufact
104. 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 reverb 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 The affect of each knob position is detailed in Table 26 on page 226 UAD Powered Plug Ins 225 Roland RE 201 Table 26 RE 201 Mode Selector Positions Mode REPEAT REVERB ECHO REVERB Knob echo only ONLY Position 1 2 3 4 5 e 7 e 9 10 11 Reverb Active 1 Tape 2 Heads 3 Active Reverb Bass Treble Reverh Volume Ovtput Volume 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 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 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 rever
105. The range is OdB to 80dB Note When Trem Fade is used within the complete Nigel plugin the thresh old detector is connected to the output of the Gate module This allows for op timal level tracking independent of the amplifier and other effect settings Once a Trem Fade effect is instigated by crossing the threshold level the ef fect will continue until the signal drops below the Threshold level For exam ple if a signal is faded in the signal won t fade in again until its level drops below the Threshold value The Trigger LED indicates when the Trem Fade input signal is above the Threshold It provides visual feedback for optimizing the Threshold setting The Trigger LED glows bright red when the signal is above the Threshold value UAD Powered Plug Ins Manual 198 Nigel Fade In Knob Onset Knob Rate knob Depth Knob LFO Type Menu Mode Menu Determines the signal fade in time Fade In is typically used to create auto matic volume swells The range is from None to 4000 milliseconds When set to None there is no fade in and only the Tremolo effect is active Determines the time for the Tremolo effect to reach the specified depth Onset behaves as an intensity ramp for the Tremolo effect The range is from None to 4000 milliseconds When set to None the Tremolo effect is always on Sets the LFO rate period for the Tremolo The range is from OHz to 16Hz Sets the maximum Tremolo depth The range is from zero to 10
106. UAD POWERED PLUG INS USER MANUAL VERSION 4 4 Manual Version 06091 3b UNIVERSAL AUDIO analog ears digital minds 330 Encinal Street Santa Cruz CA 95060 2101 voice 831 466 3737 fax 831 466 3775 Email Inquiries info uaudio com World Wide Web www uaudio com Notice This manual provides general information preparation for use installation and operating instructions for the Universal Audio UAD 1 Powered Plug Ins The information contained in this manual is subject to change without notice Universal Audio Inc makes no warranties of any kind with regard to this manual 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 contained herein or direct indirect special incidental or consequential damages in connection with the furnishing performance or use of this material Copyright 2006 Universal Audio Inc All rights reserved This manual and any associated software artwork product designs and design concepts are subject to copyright protection No part of this document may be reproduced in any form without prior written permission of Universal Audio Inc Your rights to the software are governed by the accompanying End User license agreement Trademarks UAD 1 Powered Plug Ins LA 2A 1176 EX 1 DM 1 RS 1 CS 1 Channel Strip DreamVerb Precision Mastering and the Universal Audio Inc lo
107. able comb filter with low frequency oscillator modulation It is capable of producing dramatic sweeping and swooshing ef fects including modern and classic sounds such as those produced by the Mutron Bi Phase Small Stone and MXR series of phasors rh x FOTYDE SED Boe Figure 78 The Phasor plugin window This button puts the plugin into Tempo Sync mode See Tempo Sync on page 58 for more information Sets the LFO modulation sweep rate of the Phasor The available range is from 0 03Hz to 10Hz The Sweep knobs determine the frequency range that will be affected by the Phasor The low and high frequency values can be independently adjusted This flexible arrangement allows the Phasor to affect a narrow or broad fre quency range and also enables you to tune the frequency response charac teristic to match the signal if desired UAD Powered Plug Ins Manual 190 Nigel Recirculation Recir Knob Mix Knob Sweep Lo Knob Sets the lowest frequency of the Phasor The available range is from 50Hz to 6000Hz Because the Sweep Lo frequency cannot be set higher than the Sweep Hi fre quency if the Lo value is increased beyond the Hi value the Hi value will in crease to match the Lo value Sweep Hi Knob Sets the highest frequency of the Phasor The available range is from 50Hz to 6000Hz Because the Sweep Hi frequency cannot be set lower than the Sweep Lo fre quency if the Hi value is decreased belo
108. abled 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 15 Table 15 Available ranges for the Band Frequency parameter Low Frequencies LF 20 400Hz Low Mid Frequencies LMF 30 600Hz Mid Frequencies MF 100 6kHz High Mid Frequencies HMF 900 18kHz High Frequencies HF 2k 20kHz Note When operating at sample rates less than 44 1kHz the maximum fre quency will be limited UAD Powered Plug Ins 163 Cambridge EQ Gain Knob Q Bandwidth Knob Parametric EQ Parametric Type Selector Parametric Q 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 164 and Shelf Q on page 167 A band is in parametric mode when shelf mode is disabled see Shelf Enable Button on page 167 Three types of parametric EQ are available as deter mined by the Parametric Type selector The 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 h
109. al appears at the right output This knob determines the signal level at the output of the plu ea gin The range is 0 100 FT Note This is not a wet dry mix control chorus When CE 1 is in chorus mode the amount of chorusing effect is sm determined by this knob Note When in vibrato mode chorus intensity has no affect UAD Powered Plug Ins 219 Roland CE 1 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 Power Switch This switch determines whether the plugin is active This is useful for comparing the processed settings to that of the original signal or to by pass the plugin to reduce the UAD DSP load Click the rocker switch to change the Power state UAD Powered Plug Ins 220 Roland CE 1 CHAPTER 17 Roland Dimension D 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 Dime
110. al card must be authorized in order to run copy protected plu gins If one card is authorized then another card is added without obtaining a new reg file the copy protected plugin will only load on the authorized card To obtain new reg key file for additional cards visit my uaudio com on the internet If two cards are authorized at the same time then one is removed the remain ing card stays authorized If you install an authorized card into another sys tem or want to use it with a different OS partition on the same system you will need to reapply any reg files containing the card s authorizations on the new system or OS partition UAD Powered Plug Ins Manual 67 Using UAD Powered Plug Ins Authorizations Window The Authorizations window Figure 18 is accessed within the UAD Meter ap plication UAD 1 Authorizations Hardware IDs Card 1 9a7a ca07 e06f acfa a0ea Card 2 S N 3 S N v Card 4 4 S N Authorizati UAD Cambridge Authorized for all cards UAD DreamVerb Authorized for all cards UAD Fairchild Authorized for all cards UAD Pultec Pro Authorized for all cards UAD 1176LN Authorized for all cards UAD LAZA Authorized for all cards UAD Precision Limiter Authorized for all cards UAD Plate 140 Authorized for all cards UAD Precision Equalizer Authorized for all cards UAD Roland CE 1 Authorized for all cards UAD Roland Dimension D Authorized
111. al or bypass the Mod Filter to re duce the UAD DSP load UAD Powered Plug Ins Manual 196 Nigel TremModEcho Plugin The TremModEcho is loaded as one plugin but consists of three modules Trem Fade Mod Delay and Echo Figure 80 Each of the module controls is described in the following pages THRESH FADE IM ONSET DEPTH oo a r IFDTYPE CIEN MODE RATE DEPTH ME DAMPING imu 525 ME 2 E OOS IE ds Ue MODE T syne Behta INPUT TIME RECIR DAMPING Figure 80 The TremModEcho plugin contains three modules UAD Powered Plug Ins Manual 197 Nigel Trem Fade Module Sync Button Threshold Thresh Knob Trigger LED 2 LT JE THRESH FADE IN ONSET RATE DEPTH Tees Trem Figure 81 The Trem Fade module Trem Fade is a sophisticated envelope controlled modulation processor that can produce classic tremolo fade and other gain modulation effects Trem olo is achieved by modulating the amplitude volume of a signal with a low frequency oscillator LFO Trem Fade includes some new modes such as Shimmer and VariTrem that enable the production of new volume effects This button puts the plugin into Tempo Sync mode See Tempo Sync on page 58 for more information Sets the threshold level for the Trem Fade effect When the signal level ex ceeds the threshold the Trem Fade effect is triggered
112. alias that was placed in the Dock during instal lation OR 2 Double click the UAD Meter application file that was installed to Applications gt Powered Plug Ins Tools folder during installation Accessing Meter Functions Windows The UAD DSP Performance Meter view mode System Information Window and Configuration Window functions are accessed from the System menu Windows or the File menu Mac OS After clicking the System or File menu with the mouse the available functions are listed in the menu Open the system menu by clicking the small icon at the upper left of the UAD DSP Performance Meter window or the alternate system menu on the right side of the Meter window just above the Disable menu Restore Move Minimize Close Alt F4 Always top System info Configuration Suthorizations Figure 6 System menu for the UAD Performance Meter Windows Figure 7 Alternate system menu for the Meter Windows UAD Powered Plug Ins Manual 31 Using UAD Powered Plug Ins Mac OS The File menu is available when the UAD DSP Performance Meter is in the foreground You can easily bring the Meter to the foreground by clicking its icon in the Dock Load Settings File Always On Top System Info Configuration Authorizations Figure 8 File Menu for UAD Performance Meter Mac OS Using the Meter The UAD DSP Performance Meter can be launched or quit at any time It does not need to be ope
113. ally output high signal levels audio engineers often take advantage of the ability to push the hardware 33609 into the colorful arena UAD Powered Plug Ins 241 Neve 33609 Compressor This complete pallet of sonic nuance including the dynamic input response is captured in the UAD Neve 33609 model The plugin is calibrated internally so that OdBFS at its input is equivalent to an input level of approximately 26dBu 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 plugin is not pushed into gain reduction as much Headroom can be set to 22db 18db or 1 4db At 22dB signals will push the plugin into gain reduction and more non linearity and good harmonic dis tortion more easily Set the switch to a lower value when less gain reduction and color is desired The numbers on the switch indicate where OdBFS falls relative to nominal AdBu For example with 22dB of headroom OdBFS corresponds to 4dBu 22dB 26dBu With 18dB of headroom OdBFS corresponds to 4dBu 18 db 22dBu The headroom selected will cause the plugin to behave as though it were a hardware 33
114. amatically boosted or reduced by the other settings within the mod ule The range is from 20dB to AOdB Determines the source of the filter modulation There are three main Mod Types LFO Envelope and Wah Pedal Each Mod Type is described below LFO Mode Three LFO modes are available Sine Square and Random The only differ ence between the three LFO modes is the waveshape of the Low Frequency Oscillator Random LFO is chromatically tuned for maximum musicality When LFO mode is engaged the filter cutoff frequency does not respond dy namically to changes in input signal level Instead the filter cutoff frequency is varied according to the Rate knob setting Envelope Mode When Envelope mode is engaged the filter cutoff frequency responds dynam ically in realtime to variations in the input signal level The amount of dynamic response is determined by the Sensitivity Sens knob In Env Up mode a higher signal level sets the filter cutoff to a higher value In Env Down mode the envelope is inverted and a higher signal level sets the filter cutoff to a lower value Wah Mode When the Wah mode is engaged the filter cutoff frequency is varied accord ing to the Wah knob setting UAD Powered Plug Ins Manual 195 Nigel Wah Pedal Mode Similar to Wah mode in Wah Pedal mode the filter cutoff frequency is varied according to the Wah knob setting However when the knob reaches its max imum value the effect is bypassed un
115. amically in this mode Lat Vert processing provides maximum usable level and efficient use of avail able groove space in phonograph mastering This results in higher volume re cordings with longer playing times Note The terms lateral side to side and vertical up and down refer to the mechanical modulations in a vinyl record groove that are transduced into electrical audio signals by the phonograph stylus and cartridge In this mode the left channel is fed to one compressor and the right channel is fed to the other The two compressors are constrained so that they both com press the same amount at any instant This prevents transients which appear only on one channel from shifting the image of the output Any big transient on either channel will cause both channels to compress The amount of com pression will be similar to the amount of compression for a transient which ap pears on both channels at the same time Also 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 should have an effective attack time of about one half the attack time for tran sients on only one of the two channels UAD Powered Plug Ins Manual 126 Fairchild 670 Stereo coupled mono stereo Modes Table Gratuitous Question Controls Power Switch Metering This mode like stereo couple left right causes the two compresso
116. amp 2 Windows BIAS Peak 4 Macintosh Adobe Audition 2 Windows Apple Waveburner Macintosh Apple Logic 7 1 Macintosh Apple Garageband Macintosh MOTU Digital Performer 4 5 Macintosh Apple Soundtrack Macintosh Pro Tools TDM HD 6 7 Macintosh Apple Final Cut Pro Macintosh BIAS Peak Pro 5 Macintosh Spark XL 2 8 Macintosh UAD Powered Plug Ins Manual 44 Using UAD Powered Plug Ins Host Application Settings Important The following sections about delay compensation apply only when using hosts that do NOT implement full plugin delay compensation See Host PDC Implementation on page 44 Depending on the host application implementation the delay compensation feature may not provide automatic compensation when UAD Powered Plug Ins are inserted on sends groups or buses In this situation the solution is to use UAD Delay Compensator plugin UAD Delay Compensator plugin on page 46 UAD DelayComp should not be used in situations where the host application provides delay compensation automatically such as on track inserts Some host applications provide fully automatic delay compensation throughout the entire signal path UAD DelayComp is not needed at all in such hosts see Table 2 on page 44 These explanations of delay compensation apply primarily to playback only For more information about using UAD Powered Plug Ins for live performance and during recording see Live Processing on page 57 For information about
117. and write automation data for both channels independently when in mono mode link mode must be disabled Stereo In stereo mode the left channel is fed to the channel one compressor and the right channel is fed to the channel two compressor The two compressors are constrained so that they both compress the same amount at any instant This prevents transients which appear only on one channel from shifting the image of the output Any big transient on either channel will cause both 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 UAD Powered Plug Ins 240 Neve 33609 Compressor Headroom 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 If 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 h
118. ard 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 101 is set to 100 wet or the Wet button is active these sliders have no effect This slider 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 to 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 100 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 o
119. arly 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 shape pop up selector menu to view the available shapes then drag to the desired shape and release Shape Blending Shape Blending Bar see Figure 33 on page 92 is used to blend the two Bar 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 10075 The resulting early reflection pattern is displayed at the top of the Reflections panel Figure 35 on page 97 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 93 DreamVerb Materials Panel UAD Powered Plug Ins Manual The parameters in the Materials panel in conjunction with the Shape panel
120. ates the output level in dB when set to 4 a meter reading of corresponds to an output level of 4 dB In gain reduction mode with all buttons depressed the VU meter will appear to behave strangely This is normal behavior in the hardware 1176LN and is faithfully recreated in the plugin When the Meter Off switch is selected the 1176LN plugin is disabled and UAD DSP usage is reduced One trick you can do with the 1176 is turning the attack and release up all the way to their fastest setting This has the audible effect of adding 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 And yes the hardware does this too Phase coherent stereo imaging is maintained when the 1176LN plugin is used on a stereo signal UAD Powered Plug Ins Manual 121 LA 2A and 1176LN 1176SE Special Edition 24 4 7 5 36 O 12 43 6 e pu e a 11765 UMITING AMPLIFIER INPUT OUTPUT 1 RELEASE UNIVERSAL AUDIO Figure 47 The 1176SE plugin window Overview The 1176SE is derived from the 1176LN Its algorithm has been revised in
121. ating system The authorizations can be used on multiple machines if the card is moved around for example if a PCI expansion chassis is shared between a laptop and desktop machine These authorizations will remain valid even if the plu gin software is subsequently replaced with the same or newer version or if any host system hardware or operating system changes are made The reg files contain only the Hardware ID and authorization codes that en able a plugin to run on specific UAD card s It does not contain other system information that restrict use of the cards or authorized plugins Note It is the UAD hardware that is authorized not the software plugin UAD Powered Plug Ins Manual 65 Using UAD Powered Plug Ins Mac OS Order Fulfillment Timing If the UAD card is installed into a different system the same already ac quired reg file must be loaded into the different computer and the card be comes authorized to run the plugin on that system The same UAD and its as sociated reg file can be loaded into an unlimited number of computer systems including Windows and Mac systems as the card and key file are cross platform Important The reg settings file contains the authorization key for the spe cific UAD card It is required every time the card needs to be authorized such as if it is installed into a different computer Back it up and keep it in a safe place Important The optional plugins are contained within t
122. 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 for 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 24 UAD Powered Plug Ins Manual 81 RealVerb Pro Early Amplitude Reflections control display Predelay control Late Field Amplitude Reverbera Control tions display Predelay control 40 ms 0 0 ELI Diffusion Decay Time control control Figure 24 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 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 th
123. ault value is 0 10dB The available range is from 12dB to OdB 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 146 Precision Limiter Release 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 Mode 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 Power The Power switch determines whether the plugin is active When the Power switch is in the Off position plugin processing is disabled and UAD DSP us age is reduced When the plugin is bypassed with this switch but not by the host bypass the VU meter displays the unprocessed input signal level Precision Limiter Meters Overview K System The Precision Limiter has precise calibrated stereo metering It offers the op
124. b 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 Ithrough 4 mium control determines the output volume of the plugin It affects the dry and effect signals The range of this control is 20dB from unity gain Therefore some signal may still be heard when this control is set to its min imum value UAD Powered Plug Ins 226 Roland RE 201 Repeat Rate Intensity Echo Volume Scorers 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 Head 1 69ms 177ms 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 225 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 mr Ihisknob controls the repeat level feedback of the echo signal R
125. c 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 Detailed K System information can be found on the world wide web at htp digido com portal pmodule id 11 pmdmode fullscreen pageadder page id 59 The Type switch defines the OdB point in the meter scale see Sliding Meter Scale on page 148 There are three different K System meter scales with OdB at either 20 14 or 12 dB below full scale for typical headroom and SNR requirements of various program materials 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 149 PK RMS Figure 52 Precision Limiter Meter Types UAD Powered Plug Ins Manual 148 Precision Limiter Meter Response Gain Reduction Meter K 20 K 20 mode displays OdB at 20dB below full scale K 20 is intended for ma terial with very wide dynamic range such as symphonic music and mixing for film for theatre K 14 K 14 mode displays OdB at 14dB 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 OdB at 12dB 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
126. cessed signal UAD Powered Plug Ins Manual 215 CS 1 Channel Strip 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 Damping Knob 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 Wet Dry Mix This control determines the balance between the delayed and original signal Knob 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 source L Pan Knob Sets the stereo position for the left channel allowing you to adjust the width or balance of the stereo signal For a mono signal set both the L Pan and R Pan to the left R Pan Knob Sets the stereo position for the right channe
127. cks but NOT the RealVerb Pro return to a different send group bus and put one UAD DelayComp with a Plugs value of 1 on this send group bus that con tains the dry tracks Keep the Sample value at zero Situation You have a song with bass drums guitar and 2 vocal tracks You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the infamous LA2A Result The vocal tracks play late in re lation to the instrument tracks Solution Send the output of the unprocessed instrument tracks but not the vo cal tracks or LA2A return to a different group bus and put one DelayComp with a Plugs value of 1 on this group bus that contains the unprocessed tracks Keep the Sample value at zero Note Check out our UAD DelayComp Examples on the UAD Powered Plug Ins CD ROM or download them from our website for real world examples formatted for several popular host applications UAD Powered Plug Ins Manual 48 Using UAD Powered Plug Ins Compensating for Pultec EQ Pultec Group Bus Example The UAD Pultec and UAD Pultec Pro equalizers use an internal sample rate of 192kHz to achieve their magic quality This upsampling results in a slightly larger latency than other UAD plugins Therefore they require slightly more compensation to remain perfectly synchronized with other tracks Specifi cally they require an extra 13 samples of compensation when the session sample rate is below 100kHz Therefore w
128. conds available delay per stereo channel This button puts the plugin into Tempo Sync mode See Tempo Sync on page 58 for more information The Input knob attenuates the signal coming into the Echo module The signal already passed into the Echo module is still processed even when the Input knob is at its minimum value maximum attenuation This functionality enables the Echo to continue to process its signal even when no new signal is being input Therefore volume swells with Echo be avu tomated and high Recirculation effects such as sampling and infinite repeat techniques can be realized Sets the delay time between the original signal and the delayed signal The maximum available delay time is 1200 milliseconds 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 UAD Powered Plug Ins Manual 205 Nigel Damping Knob Mix Knob Mix Knob Mode Menu Echo On Off Button This low pass filter reduces the amount of high frequencies in the processed signal Higher values yi
129. d Plug Ins CHAPTER 4 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 shapes 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
130. d in the status area without having to click its card column UAD Powered Plug Ins Manual 34 Using UAD Powered Plug Ins System Info Windows UAD 1 System Information xd UAD 1 Software Powered Plug Ins Version 4 1 0 hypkem build 4 1 0 11 23 2005 16 20 hypaudio build 4 1 0 11 23 2005 16 20 hwpqui build 4 1 0 11 23 2005 16 20 perfman build 4 1 0 11 23 2005 16 20 Number of cards 3 System status UA0 1 Hardware LAD 1 status DSP status DSP clock MHz 1006 9 1006 64 1005 78 size MB 4 4 4 RAM speed MB s 1200 1200 1200 count 2011 2LL 2 LL CPU load 8 751 60 2 65 1 load 2 31 0 29 0 Plugins running T 4 Card enabled Iv Hast system CPU MHz 1669 2 5 ver 5 1 2600 Figure 9 The UAD System Information window Windows UAD Powered Plug Ins Manual 35 Using UAD Powered Plug Ins System Info Mac OS UAD 1 System Information UAD 1 Software Powered Plug Ins Version 4 1 0 UAD Driver Build 4 1 0 12 13 2005 00 00 UAD Engine Build 4 1 0 12 13 2005 00200 UAD GUI Library Build 4 1 0 12 13 2005 00 00 UAD 1 Meter Build 4 1 0 12 13 2005 00 00 UAD 1 Hardware 1 Plugin Latency not available Card 1 Card 2 Card 3 Card 4 Total 1 Status OK OK DSP Status OK DSP Clack MHz 1005 70 1006 64 1006 80 1006 41 RAM Size M
131. d reflected Negative thicknesses invert the response of the material If the material nor mally absorbs high frequencies causing them to decay quickly and reflects low frequencies causing them to decay slowly a negative thickness will in stead absorb low frequencies causing them to decay quickly and reflect high frequencies causing them to decay slowly A thickness of 0 yields decay 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 Material circle Adjust the material thick ness with the bottom horizontal slider UAD Powered Plug Ins Manual 77 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 fiber
132. d to the Trem Fade module rate In this scenario the Rate knob value changes to Trem and adjusting Rate will have no effect By using the Trem Fade amplitude processor as the LFO source of the Mod Delay module extraordinary new timbres can be realized UNIVERSAL AUDIO UAD Powered Plug Ins Manual 203 Nigel Mod Delay LFO Type Table Table 22 Mod Delay LFO Types and Descriptions Sin 0 In phase sine wave Sin 90 Sine wave 90 degrees out of phase Sin 180 Sine wave 180 degrees out of phase Tri 0 In phase triangle wave Tri 90 Sine wave 90 degrees out of phase Tri 180 Sine wave 180 degrees out of phase Trem Up The Trem Fade module is used as the LFO source On a stereo signal both channels ascend in pitch in synchronization with the Trem Fade amplitude ramp Trem Down The Trem Fade module is used as the LFO source On a stereo signal both channels descend in pitch in synchronization with the Trem Fade amplitude ramp Trem U D The Trem Fade module is used as the LFO source On a stereo signal the left channel ascends in pitch as the right channel descends in synchronization with the Trem Fade amplitude ramp Trem D U The Trem Fade module is used as the LFO source On a stereo signal the right channel descends in pitch as the left channel ascends in pitch in synchronization with the Trem Fade amplitude ramp Mode Menu The Mode menu reconfigures the settings of the Mod Delay controls Addi
133. 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 OdB yields no processing The avail able range is to OdB 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 Ratio range in Compress mode is 1 1 to 60 1 Ratio range in Expand mode is 1 1 to 1 4 Ratio range in Gate mode is 1 1 to 8 1 UAD Powered Plug Ins 136 Precision Multiband Attack Release Gain Band Frequencies Band Enable amp Solo Attack sets the a
134. determines the frequency of the midrange portion of the equalizer Selector Switch Eleven frequencies are available 200Hz 300Hz 500Hz 700Hz 1kHz 1 5kHz 2kHz 3kHz 4kHz 5kHz and 7kHz Attenvation This knob determines the amount of midrange Dip cut to be applied to the Knob frequency set by the midrange frequency selector High Peak Controls This switch determines the frequency of the high midrange portion of the Selector Switch equalizer Five frequencies are available 1 5kHz 2kHz 3kHz 4kHz and 5kHz Boost Knob This knob determines the amount of high midrange Peak gain to be ap plied to the frequency set by the high mid frequency selector MEQ 5 Response Curves We ve included a few frequency response plots that illustrate the response curves of the MEQ 5 All plots were taken at a sample rate of 192kHz UAD Powered Plug Ins 174 Pultec and Low Peak Response MEQ 5 Frequency Response Low Peak 500Hz 12 DE LITT dO e NS m ceu 8 M SR IET m X NNO ANA D gt s 4 A E uS aU A AA I ads N E RT POP A AE EE NR CEN nue nidos eI oa E E SSD 2 RO E NE Lido t ee A a N 0 eese edi I 3 O o3 3 10 10 10 Fre
135. dow The label and function of the first knob depends upon the Mod Type menu selection Sync Button This button puts the plugin into Tempo Sync mode See Tempo Sync on page 58 for more information UAD Powered Plug Ins Manual 193 Nigel Sens Rute Wah Knob Sweep Knobs The function and label of the first knob in the Mod Filter is determined by the Mod Type setting see Figure 79 on page 193 When the Mod Type is an enve lope the label changes to Sens and determines the gain sensitivity of the Mod Filter When the Mod Type is an LFO the label changes to Rate and determines the rate of the LFO When the Mod Type is set to Wah the label changes to Wah and adjusts the wah pedal position Sens When the knob is controlling Sensitivity a higher setting will have a greater more sensitive response to variations in dynamic level Rate When the knob is controlling Rate a higher setting will increase the period of filter cutoff frequency modulation by the LFO The range is from OHz to 8Hz Wah When the knob is controlling Wah a higher setting will have a brighter sound just like when a real wah pedal is pressed forward On a real wah pedal the wah filter is alternately enabled and disabled by rocking the pedal to the maximum forward position Similarly when the Wah knob is moved to the maximum position the wah effect is alternately en abled disabled until the knob or an external controller mapped to the knob
136. e COLDER 5 post io HD Ht OUTPUT AMP A bright AMP Figure 76 The Amp module within Preflex The function of the amp knobs vary depending on the amp type When an amp type is selected Preflex is internally reconfigured Although the amp types are essentially factory programmed presets they are not simply a set of knob values As different amp types are selected the actual function and range of the amp knobs assume new characteristics The Color and Bent knobs have especially powerful functionality Each mod ifies several amplifier characteristics simultaneously so they behave as super controls that can have a dramatic effect on your sound with just one knob turn These are generally the main controls you will reach for when you want to make major changes to the overall dynamic response timbre or distortion characteristics of Preflex UAD Powered Plug Ins Manual 184 Nigel Knob Values Are Offsets Amp Types and Morph Amp Controls Amp EQ Groups Amp Pre EQ Knobs Knob settings do not change to new values when an amp type is selected This is because knob values are not absolute Instead they are an offset to the fac tory programmed amp type value For example if Pos Lo EQ displays a value of 3 0 then 3dB is added to the amp type internal preset value Of course knob settings do change when user settings are loaded The Amp submodule within Pr
137. e Compression ratios of 4 1 8 1 12 1 20 1 including All Buttons mode Attack time 20 microseconds to 800 microseconds Release time 50 milliseconds to 1 1 second Mono or Stereo operation Teletronix LA 2A Leveling Amplifier Precision emulation of actual circuitry and performance e O to 40 dB gain limiting Controls Gain Peak reduction Meter selector Compress Limit Mode Mono or Stereo operation 1176SE Limiting Amplifier Special Edition compressor derived from UAD 1176LN Optimized for efficient DSP usage Neve 33609 Compressor Exclusive Neve licensed UA modeled 33609 buss compressor Compression curves and nonlinearities modeled to exacting detail Auto release settings offer program dependent qualities e Software only controls link output gain headroom switch e Stereo or mono operation Neve 33609SE Compressor Special Edition equalizer derived from UAD Neve 33609 Optimized for efficient DSP usage 1 5ms look ahead brickwall Limiter with zero overshoot performance Totally colorless no upsampling High resolution RMS and peak metering conforms to K System specs User adjustable or automatic release UAD Powered Plug Ins Manual 16 Introduction Precision Equalizer Precision Multiband Vintage Equalizers Unique Mode feature affects attack shape for subtle tonal variations Stereo or dual mono four band EQ and high pass filter designed primar
138. e Power switch is in the Off position plugin processing is disabled and UAD DSP usage is re duced VU Meters There are two calibrated VU meters one for each channel What the Meter displays is determined by the Meter Switch UAD Powered Plug Ins Manual 127 Fairchild 670 AGC Mode Threshold Meter Select Switch This switch determines what is displayed on the VU meters If CR is selected the meter will show gain reduction in dB for the corresponding compressor channel which is not necessarily left or right depends on the active mode If the AGC switch has been set to left right the GR shown will be for the left or right channel If the AGC switch has been set to lat vert the GR shown will be for the mono or stereo 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 level of the right or left input or output signal however the meters are not cal ibrated Zero On the hardware unit this screw adjusted the meter pointer to compensate voltage fluctuation and tube wear Because the meter in the plugin cannot go out of calibration this control is permanently disabled This control determines whether the two compression channels will receive L R or mono stereo as the inputs When used in conjunction with the Sidechain Link switch the operating mode of the compressor can be modi fied See the Fairchild Modes on page
139. e 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 214 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 plugin into Tempo Sync mode See Tempo Sync on page 58 for more information Determines the shape of the reverberant space and the resulting reflective patterns Table 25 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 300 ms and you move the Size control to its maximum value 99 the Delay value is decreased to 16 85 This occurs because the maximum delay time available to the plu gin has been reached The available delay time is limited and it needs to be 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 al ready high its complementary setting may be 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 pro
140. e a song with drums and guitar on audio tracks and a MIDI bass line You want a cohesive room reverb on the audio tracks so you send them to the UAD RealVerb Pro via an effect send Result The RealVerb Pro ef fect return plays late in relation to the MIDI track Solution Put a TrackAdv plugin on the track insert of the audio tracks with a Plugs value of 1 If you had an 1176LN and a RealVerb Pro on the send re turn the TrackAdv Plugs value would be 2 Keep the Sample value at zero UAD Powered Plug Ins Manual 56 Using UAD Powered Plug Ins Group Bus live Processing Situation You have a song with 2 vocals on audio tracks and a MIDI piano You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the infamous LA2A Result The vocal tracks play late in relation to the MIDI track Solution Put a TrackAdv with a Plugin value of 1 on the track inserts of the vo cal tracks Keep the Sample value at zero Situation You have a song with drums guitar and 2 separate vocals on dio tracks and a MIDI bass line You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the 1176LN Result The vocal tracks play late in relation to the instrument tracks Solution Put a TrackAdv with a Plugin value of 1 on the track inserts of the vo cal tracks Keep the Sample value at zero Note that the DelayComp plugin is not need at all in this situation The pre
141. e 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 21 To adjust the timing of the late field reverberations 1 Drag the Amplitude control for the late field reverberations up or down from 80 dB to db to affect the energy of the reverberations The Ampli tude 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 field at the bottom of the Timing panel UAD Powered Plug Ins Manual 82 RealVerb Pro Positioning 3 Drag the Decay Time control for the late field reverberations left or right from 0 10 96 00 seconds to affect the length of the reverb tail The Decay 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 One of the unique
142. e difference between each PAK besides the UAD card itself is the selection of plugins that are included Each PAK has either a set of included plugins or a voucher system that you use to specify the specific plugins you want The specific plugins or vouchers that are included with each PAK is shown in Figure 17 on page 64 To authorize the PAK plugins or redeem the voucher create your account at my uaudio com Ultra PAK and Studio PAK licenses are issued automatically and can be downloaded after entering your hardware identification num ber s into your my uaudio com account UAD Powered Plug Ins Manual 63 Using UAD Powered Plug Ins Note The Mackie UAD 1 card includes licenses for UAD 1 176LN and UAD LA 2A but the Project PAK card does not Universal Audio PC P I Express Included Powered Plug Ins ge Vb as per PAK We 247 4 o 1176LN c EU lt gt 1176 mon Bass CE 1 E e n Cambridge EQ gt o 05 1 e e Included UAD Vouchers Dream lt gt gt o Flexi PAK 500 a sass EEETENU LA 2A gt lt gt lt gt Expert PAK 150 Neve 1073 EQ lt gt lt lt gt Use included UADS Nigel ESSEN Plate 140 o e Precision EQ gt Precision Limiter lt gt lt gt lt gt Precision Multiband 50 lt gt gt Pultec EQP 14 e Pultec Pro MEE RealVerb Pro ReandDimenson
143. e 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 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 th
144. e 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 88 DreamVerb Screenshot SAVE LOAD EF mA Filtering de Drea mVerb g EARLY TIMING Materials bs 7 SS om Dry Air Resonance s LATE TIMING EC d Positioning Direct _ 100R EN Ea rly 100L 100R 100 me 4 5 dB 27 ms 2 95 Late 100L 100R Distance 23 DreamVerb 1 0 2003 Universal Audio Inc Figure 29 The DreamVerb plugin window Signal Flow Figure 30 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 field reverberation are then independently positioned in the soundfield Pan Source Direct Path gt me Input Y Early EQ Delay Reflections gt gt Gain 8 Pans 8 Gain Output Mute Distance Late Delay Field Reverb Figure 30 DreamVerb signal flow UAD Powered Plug Ins Manual 89 DreamVerb The DreamVerb user interface Figure 29 on page 89 is similarly organized Reflected energy equalization is controlled with the Resonance panel The pattern of early reflections their relative timing and amplitudes
145. e 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 Three Attack values are available Slow 50ms Medium 8 5 and Fast 400 Sets the amount of time it takes for compression cease once 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 Release time compression for sections of audio with loud signals may extend to lengthy sec tions of audio with lower signals Three Release values are available Slow 500 Medium 120ms and Fast 40m Enables or disables the Compressor module within Preflex The Compressor is engaged when the button indicator is bright red You can use this switch to compare the compressor settings to that of the original signal or bypass the entire compressor section to reduce UAD DSP load UNIVERSAL AUDIO UAD Powered Plug Ins Manual 183 Nigel Amp Module Amp Type and Variable Knob Functions Color and Bent Supercontrol The Preflex Amp is where Nigel s real magic happens Behind its deceptively simple user interface is rocket science in action The input to the Amp mod ule is received from the Compressor output The Amp output is passed to the input of the Cabinet modul
146. ed 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 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 can also be adjusted by using the Frequency Value param eters see Frequency Values page 140 139 Precision Multiband Frequency Controls Frequency Valves 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 13
147. ed only on the outputs See Host PDC Implementation on page 44 UAD Powered Plug Ins Manual 151 Precision Limiter CHAPTER 11 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 be 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 192khz Precision Equalizer Screenshot 0 40 1 20 60 9 5 100 STEREO DUAL 617 4100 Hz Figure 54 The UAD Precision Equalizer plugin window UAD Powered Plug Ins 152 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
148. eflex is actually comprised of two independent amplifier processors Amp A and Amp B The amp types to be used are se lected with the Amp Type pull down menus The two amp types share the amp controls These two amp types can then be morphed to smoothly transform one amp type into another creating new sounds never before possible Morph accom plishes this task by interpolating between amplifier component values of the A and B Amp types as the slider is moved Morph is NOT a blend or crossfade control Morph allows you to continuously shift between two completely different amp sounds in realtime with full automation And because the Color and Bent knobs also control multiple parameters simultaneously which is essentially a morph amazing new dynamically shifting timbres can be realized Preflex has two groups of Lo Mid and Hi equalizer controls Pre EQ is before the amplifier and PostEQ is after the amplifier Both sets of EQ are available simultaneously The actual frequency and bandwidth of a particular EQ knob depends on the amp type setting The EQ knob values are offsets relative to the preset amp type value they do not display absolute values The Pre EQ group modifies the tone of the signal before it passes into the Amp Note that the EQ knob values are offsets relative to the preset amp type value they do not display absolute values Pre EQ Lo Knob Modifies the low frequency response of the signal before the Amp T
149. eld a brighter signal Turn down this control for a darker sound 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 0 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 source This control determines the balance between the processed and the original signal Values greater than 50 emphasize the processed signal and values less than 50 emphasize the original signal A value of 100 delivers just the processed wet signal and a value of 0 delivers just the source dry sig nal Mix allows both positive and negative values The polarity refers to the phase of the processed signal as compared to the original signal If a positive value is displayed then the processed signal will be in phase with the source With a negative value the processed signal is flipped 180 degrees out of phase with the source signal The Mode menu determines how the Echoes are processed The Echo Mode diff
150. entire DM 1 sec tion to reduce UAD DSP load Adjusts the relative output of the plugin 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 only when very long delay times are needed UAD Powered Plug Ins Manual 213 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 DELA Y sync 2 E gel MODE Figure 87 The DM 1L includes a Link button RS 1 Reflection Engine SYNC mn REFLECTOR ENZSLE DELAY SEE Ors 42 3 m BYPASS DAMPING Figure 88 The RS 1 Reflection Engine plugin 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 plugin 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 simulations while also pre serving DSP resources on the UAD card The Delay control sets the time between the direct signal and the first reflec tion Th
151. erences can only be heard when the module is applied to a signal on an insert buss group or return that has a stereo output path Table 24 Echo Mode Menu List Echo 1 Ping Pong 2 Echo 2 Clang 1 Echo 3 Clang 2 Ping Pong 1 Slapback Enables or disables Echo You can use this switch to compare Echo settings to that of the original signal or bypass Echo to reduce UAD DSP load UAD Powered Plug Ins Manual 206 Nigel CHAPTER 15 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 plugin Indi vidual effects in the CS 1 Channel Strip can be bypassed when not in use to preserve UAD CPU use The CS 1 effects can also be accessed individually by using the individual plu gins This is useful if you want to use the plugins in a different order or if you want to use multiple instances of the same plugin such as a flange routed to a ping pong delay with the DM 1 plugin um EQUALIZER je 95 THRESHOLD lt m 6 BYPASS RELEASE i 5 M 24 2 OUTPUT m TT DELAY Medi 0 x 2 gt 4 BYPASS T 44 ms MEME 450 hl OUTPUT de lm 75 ce O WES p 2 WID MIX 300 525 Figure 84 The 5 1 Channel Strip plugin window UAD Powered Plug Ins Manual 207 CS 1 Channel Strip EX 1 Equalizer and Compr
152. erials 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 78 RealVerb Pro tion frequency the frequency at which the decay rate is halfway between the low frequency and high frequency values 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 righthand 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
153. ese 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 5076 delivers equal signals A value of 0 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 source 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 Modulator You can use this switch to compare the DM 1 settings to that of the original signal or bypass the
154. essor EQUALIZER fF ENQSLE BYPASS COMPRESSOR REDUCTION THRESHOLD EN SLE 4 BYPASS n OUTPUT JELE 00 Figure 85 The EX 1 EQ Compressor plugin window The EX 1 plugin 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 208 CS 1 Channel Strip Gain G Knob Frequency fc Knob Bandwidth Q Knob Enable Bypass Switch Ovtput Knob The Gain control determines the amount by which the frequency setting is boosted or attenuated The available range is x18 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 f
155. eters to the band that they affect The band names and their colors are Low Frequency LF Red Low Mid Frequency LMF Orange Mid Frequency MF Yellow High Mid Frequency HMF Green High Frequency HF Blue The interface is divided into four primary areas of control The Band Controls section contains the dynamic response parameters for each of the five bands One set of band controls is displayed at a time See Band Controls on page 133 EQ Display contains the band frequency parameters and shows graphic representation of the band frequency response The overall equal ization response is also displayed if enabled See FQ Display on page 138 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 141 The Global controls affect aspects of the plugin not associated with individ ual bands These include input output controls and meters power and other controls See Global Controls on page 142 UAD Powered Plug Ins 132 Precision Multiband Band Controls The Band Controls contain the parameters that HMF are used to specify all the settings for each NPE AL band except the frequencies see Frequency Controls on page 140 The Band Controls for each of the five bands are identical THRESHOLD ALL Only one set of Band Controls is displayed at a time
156. fects and spring reverb emulation Entrusted by Roland for accurate analog modeling Original features like Mode Selector Intensity and Dub switch Digital only features like tempo sync effects pan and tape select Tape loops modeled from original Roland tape loops User selectable tape loops from New to Distressed Spring modeled from the commonly updated Accutronics tank UAD Powered Plug Ins Manual 21 Introduction System Requirements All Platforms Windows platform Mac OS X platform UAD Powered Plug Ins require the following hardware and software e 70 MB of available disk space Available PCI or PCI X slot for each UAD 1 card Available PCI Express PCle slot for each UAD 1e card e 1024 x 768 or higher resolution monitor CD drive or internet connection for software installation An ACP graphics video adapter PCI graphics is not recommended Internet connection required for registration and obtaining optional plugins Additional platform specific requirements are listed below Microsoft Windows 2000 Windows XP Pro and Home only or Windows Server 2003 256 MB of RAM 512 MB is strongly recommended VST compatible host application software such as Steinberg Cubase or Nu endo Mac OS X 10 3 9 or higher 256 MB of RAM 512 MB is strongly recommended VST version requires VST compatible host software such as Steinberg Cu base or Nuendo Audio Units ve
157. 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 80 RealVerb Pro Timing 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 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
158. g adjusted UAD Powered Plug Ins Manual 91 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 frequencies Drag these control handles up or down for shelving EQ Figure 32 DreamVerb Resonance Shelving Bands Shape Panel The parameters in the Shape panel in conjunction with the Materials panel Figure 34 on page 94 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 100275 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 Shape Dome First shape First shape selector display menu Blending bar Second shape Second shape display selector menu First shape Spring Second shape percentage percentage Figure 33 DreamVerb Shape panel UAD Powered Plug Ins Manual 92 DreamVerb Shape Menus DreamVerb lets you specify two room shapes that can be blended to create a hybrid of e
159. g 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 vertically 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 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 97 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 field is represented as an outline in the Reflections panel The shape of this outline is modified 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 36 contains the parameters that control the late field LF reverb tail for DreamVerb The primary spectral characteristics of the late field reverberation is deter mined by the parameters in the Materials panel page 4 in conjunction with the Reverberatio
160. g late field reverberation components the shape and timing of the early reflec tions is represented as an outline in the Reverberation panel The shape of this outline is modified by parameters in the Reflections panel not the Reverbera tion panel Positioning Panel DreamVerb has the ability to separately position the direct path early reflec tions and late field reverberation The Positioning panel Figure 37 on page 100 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 listen ing at the entrance of an alley way where all response components arrive from 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 99 DreamVerb Direct Early Late Positioning Direct 1001 E 100 rly 100 L TT 100 La te 100 L rT 100F Distance 25 Figure 37 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 h
161. generally only needed for automation Ignore these settings for preset design unless going for a panning effect or monitoring real world use 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 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 Place the ER timing preceding leading into the LF e ER amplitude naturally decays Slope the amplitude down from left to right Use ER filtering as this improves the reverb sound in almost all situations Try a gradual Lf or Hf roll off or boost with the EQ section The left and right most EQ bands are shelf filters which are perfect for this job The ad jacent bands can be used to shape the roll off Try natural materials and air densities before the unnatural custom or in verse materials and airs densities Try adding onset slope to the LF as many environments naturally have an LF onset For additional info Read Chapter 4 RealVerb Pro page 73 of this manual UAD Powered Plug Ins Manual 105 DreamVerb CHAPTER 6 Plate 140 Overview Universal Audio steps up to the plate rendering yet another classic tool for
162. ght 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 control in the Positioning panel see Figure 25 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 25 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 UNIVERSAL AUDIO UAD Powered Plug Ins Manual 84 RealVerb Pro Levels Morphing The Levels panel lets you adjust 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 Input Gain Output Gain Figure 26 RealVerb Pro Levels panel All RealVerb Pro controls vary continuously using proprietary technolo
163. gnal path or when it is used only on the outputs See Host PDC Implementation on page 44 Neve and 336090 are registered trademarks of AMS Neve England and are used under license with kind permission from Neve UAD Powered Plug Ins 244 Neve 33609 Compressor CHAPTER 21 History LA 2A 1176LN The LA 2A leveling amplifier a tube unit with hand wired components and three simple controls was introduced in the mid 1960s It utilized a system of electro luminescent optical gain control that was quite revolutionary Gain re duction was controlled by applying the audio voltage to a luminescent driver amplifier with a second matched photoconductive cell used to control the me tering section With its O to 40 dB of gain limiting a balanced stereo inter connection flat frequency response of 0 1 dB from 30 15 000Hz and a low noise level better than 7O dB below plus 10 dBm output the LA 2A quickly became a studio standard Originally patented by Jim Lawrence it was pro duced by Teletronix in Pasadena California which became a division of Babcock Electronics Corporation in 1965 In 1967 Babcock s broadcast di vision was acquired by the legendary Bill Putnam s company Studio Electron ics Corporation shortly before he changed the company s name to UREIG Three different versions of the LA 2A were produced under the auspices of these different companies before production was discontinued around 1969 It was Bill Putnam himself
164. go are trademarks of Universal Audio Inc RealVerb RealVerb Pro the Kind of Loud logo and the Kind of Loud In Here mark are trademarks of Kind of Loud Technologies LLC Other company and product names mentioned herein are trademarks of their respective owners Universal Audio Inc End User License Agreement IMPORTANT PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING THIS SOFTWARE This Universal Audio Inc End User License Agreement Agreement is a legal agreement between you either an individual or a single entity as an end user and Universal Audio Inc Universal Audio for the software accompanying this Agreement which includes computer software and any bug fixes subsequently delivered and associated media printed materials and online or electronic documentation collectively the Software The Software is licensed not sold by Universal Audio to the original end user for use only on the terms set forth here By exercising your rights to install copy and use the Software you agree to be bound by these terms If you do not agree to these terms you may not install copy or use the Software 1 Limited Use License Universal Audio as Licensor grants you as Licensee a non exclusive license to use the Software with a single computer unit at a single location 2 Title The Software is owned by Universal Audio or its suppliers and is protected by copyright laws and international treaty provi
165. great degree of programmability and flexi bility older devices such as the 1176LN and the LA 2A are more straightfor ward in their design Perhaps it is this fact that has contributed to their appeal ing sound and the longevity of their popularity UAD Powered Plug Ins Manual 113 LA 2A 1176LN Compressor Basics Before discussing the LA 2A and 1176LN plugins this section will cover some compressor basics A compressor automatically adjusts the gain of a signal by a predetermined ratio In a sense a compressor rides gain much like a recording engineer does by hand with a fader keeping the volume up during softer sections and bringing it down when the signal gets louder Figure 41 depicts the input and output characteristics of a compressor and perfect amplifier When operated within its specified range an amplifier pro vides a constant amount of gain regardless of the input signal level In Figure 41 the signal level of a perfect amplifier is represented with a constant output gain of 10 dB In this example a signal with an input level of 30 dB results in an output level of 20 dB which is an increase of 10 dB Similarly an input level of O dB results in an output level of 10 dB the gain stays fixed at 10 dB regardless of the input level In contrast to an amplifier whose function is to present a constant gain a compressor varies its gain in response to the level of the input signal Large in put signals result in
166. gy 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 static reverberators The method employed by RealVerb Pro produces more faithful physically meaningful intermediate states Morphing Cathedral Figure 27 RealVerb Pro Morphing panel Figure 27 depicts the Morphing Panel Click the Morphing Mode button to en able Morphing mode When RealVerb Pro is in morphing mode the other Re alVerb 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 pulldown menus the morphing slider is used to morph from one preset to the other UAD Powered Plug Ins Manual 85 RealVerb Pro When in Morphing mode non user adjustable controls will change their ap pearance and will no longer be accessible When inserted on a Send effect the W button automatically turns on to keep the mix at 10076 wet On an insert effect the Mix will change back and forth between the two mix values of each preset Preset Shape Material Resonance Input Gain Positioning Timing Morphing LTP 99 RealVerb Pro 7 kind cor Figure 28 RealVerb Pro in Morphing
167. h host application has its own particular methods for automation Consult the host application documentation for spe cific instructions on using automation with the application Powered Plug Ins reduce their UAD DSP load when bypassed or disabled but not their memory load This feature allows for automatable load balancing of DSP power and keeps the track delay constant to avoid on off clicks Note If there is not enough DSP available when automating the plugin may not furn on UNIVERSAL AUDIO UAD Powered Plug Ins Manual 28 Using UAD Powered Plug Ins Launching a UAD Powered Plug In Steinber Cubase Nuendo SX BIAS vBox Mac OS amp Each host application has its own particular methods for instantiating launch ing a plugin Consult the host application documentation for specific instruc tions on loading and using plugins with the application Effect E 1 00 200 hi DirectX Em 1175LM 11765 UAC Cambridge 5 1 UAC Delaycomp 1 UAD DM 1L LIAD Dreamverb 1 LIAD Fairchild UAD GateComp Powered Plug Ins 1176LN 1176SE UAD Cambridge UAD CS 1 Figure 3 Launching a UAD Powered Plug In in BIAS vBox UAD Powered Plug Ins Manual 29 Using UAD Powered Plug Ins UAD DSP Performance Meter Application Overview Launching the Meter Windows The UAD Performance Meter is an ap
168. h hosts the tempo sync features will not function UAD Powered Plug Ins Manual 58 Using UAD Powered Plug Ins Tempo Sync Plugins Activation Available Note Values Tempo Sync is supported in the following plugins Roland RE 201 UAD Nigel and submodules Phasor ModFilter TremFade ModDelay Echo and UAD CS 1 and submodules DM 1 DM 1L RS 1 To activate Tempo Sync click the Sync button within the plugin interface The Sync button LED will illuminate and the time parameters will change from a time based display to a note value see Figure 15 Note When Tempo Sync is activated the plugin will automatically switch the time or rate parameter s to the nearest available note value s given the range of the parameter in question and the current tempo The note values that are available for selection are listed in Table 6 on page 59 The values are listed in musical notation as a division of measures For example 1 4 one quarter note 1 1 one whole note 4 1 four whole notes and so forth The available note values were chosen to allow syncing to tempo in odd time signatures as well the common 4 4 time signature LFO rate parameters have their note values listed from longest to shortest since long note values correspond to slow LFO rates Table 6 Tempo Sync available note values 1 64D 1 8 5 8 4 1 1 64 5 32 11 5 1 1 32 1 4 1 20 6 1 D Dotted 1 32 1 8D 1 1 8 1 1 16T 1 4 5 4 9 1 T Triple
169. h 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 dB is at the center of the meter and the range is 15dB Downward negative meter ing indicates compression is occurring on the band Upward positive metering indicates ex pansion is occurring 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 s s WE s Each band 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 141 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 C
170. hapes UAD Powered Plug Ins Manual 18 Introduction CS 1 Channel Strip 48 room filtering materials Unique Air medium for blending with materials Level ramping for early reflections and late field reverberations 5 band equalizer with dedicated shelving bands e Diffusion control for late tield reverberations Real time Shape and Materials blending offers dynamic sound Builtin preset management Mono or Stereo operation RealVerb Pro Design custom rooms controlling shape size and materials Adjust room sizes from 1 to 99 meters 15 room shapes 36 room materials Independent stereo placement of direct path early reflections and late field reverberations as well as control over the perceived source position Realtime morphing between presets Control intensity and timing of early reflections and late ield reverberation e Diffusion control for late field reverberations Blend between two different room shapes and sizes Blend between two different room materials and adjust relative thickness Mono or Stereo operation EX 1 Equalizer Compressor Mono or Stereo operation 5 band fully parametric EQ Switchable Hi or Low pass shelving peaking on bands 1 2 4 amp 5 Attack 0 05ms 100ms Release 30ms 2 25 seconds Either EQ or compression may be bypassed in realtime for improved pro cessor efficiency UAD Powered Plug Ins Manual 19 Introduction
171. he factory cal tick mark should be aligned with the screw slot dot for factory specification It would probably be more technically accurate to say that this control simply changes the knee width since no matter where it s set the ratio always ap proaches true limiting eventually However the knee becomes so broad that it becomes more practical to speak of the ratio changing because for reason able 25 dB amounts of compression this is the case This is a stepped attenuation control which always applies to left or right in put regardless of the AGC control setting The steps are approximately 1dB apart with approximate unity gain coming at a value of 18 where the gain is 0 33 dB In Lat Vert mode left is the mono input and right is the stereo input These controls always apply to the L and R channels even when in Lat Vert mode The labels around the knobs are in dB and the controls are stepped 49 position controls with each step being separated by 0 5 dB This allows the two sets of controls for the interface to be linked If the controls are given an offset while unlinked and the controls are subsequently linked the offset is preserved up to the range of travel of the linked controls UNIVERSAL AUDIO UAD Powered Plug Ins Manual 130 Fairchild 670 CHAPTER 9 Precision Multiband Overview The Precision Multiband is a specialized mastering tool that provides five spectral bands of dynamic range con
172. he UAD software in staller not the reg key file Download and install the latest UAD software ver sion to ensure the optional plugins that you are authorizing are installed In Mac OS X once a card is authorized and it is used with a different System or CPU you can copy the com uaudio uad plist file inside Library Prefer ences into the current Library Preferences instead of loading the reg file Purchasing and downloading plugin authorizations is a completely automatic process Purchased plugin authorization keys can now be downloaded within minutes of payment verification Note We recommend you do not wait until the last day of demo period to purchase plugin authorizations in case there is a unexpected delay in obtain ing authorizations Authorizing Multiple Cards When you buy a copy protected plugin your purchase is valid for up to four UAD cards However the authorization key is tied to the specific Hardware IDs entered during purchase If you have four cards when you purchase the plugin your reg file will authorize all four cards If you have one card during purchase then later acquire another card s you will need to acquire a new file containing the authorization for the new card s However there is no charge for the new reg file containing the additional authorizations Your purchase buys authorizations for a maximum of four cards UAD Powered Plug Ins Manual 66 Using UAD Powered Plug Ins Each individu
173. he card is operating properly The number of UAD plugins loaded on the card s is also displayed here If more than one UAD card is installed information for each of the cards is dis played The card that has the lowest DSP usage will receive the next plugin load Important The version of the Drivers and the Powered Plug Ins files must match If they don t a driver mismatch error will occur when attempt ing to process audio If this occurs you must reinstall the latest UAD Powered Plug Ins software Refer to the QuickStart Guide for instructions Individual UAD cards can be disabled using the Card Enabled function This can be useful for example if creating a session on a system with multiple cards that will be transferred to a system with fewer cards or to streamline the performance of the host system when multiple cards are not needed For additional information regarding the use of multiple cards see Multiple Cards on page 62 Note For optimum results quit any host applications using UAD plugins be fore disabling enabling cards In Mac OS the current UAD plugin latency is displayed in the System Infor mation window In Windows this information is displayed in the Configura tion window page 43 The latency is usually twice the hardware buffer size Click a card column to view more information about that card in the status area If a card has errors the error information for that card is automatically displaye
174. hen using the DelayComp or TrackAdv plugin to manually com pensate for a Pultec EQ enter a Samples value of 13 in addition to the ap propriate Plugs value for each instance of Pultec and Pultec Pro The key board shortcuts PageUp PageDown and Shift Arrow automatically add the 13 sample Pultec value for your convenience Important Compensating for Pultec and Pultec Pro is not required if the host application supports full plugin delay compensation throughout the sig nal path or when it is used only on the outputs See Host PDC Implementa tion on page 44 Note When running audio at or above 100kHz resolution no Pultec upsam pling is performed In this case leave the Samples value at zero Situation You have a song with bass drums guitar and 2 vocal tracks You want a fat warm vocal blend so you put both vocal tracks on a group bus and apply one instance of Pultec EQ to the vocal bus Result The vocal tracks play late in relation to the instrument tracks Solution Send the output of the unprocessed instrument tracks but not the vo cal tracks or the Pultec return to a different group bus and put one Delay Comp with a Plugs value of 1 and a Samples value of 13 on this group bus that contains the dry non vocal tracks If you put 2 Pultec EQ s stacked in se ries on the vocal bus the unprocessed bus DelayComp Plugin value would be 2 and the Samples value would be 26 Note UAD Pultec Pro only requires one compensation pe
175. his con trol is a set to a fixed frequency but the frequency changes with the amp type UAD Powered Plug Ins Manual 185 Nigel Amp Post EQ Knobs Amp Color Knob Amp Bent Knob Amp Output Knob Pre EQ Mid Knob Modifies the middle frequency response of the signal before the Amp The fre quency that this knob controls is determined by the Color knob see Color knob description for more details Pre EQ Hi Knob Modifies the high frequency response of the signal before the Amp This knob behaves differently than the Lo and Mid knob Rather than boosting or cutting the gain of a certain frequency the Hi knob increases the amplifier s sensitiv ity to high frequencies The Hi control is VERY interactive with the Bent control The PostEQ group modifies the tone of the signal after it passes through the Amp but before it goes to the Cabinet Note that the EQ knob values are off sets relative to the preset amp type value they do not display absolute values Post EQ LO Knob Modifies the low frequency response of the signal after the Amp This control is a set to a fixed frequency but the frequency changes with the amp type Post EQ Mid Knob Modifies the middle frequencies response of the signal after the Amp The fre quency that this knob controls is determined by the Color knob see Color knob description for more details Post EQ Hi Knob Modifies the high frequency response of the signal after the Amp This control
176. ht 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 a slightly different func tions than in the chorus modes The high peak of the flanger is controlled by the settings of the L and R delay controls The low Peak of the flanger is deter mined by the setting of the Depth control When delay times longer than 300ms are desired use the DM 1L plugin in stead DM 1L has a maximum time of 2400ms per channel UAD Powered Plug Ins Manual 211 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 are180 de grees out of phase 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 mono source feeding the DM 1 on a stereo group track or send effect On a mono disk track it wor
177. i brato the second and third knobs are labeled Depth and Time respectively The Sweep knobs determine the frequency range that will be affected by the Mod Delay The low and high frequency values can be independently ad justed This flexible arrangement allows the Mod Delay to affect a narrow or broad frequency range and also enables you to tune the frequency response characteristic to match the signal if desired Note The Sweep knobs are only visible in Flanger mode Sweep Lo Knob Sets the lowest frequency to be affected by the Mod Delay The available range is from 100Hz to 6000Hz Because the Sweep Lo frequency cannot be set higher than the Sweep Hi fre quency if the Lo value is increased beyond the Hi value the Hi value will in crease to match the Lo value Sweep Hi Knob Sets the highest frequency to be affected by the Mod Delay The available range is from 100Hz to 6000Hz Because the Sweep Hi frequency cannot be set lower than the Sweep Lo fre quency if the Hi value is decreased below the Lo value the Lo value will de crease to match the Hi value Sets the amount of modulation to be applied to the signal The maximum available range is O to 300 cents However the available range is dependent on the Rate setting Less Depth range is available is slower Rate settings Note The Depth knob is only visible in Chorus and Vibrato modes UAD Powered Plug Ins Manual 202 Nigel Time Knob Recirculation Recir Knob
178. ials panel 94 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 materials 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 78 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 Ai
179. icated 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 20db 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 235 Neve 33609 Compressor Neve 33609 Screenshot 18 38 li ste 1 COMPRESS 2 i OUTPUT 2 33009 C PREUISION oi ERED LIMITER COMPRESSOR Figure 94 The Neve 33609 plugin window Operation Signal Flow Modeling 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 240 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 Note For a detailed explanation on how compressors and limiters operate see Compressor Basics on page 114
180. ients 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 Sidechain Link When this control is set to Link it causes the two channels of the compressor to compress equal amounts This does not mean that the compressor will be equally sensitive to either channel however that depends on the settings of the other controls It simply means that the instantaneous amount of compres sion for the two channels will always be the same Balance Balance controls the bias current balance and always goes with one channel of the compressor regardless of what the nearby metering switch is set to The point of perfectly calibrated bias currents is achieved when the dot in the screw slot is at 12 o clock At this setting the amount of additive signal de flection thud which happens due to an attack is minimized Setting this control counter clockwise from this position results in a thud of one polarity on transients and going clockwise produces a thud of opposite sign UAD Powered Plug Ins Manual 129 Fairchild 670 DC Bias Channel Input Gain Output Gain Controls Link DC Bias 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 T
181. igh cut filters Click the Parametric Type display to rotate between Types 1 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 Il mode Q increases as gain is boosted but remains constant as gain is attenuated In Type Ill mode Q increases as gain is boosted attenu ated See Figure 60 Figure 61 and Figure 62 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 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 UAD Powered Plug Ins 164 Cambridge EQ Type Type Il When set to Type the bandwidth remains at a fixed Q regardless of the gain setting for the band there is Q Gain interdependency In addition there is a finer resolution of the Q knob in the middle of its range This makes it eas ier to achieve subtle bandwidth changes Note that the Q value and knob po sitions do not change as the gain is modified See Figure 60 20k 5 50 100 Figure 60 Parametric Type response When to Type Il there is a Q Gain dependency on boost The band
182. igher 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 If 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 channel releasing at the fast rate until you get down to where the other one is then the release will continue at the slower rate Gratvitous 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 Background The hardware Neve 33609 can accept an analog signal level of approxi mately 26dBu before undesirable signal clipping occurs As the signal in creases up to this point however desirable audio path non linearities 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 typic
183. iken and any other manufacturer model name de scription and designations are all trademarks of their respective owners which are in no way associated or affiliated with Universal Audio These trademarks and names are used solely for the purpose of describing certain timbres produced using Universal Audio s exclusive modeling technology Table 16 Amp Type List and Descriptions AMP TYPE DESCRIPTION Rectifried Modern super high gain amplifiers Marsha Emulations from range of new and old Marshall amps Bassmon Fender Bassman and similar amplifiers Boutique Matchless Aiken and other high end tube amplifiers Custom Blues Designed to achieve those hard to nail blues tones Lower gain Supa Clean Direct input into a channel strip Super Sat Extremely high gain amp breaks up easily in low end Gemini Fender Twin and similar clean tube amplifiers Big Beaver Distortion pedal stomp box emulations Super Custom Higher gain and more power than Custom Blues Big Bottom Optimized for bass guitar Super Tweed Small Fender Champ and Princeton when cranked up loud UAD Powered Plug Ins Manual 187 Nigel Amp A Type Menu Amp B Type Menu Amp Morph Slider Cabinet Module Cabinet Type Menu Determines the amp type for the A section of the Amp Selecting an Amp Type reconfigures the amplifier characteristics and the function of the other Amp parameters Dete
184. ily for program material mastering Based on industry standard filters and classic control arrangements Upsamples to 192khz for utmost in performance and accuracy Two sets of two overlapping frequency ranges 18dB per octave high pass filter aides in sub harmonic management Flexible EQ configuration auditioning Five bands of dynamics Compression Expansion or Gate Gain Ratio Threshold Attack Release and Bandwidth Filterbank modes Linear Phase and Minimum Phase Band bypass solo mute global parameter copy Visualization of input levels and dynamic EQ response Pultec EQP 1A Program Equalizer Legendary EQ revered by mastering engineers Highly usable incredibly musical sonic characteristics Precision emulation of actual circuitry and performance UAD DSP load remains constant even at highest sample rates Mono or Stereo operation Pultec Pro with MEQ 5 Pultec EQP 1A and Pultec MEQ 5 together in one plugin Faithful modeling of vintage Pultec MEQ 5 midrange equalizer Precision emulation of actual circuitry and performance UAD DSP load remains constant even at highest sample rates Mono or Stereo operation Neve 1073 Accurate model of original Neve 1073 Channel Equalizer Four bands of EQ Hi amp low shelving parametric midrange and hi pass UAD Powered Plug Ins Manual 17 Introduction Cambridge EQ Reverbs The only Neve plugins endorsed AMS Neve England
185. indows 71 Authorizing Multiple Cards 66 Auto Mode 147 Automation 28 automation 28 Balance 129 Balance Control 112 Band Controls 155 220 222 228 243 Band Curves 138 Band Disable Button 208 Band Enable Button 155 Band Parameters 134 Bandwidth Q Knob 209 Bandwidth Knob 155 172 Bent Knob 186 Blending Bar 93 Blending Bars 96 Boost Button 182 Boost Knob 171 172 174 Bright Button 187 bundle 63 Bypass 97 98 Cabinet 188 Cabinet On Off Button 190 Cabinet Type Menu 188 Cambridge EQ Controls 159 Cambridge EQ Screenshot 158 Cambridge Equaliser 158 Card Enabled 34 CE 1 217 248 Index INDEX CE 1 Chorus Intensity Knob 219 CE 1 Clip LED 218 CE 1 Controls 218 CE 1 Depth Knob 220 CE 1 Normal Effect Switch 218 CE 1 Output Level Knob 219 CE 1 Power Switch 222 CE 1 Rate Knob 220 CE 1 Rate LED 218 CE 1 Stereo Mode Switch 219 CE 1 Vibrato Controls 220 CE 1 Vibrato Chorus Switch 218 Channel Input Gain 130 Circular jump 39 Classic Mode 219 Color and Bent 184 Color Knob 186 Compensating for Precision Limiter 50 51 52 Compensating for Pultec EQ 49 Compressor Attack Menu 183 Compressor On Off Button 183 Compressor Output Knob 210 Compressor Ratio Knob 182 Compressor Release Menu 183 Compressor Threshold Knob 182 Configuration Window 37 Configuring Extra Buffers 43 Control Bats 160 Control Grouping 153 Controls Link 130 Conventions 23 Copy Protected Plug Ins 63 CPS Selector Switch 171
186. instrument tracks but not the horn tracks or the Precision Limiter return to a different group bus Insert one DelayComp with a Plugs value of a Samples value of 128 and another DelayComp with a Plugs value of and a Samples value of 12 i e 140 128 on the group bus that contains the dry non horn tracks The latency of both groups buses is now the same so the playback timing is correctly aligned Note You can keep it simple Use the Precision Limiter only on outputs as its design was intended or only in hosts that have full plugin delay compensa tion Compensating for Precision Equalizer The Precision Equalizer uses an internal sample rate of 192kHz to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plugins Therefore it requires slightly more compensation to re main perfectly synchronized with other tracks This is not normally an issue be cause the Precision Equalizer is designed to be used for program material on the output bus where latency is not a consideration However if the Precision Equalizer is used elsewhere in the signal chain and the host does not auto matically compensate for latency at that point in the signal chain it requires slightly more compensation to remain perfectly synchronized with other tracks Therefore when using the DelayComp or TrackAdv plugin to manually com pensate for the Precision Equalizer enter the Samples value from
187. ionate about their compressors revere the LA 2A The original was immediately acknowledged for its natural compression char acteristics A unique electro optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion an accomplishment at the time still appreciated today The LA 2A is known for adding warmth such as for vocals guitar or synths and fatness such as for drums or bass to signals A functional block diagram of the LA 2A Leveling Amplifier is provided in Figure 43 The input transformer provides isolation and impedance matching After this the signal is fed into both the side chain circuit and the gain reduc tion circuit The side chain is comprised of a voltage amplifier a pre emphasis filter and a driver stage that provides the voltage necessary to drive the elec tro luminescent panel This signal controls the gain of the compressor After the gain reduction circuit the signal is sent through an Output Gain control and a two stage output amplifier followed by the output transformer UNIVERSAL AUDIO UAD Powered Plug Ins Manual 116 LA 2A and 1176LN Input Input Transformer Optical Voltage Cathode Attenuator Amplifier Follower Peak Reduction Negative Feedback V Electro Luminescent Driver Output Output Voltage Transformer gt Amplifier Pre Emphasis L gt Stereo Interconnection Trim
188. is a set to a fixed frequency but the frequency changes with the amp type The Color knob is like a super tone control It controls several amplifier char acteristics simultaneously and its behavior is determined by the selected amp type The Bent knob is like a super gain control It controls several amplifier char acteristics simultaneously and its behavior is determined by the selected amp type Adjusts the signal output level of Preflex This may be necessary if the signal is dramatically boosted or reduced by the Gate Compressor or Amp settings UAD Powered Plug Ins Manual 186 Nigel Bright Button Amp On Off Button Amp Type Menus Amp Type List and Descriptions Increases the brightness of the Amp model Bright is on when the button glows bright red Enables or disables the Amp module within Preflex The Amp is engaged when the button indicator is bright red You can use this switch to compare the Amp settings to that of the original signal or bypass the entire Amp section to reduce UAD DSP load The Amp Type pull down menus establish the overall sound and response of Preflex and also determine the function and ranges of the Amp knobs Two amp types A and B can be active simultaneously by positioning the Morph control between them Note For the following descriptions of the Amp models and other references that you may find throughout this manual please be aware that Fender Mar shall Mesa Matchless A
189. is moved to maximum again This emulates real wah pedal behavior when an external MIDI control pedal is used in realtime Hint add a rubber stopper to the front of your MIDI pedal to fully emulate a real wah pedal The Sweep knobs determine the frequency range of the Mod Filter The low and high frequency values can be independently adjusted This flexible ar rangement allows the Mod Filter to affect a narrow or broad frequency range and also enables you to tune the frequency response characteristic to match the signal if desired Sweep Lo Knob Sets the lowest frequency to be affected by the Mod Filter The available range is from 50Hz to 4000 2 Because the Sweep Lo frequency cannot be set higher than the Sweep Hi fre quency if the Lo value is increased beyond the Hi value the Hi value will in crease to match the Lo value UAD Powered Plug Ins Manual 194 Nigel Resonance Res Knob Output Knob Mod Type Menu Sweep Hi Knob Sets the highest frequency to be affected by the Mod Filter The available range is from 50Hz to 4000Hz Because the Sweep Hi frequency cannot be set lower than the Sweep Lo fre quency if the Hi value is decreased below the Lo value the Lo value will de crease to match the Hi value Sets the amount of filter intensity for the Mod Filter A higher value will deliver a sharper more pronounced effect Adjusts the signal output level of the Mod Filter This may be necessary if the signal is dr
190. ision Equalizers stacked in series on the string bus the unprocessed bus DelayComp Plugs value would be 2 and the Sample value would be twice the chart value Compensating for Precision Multiband The Precision Multiband requires a large processing buffer to perform its sonic wonders This buffer results in a significantly larger latency than other UAD plugins This is not normally an issue because the Precision Multiband is designed to be used for program material on the output bus where latency is not a consideration However if the Precision Multiband is used elsewhere in the signal chain AND the host does NOT automatically compensate for la tency at that point in the signal chain the latency must be manually compen sated Important Compensating for Precision Multiband latency is not required if the host application supports full plugin delay compensation throughout the entire signal path or when it is used only on the outputs See Host PDC Im plementation on page 44 UAD Powered Plug Ins Manual 52 Using UAD Powered Plug Ins The Formula Precision Multiband Group Bus Examples The Precision Multiband latency depends on the session sample rate Latency values are listed in Table 5 below Table 5 Precision Multiband Latency Compensation Values Session Sample Rate Precision Multiband Latency Value 44 1kHz 15 360 Samples 48kHz 16 896 Samples 88 2kHz 30 720 Samples 96kHz 33 792 Samples 176 4k
191. it can be used anytime minute shift ing of audio is desired Audio can be shifted up to 128 samples in either di rection The UAD DelayComp plugin is generally used on track inserts However when many tracks require delay compensation instead of placing individual Delay Compensator plugins on each track you may find it easier to send the output of each unprocessed tracks to a bus or group Then simply put one UAD Delay Compensator on that bus or group UNIVERSAL AUDIO UAD Powered Plug Ins Manual 47 Using UAD Powered Plug Ins DelayComp Examples Insert Send Group Bus Important Delay compensation is fully automatic and requires no user in tervention when UAD Powered Plug Ins are used in hosts that support full plu gin delay compensation See Host PDC Implementation on page 44 Situation You have a song with bass drums and guitar You want a room simulator on the guitar so you put an RS 1 on an insert of the guitar track Re sult All tracks are perfectly aligned Solution None needed Delay compensation on track inserts is handled tomatically by most host applications Situation You have a song with bass drums guitar and 2 vocal tracks You want a fantastic reverb on the vocals so you send both vocal tracks to the UAD RealVerb Pro via an effect send Result The RealVerb Pro effect return plays late in relation to the dry tracks Solution Send the output of all the tracks including the dry vocal tra
192. ive and can be adjusted as desired Two Tremolo modes are available Each has different settings but the controls behave exactly the same in both modes Note If the Depth value is zero and or the Threshold value is set too high in Tremolo mode you will not hear the tremolo effect VariTrem Mode In VariTrem mode the tremolo rate is automatically increased or decreased in realtime The rate is ramped up or down according to the value of the Onset control For example if VariTrem Up is selected and Onset has a value of 2 seconds the Tremolo rate will gradually increase for 2 seconds Two VariTrem modes are available Vari T Up gradually increases the Trem olo rate and Vari T Dn gradually decreases the Tremolo rate Note If the Depth value is zero and or the Threshold value is set too high in VariTrem mode you will not hear the VariTrem effect Enables or disables Trem Fade You can use this switch to compare the Trem Fade settings to that of the original signal or to disable Trem Fade am plitude processing UAD DSP load is not reduced when Trem Fade is disabled with the On Off button The Trem Fade amplitude processor remains active even when its dio is disabled so it can be used as a modulation source when using Trem as the LFO Type in the Mod Delay module UNIVERSAL AUDIO UAD Powered Plug Ins Manual 200 Nigel Mod Delay Module DUE PELAT RATE DEPTH TIME DAMPING
193. izontally or vertically in stead of by rotating This behavior is similar to moving a slider Use Host Mode When Use Host Mode is checked the control mode set within the host appli cation preferences is used if this feature is supported by the host This setting forces the host to override the control mode set in the UAD user interface set tings UAD Powered Plug Ins Manual 39 Using UAD Powered Plug Ins Modifier Key Mac OS PCI Bus Settings AMD 8131 Mode Note When Use Host Mode is checked the UAD Meter user interface set tings have no effect unless control mode is NOT supported by the host The Modifier Key drop menu allows you to specify which modifier key will be used for the set to last saved value keyboard shortcut It also affects the se lect click modifier This feature is not supported under Windows For a complete list of keyboard shortcuts see Shortcuts on page 27 MIN GNT is a low level system setting that affects PCI bandwidth The default value of 64 is recommended for most systems If you are experiencing crack les or dropouts our technical support team may recommend a different value PCI Bus 64 Reset Some sound cards may require lower values of MIN_GNT Important System performance can be adversely affected by changing this setting This parameter DOES NOT AFFECT AUDIO LATENCY in any way If your computer uses the AMD 8131 PCI controller chipset check the
194. ks 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 212 CS 1 Channel Strip Damping Knob Wet Dry Mix Knob L Pan Knob R Pan Knob Enable Bypass Switch Ovtput Knob DM 1L The RECIR units are expressed as a percentage in all Modes except Dual De lay and Ping Pong In th
195. l 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 Enable Bypass Enables or disables the Reflection Engine You can use this switch to compare Switch the RS 1 settings to that of the original signal or bypass the entire RS 1 section to reduce UAD DSP load Output Knob Adjusts the relative output of the plugin UAD Powered Plug Ins Manual 216 CS 1 Channel Strip CHAPTER 16 Roland CE 1 Overview The Roland CE 1 Chorus Ensemble is another classic effect faithfully repro duced by our ace modeling engineers The CE 1 is considered by many to the definitive chorus effect renowned for its rich and unique timbres Even for the mix engineer stomp boxes can provide secret weapon effects not found any other way In 1976 BOSS originated the chorus effect pedal and nobody has come close to matching the CE 1 s captivating chorus sound since then Its unmistakable warm analog stereo chorus and vibrato have been heard on countless tracks particularly on guitars bass and electric keys Universal Audio has been commissioned by Roland to accurately model the CE 1 and the results are nothing short of spectacular Roland CE 1 Screenshot Figure 89 The Roland CE 1 plugin window UAD Powered Plug Ins 217 Roland 1 Roland CE 1 Controls Clip LED Normal Effect Switch Rate LED Vibrato Chorus Switch The Roland CE 1 has two operating
196. l always be a small amount of load on the host CPU induced by PCI data transfer and user interface opera tions This is unavoidable when using a DSP card UAD CPU usage is proportional to the host application sample rate and sys tem PCI bus speed Therefore more plugins can be used simultaneously in a 44 1K session than in a 96K session and likewise a higher speed PCI bus will use less CPU load than a slower bus Bypassing individual components will conserve CPU For example bypass ing the compressor in the EX 1 when only the EQ is in use and or bypass ing any of the unused bands of the EX 1 EQ will use less UAD CPU UAD CPU resources required by each successive UAD Powered Plug In instance will slightly decrease A chart showing expected plugin counts can be found on our website http www uaudio com support software UAD charts html As of version 4 0 the time based parameters of several UAD Powered Plug Ins can be synchronized to the tempo of the host application using the Tempo Sync feature When Tempo Sync is activated the time based parameters that are available for synchronization are changed to note duration values and will sync to the tempo of the host application using the displayed note value L DELAY R DELAY syne DEPTH LE 1 N a NN 3 LFO E 271 20 Figure 15 The Tempo Sync feature within UAD DM 1L Note Not all host applications support Tempo Sync In suc
197. lations that capture every nuance of these classic compressors Nigel offers the latest generation of guitar processing technology integrated into a complete multi effects plugin solution The Cambridge EQ offers precise tonal manipulation with an analog sound The Pultec EQP 1A Program Equalizer and MEQ 5 Midrange Equalizer have legendary sound that is revered by mastering engi neers worldwide and our Precision Mastering Series ensures your audio is production ready Our modeling is so accurate Universal Audio is the only company endorsed by the original manvfacturers to create faithful reproduc tions of classic Roland Boss and AMS Neve hardware At the heart of the Powered Plug Ins package is the revolutionary UAD DSP card Because of its high precision data path floating point processing high speed memory and hardware dithering the UAD delivers outstanding dis tortion free high resolution sound quality The UAD features a ground breaking super DSP chip with a proprietary audio engine Unlike other DSP cards which juggle DSP tasks between multiple chips the UAD uses a single unpartitioned processor allowing for more so phisticated plug in algorithms UAD Powered Plug Ins Manual 14 Introduction Features UAD PCI DSP Card Vintage Compressors No compromise professional audio quality UltraDither hardware algorithm provides maximum signal quality Artifactfree smoothing on all parameters no zipper
198. le ranges for the Band Frequency parameter 163 Amp Type List and Descriptions 187 Cabinet Abbreviation Descriptions 189 List of Cabinet Types 189 Phasor LFO Types and Descriptions 192 Mod Filter Mod Types and Descriptions 196 Mod Filter Filter Types and Descriptions 196 Mod Delay LFO Types and Descriptions 204 Mod Delay Mode Menu List 204 Echo Mode Menu List 206 Available RS 1 Shapes 215 RE 201 Mode Selector Positions 226 UAD Powered Plug Ins Manual 13 List of Tables CHAPTER 1 Introduction Welcome Thank you for purchasing UAD Powered Plug Ins the most powerful combi nation of digital signal processing hardware and high quality software plu gins available for host based Windows and Macintosh digital audio worksta tions Thanks to the UAD DSP card Powered Plug Ins offer a new level of power and complexity not found with host based plugins By reducing the burden on your computer s CPU your host application will be able to deliver more tracks automation and native effects The UAD Powered Plug Ins bundle gives the native user a fully professional suite of plugins including EQ compression modulation delay and more and features our acclaimed RealVerb Pro DreamVerb and Plate 140 re verbs Also included are our Vintage Compressor Plug Ins the 1176LN 2 and Fairchild 670 We ve combined the best of our analog exper tise with our digital signal processing capabilities to deliver emu
199. lected Edits to any and all presets in the list are maintained separately within each instance of a plugin in a session To return to the default factory bank settings reload the factory bank Not all plugin hosts include a method for load ing and saving plugin settings DreamVerb in cludes Save and Load buttons within the graphi cal interface itself to accommodate hosts that do not have this feature The Save Load feature in DreamVerb supports presets but not banks To save and load banks use the host s bank management feature if available When the Save and Load buttons are used within DreamVerb the file open and save dialogs default to the same location each time UAD Powered Plug Ins Manual 102 DreamVerb PC Mac OS Using Host Application anagement On Windows systems the default preset location is inside the Presets direc tory which is created within the directory selected during software installa tion For example if the default location was specified when running the UAD Powered Plug Ins Installer the location would be C Program Files Universal Audio Powered Plugins Presets This default location can be changed during installation the new location will be remembered as the default On OS 9 systems the default preset location is System Folder Application Support Universal Audio Presets On OS X systems the default preset location is Library Application Support Universal Audio Presets M
200. les or disables Plate 140 You can use it to compare the processed settings to that of the original signal m amp Orto bypass the plugin which reduces but not eliminates the m UAD DSP load POWER Power Lamp The red power indicator glows brighter when the plugin is enabled by the Power switch UAD Powered Plug Ins 110 Plate 140 Hidden Controls Several controls exist that are not available within the Graphical User Inter face They can only be viewed or modified in automation mode or controls mode Flate LFreq LGain HF reg HGain Prec ly Hodkate Figure 40 Plate 140 in Controls mode Note Not all host applications support automation and or controls mode Accessing Each host application has its own particular operating methods Consult the host application documentation for specific instructions on accessing automa tion parameters and controls mode If the host application does not support automation or controls mode use the factory presets as starting points for your own custom presets UAD Powered Plug Ins 111 Plate 140 Cut Filter Balance Control Modulation Mod Rate Mod Depth The Cut Filter is an equalizer that is used to reduce low frequency content in the reverb On hardware plate systems the cut filter setting is rarely modified because it is found at the plate amplifier unit itself and is not easily accessed from the control room
201. les or disables the Cambridge EQ alto utton gether You can use this switch to compare the processed settings to that of the original signal or to bypass the plugin to reduce UAD DSP load UAD Powered Plug Ins 161 Cambridge EQ Low Cut High Cut Filters 1 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 M Three controls are offered Cut Type Enable and Frequency Each control is detailed below Cut Type Menu Cut Type menu determines the sound of the low t eee and high cut filters To view the Cut Type menu click amp dB Oct and hold the green cut type button Four types of responses are provided Coincident c 0 0 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 new cut response drag to the desired response and Bessel 5 Bh Besselg release Butterworth 2 DIE The responses are more gentle on filters with lower Butterworth 4 numbers and get steeper and more aggressive as the numbers increase The coincident pole filters are Fa first order filters cascaded in series and offer gentle slopes Bessel filters are popular because of their smooth phase characteri
202. lume Mode Selector Note The Peak lamp and VU meter measvre signal just after the input volume control However like the original hardware echo intensity feedback is ap plied just before the level 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 plugin is used in mono in stereo out and stereo in stereo out configurations When the RE 201 is used ina mono in mono out configuration this control is disabled Reverb Pan determines the placement of the reverb signal in the stereo panorama when the plugin 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 plugin Unity gain is at the 12 o clock position Like the original hardware clipping distortion at the input to the plugin 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 plugin output volume to compensate TI 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
203. ly 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 envelope 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 96 DreamVerb Bypass switch ER Start control bat predelay amp amplitude Reflectio 2 Filte ring4 ER End control bat time amp amplitude EARLY TIMING n ag 10 Materials Filtering control bat Late field 400 me relative timing 8 display 117 ms Figure 35 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 Draggin
204. milliseconds and the Slow setting is 4 milliseconds COMPRESS 1 n 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 236 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 20dB to 10dB in 2dB increments Recovery release is the time it takes for the compressor to stop processing af 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 al can be as fast as 40ms but after a sustained period of high signal level the period is 800ms The value for a2 can be as fast as 150ms but after a sus tained period of high signal level the period is 1500ms 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 to 20 in 2dB increments Make sure to adjust the Gain control affer 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
205. mode UNIVERSAL AUDIO UAD Powered Plug Ins Manual 86 RealVerb Pro RealVerb Pro Preset Management Factory Presets Using Host Application anagement In the preset menu there are thirty 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 plugin in a session Most host applications include their own method of managing plugin 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 plugin 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 9 RealVerb Pro Presets UAD Powered Plug Ins Manual 87 RealVerb Pro CHAPTER 5 DreamVerb Overview DreamVerb Universal Audio s flagship stereo reverb plug in draws on the unparalleled flexibility of RealVerb Pro Its intuitive and powerful interfac
206. mode 111 Input and output characteristics of a compressor and perfect amplifier 114 Input and output curve of compressor with 2 1 ratio and 20 dB threshold 115 LA 2A signal flow 117 The LA 2A plugin window 117 1176LN signal flow 119 1176LN plugin window 120 The 1176SE plugin window 122 The Fairchild plugin window 124 The UAD Precision Multiband plugin window 131 Precision Multiband EQ Display 138 The Precision Limiter plugin window 146 Precision Limiter Meter Types 148 Precision Limiter meter scale in PK RMS Zoom mode 150 The UAD Precision Equalizer plugin window 152 The UAD Cambridge EQ plugin window 158 Cambridge EQ Response Curve display 159 Vertical resolution of the Response Curve can be changed with the Zoom buttons 160 The Curve Control Bats can be used to control EQ band frequency gain and Q 160 The EQ Band controls 163 Parametric Type response 165 Parametric Type Il response 165 Parametric Type Ill response 166 Shelf Type A 168 Shelf Type B 168 UAD Powered Plug Ins Manual 11 List of Figures LIST OF FIGURES Shelf Type C 168 The Pultec EQP 1A Program Equalizer plugin window 170 Control grouping within Pultec EQP 1A 171 The Pultec Pro MEQ 5 Midrange Equalizer plugin window 173 Control grouping within the Pultec Pro MEQ 5 173 Pultec MEQ 5 Low Peak Response 175 Pultec MEQ 5 Dip Response 176 Pultec MEQ 5 High Peak Response 177 The Nigel plugin window 179 The Preflex plugin window 180
207. mount 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 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 The Gain control adjusts the output level of the band Generally speaking ad just the Gain control affer 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 12aB Note The Gain for each band can also be modified by control points in the EQ Display see Curve Control Points on page 138 For details about the band frequencies see Frequency Controls on page 140 For details about the band enable and solo controls see Dynamics Meters on page 141 UNIVERSAL AUDIO UAD Powered Plug Ins 137 Precision Multiband EQ Display Band Curves EQ Response Curve Control Points I
208. n Procedure Windows This section details how to acquire and load the plugin authorization file Please read the overview page 63 before proceeding with authorization The procedure is slightly different under Windows and Mac OS it is detailed separately per platform Note It is the UAD hardware that is authorized not the plugin file Important The reg settings file contains the authorization key for the spe cific UAD card It is required every time the card needs to be authorized such as if it is installed into a different computer or OS Back it up and keep it in a safe place To authorize a UAD card to run a copy protected plugin under Windows 1 Ensure UAD Powered Plug Ins version 4 0 or higher is already installed and configured properly see Installation on page 24 Prior versions do not contain all the optional plugins 2 Quit all open VST and DirectX host applications 3 Launch the UAD Meter application page 30 4 When the UAD Meter is in the foreground select Authorizations from the System Menu page 31 The Authorizations window appears Click the Copy button within the Hardware IDs window The Hardware IDs text is copied to the system clipboard o Go to the following URL on the internet ehttp my uaudio com store Follow the instructions on web pages You can paste the Hardware ID text if it is in the clipboard The ID text must match EXACTLY 8 After paymen
209. n be modified directly with text entry To enter a param eter value using text entry single click the parameter value text The text value will highlight indicating it is ready to receive a new value Type in a new value then press Return Enter or Tab or click outside of the text box Press Esc if you want to revert to the prior setting without entering the new value Values entered via text entry are rounded to the closest significant digit If an entered value is out of range it will be ignored To enter time values the units must be specified m milliseconds and s sec onds Examples 400 milliseconds 400s or 400m 1 5 seconds 1 5s or 1500m UAD Powered Plug Ins Manual 26 Using UAD Powered Plug Ins Scroll Wheel Keyboard Control Mac OS Shortcuts If your mouse has a scroll wheel it can be used to adjust knob and slider con trols if the host application supports this functionality not many do Place the mouse cursor over any knob or slider control to increment or decrement the parameter value with the scroll wheel This feature cannot be supported under Mac OS due to a limitation of the operating system software If you control click a control it selects that control for keyboard control This is useful for when you re in circular mode and you want to fine adjust a control Normally clicking on a control in this mode makes the value jump to where you clicked Control clicking will select the control so that
210. n or active to use UAD Powered Plug Ins It is completely independent of any other applications and does not require a host applica tion Move the Performance Meter to a convenient location on your screen by dragging its window title bar The CPU gauge indicates the percentage of UAD DSP that is currently in use It indicates the total available UAD DSP statistics regardless of the number of UAD cards that are installed When UAD plugins are disabled DSP require ments are decreased The Memory gauge indicates the percentage of UAD memory that is currently in use It indicates the total available UAD memory available regardless of the number of UAD cards that are installed When UAD plugins are disabled memory requirements are nof decreased In this case memory remains loaded so that reverb tails and delay lines are not cut off when the plugin is disabled Always On Performance Meter window can be set to a normal or Always On Top Windows view mode In normal mode the window can be covered by windows of the foreground application When in Always on top mode the Performance Meter window always floats on top of other windows even when other ap plications are in the foreground so you can always see the meter and access the Enable Menu This setting is saved when the meter is quit UAD Powered Plug Ins Manual 32 Using UAD Powered Plug Ins Note Always On Top mode is always active in Mac OS X Enable Menu The
211. n 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 and Slope control bat Diffusion 1 LATE TIMING Diffusion control Decay Time 100 me control bat 4 5 dB 27 ms Figure 36 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 fect This switch has no effect on the direct signal path UAD Powered Plug Ins Manual 98 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 Timin
212. n the EQ Display the entire audio spectrum from 20Hz to 20KHz is dis played along the horizontal axis Gain and attenuation of the five band fre quencies up to x12dB are displayed along the vertical axis Figure 50 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 137 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 143 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 adjustments can be made Each of these control points and their corresponding available adjustments are de tailed below UAD Powered Plug Ins 138 Precision Multiband Adjusting Gain Adjusting Gain c Adjusting Gain and Bandwidth Adjusting xF UAD Powered Plug Ins The gain of a band can be adjust
213. nds on active mode These controls include Threshold Time Constant Bias Current Balance and DC Bias There are two sets of controls that always work on the left and right signals input level and output level In Lat Vert mode left is the mono input and right is the stereo input Controls on the main panel are all original Fairchild controls except for the meter select switch which was used to calibrate bias currents on the original hardware The hardware does not have provision for monitoring input output or gain reduction levels For the plugin the zero screw slot control has been disabled since the meter cannot become uncalibrated on the plugin Controls on the lower auxiliary panel are original controls modifications or additions as follows DC Bias controls are original controls but were on the back of the hard ware units The sidechain link control is a common modification which had been per formed on the unit we modeled The Controls Link is a plugin only switch The output level controls are an addition for the plugin e LINK e LEFT OUT RIGHT OUT 7 specan Q 9 0 Factory IZA Factory gt lt tet Pie ue Cal Cal 7 J IS DC BIAS Li RU 5 A y ES B At 9 9j qx J ES Some hosts use plugin parameter names in place of the graphical interface for example when viewing automation or using control surfaces Some Fair child
214. nfinite creativity UAD Powered Plug Ins 223 Roland RE 201 Screenshot MODE SELECTOR BASS TREBLE REVERB VOL OUTPUT VOL REPEAT RATE INTENSITY ECHO VOL POWER Figure 91 The Roland RE 201 plugin 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 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 20 interface is detailed below Peak Level The Peak lamp indicates when transient signal peaks and clipping are detected just after the input volume control It begins illuminating at ap proximately 24 to 1 5dB then gets brighter as the level increases VU Meter The VU meter indicates the average signal that is about to be written to the tape Used in conjunction with the Peak lamp an indication of signal level can be deduced UAD Powered Plug Ins 224 Roland RE 201 Echo Pan Reverb Pan Input Vo
215. noise All parameters can be automated Distortion free high resolution signal path due to floating point processor Single unpartitioned super computing DSP chip provides optimal perfor mance and flexibility Up to 32 bit 192kHz resolutions are supported limited only by the host ap plication UltraDither supported in hardware for all plug ins Floating point processor for maximum dynamic range Bus mastering DMA direct memory access for minimal host load and max imum sustained host card transfer rate Fully compliant with PCI 2 1 and higher specification 7 form factor PCI short card Up to four cards supported with automatic load balancing PCI PCI X UAD 1 and PCI Express PCle UAD 1e versions available Fairchild 670 The ultimate vintage compressor limiter Highly usable incredibly musical sonic characteristics Precision emulation of actual circuitry and performance Complete absence of audible thumps often associated with other limiters Extremely fast attack times Program dependent release times available ateral Vertical sum and difference processing for vinyl mastering Sidelink Chain modification provides additional modes Mono or Stereo operation UAD Powered Plug Ins Manual 15 Introduction Precision Limiter 1176LN Limiting Amplifier Modeled after 1176LN blackface versions D and E Precision emulation of actual circuitry and performanc
216. nsion 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 elements and sonic characteristics With only four pushbutton dimension set tings the Dimension D is the ultimate in functional simplicity D Screenshot Figure 90 The Roland Dimension D plugin window UAD Powered Plug Ins 221 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 True to the original hardware multiple Dimension Mode buttons
217. nt peaks However if you set too large of a Release time compression for sections of audio with loud signals may extend to lengthy sec tions of audio with lower signals The range is 25 milliseconds to 2500 milli seconds 2 5 seconds UAD Powered Plug Ins Manual 209 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 OdB yields no compression The range is OdB to 6OdB 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
218. ntioned previously the compression ratio is defined as the ratio of the increase of the level of the input signal to the increase in the level of the output signal In Figure 42 the input level is increased by 10 dB while the output level increases 5 dB This is a compression ratio of 2 1 Lower compression ratios such as 2 1 result in mild compression A compression ratio of 1 1 yields no compression Note Compression ratios above 10 1 are commonly referred to as limit ing or peak limiting where amplitude peaks are reduced Compressors often let you set a threshold the point at which gain reduction starts to take place When the level of an audio signal is below this threshold there is no gain reduction As the level of the signal increases above the threshold level gain reduction and compression occurs The point at which a signal transitions into compression is commonly referred to as the knee In practical compressors this transition is more gentle than what is depicted in Figure 42 UAD Powered Plug Ins Manual 115 LA 2A and 1176LN Most modern compressors provide a control that adjusts the threshold di rectly In the case of the LA 2A the Peak Reduction control adjusts both the threshold and the amount of gain reduction Similarly the 1 176LN uses its In put control to adjust the threshold and amount of gain reduction Teletronix LA 2A Leveling Amplifier Background LA 2A Signal Flow Audio professionals pass
219. o Knob 191 194 202 Logic Audio 29 Low Cut High Cut Filters 162 Low Frequency Controls 171 174 Low Frequency Knob 109 Low Gain Knob 109 L Pan Knob 213 216 M Mac OS 23 Manual Conventions 23 Master 161 Master Level Knob 161 Materials Blending 96 Materials Blending Bars 96 Materials Menus 95 Materials Panel 94 UAD Powered Plug Ins Manual Materials panel 90 MEQ 5 169 Meter 121 Meter Function 31 Meter Functions 31 Meter On Off Button 33 Meter Pop up Menu 210 Misc Settings 41 Mix 102 Mix Knob 110 191 206 Mod Delay On Off Button 204 Mod Delay Overview 201 Mod Depth 112 Mod Filter Module 193 Mod Filter On Off Button 196 Mod Rate 112 Mod Type Menu 195 Mode Menu 199 Mode Pop up Menu 212 Mode Switch 147 Modes 153 Modifier Key Mac OS 40 Modulation 112 Morph Slider 188 Multicard Use 62 Multiple Buttons 222 Multiple Cards 62 Mute 102 N Neve 1073 Equalizer 230 Neve 1073 Latency 234 244 Neve 1073 Screenshot 230 236 Neve 1073SE 233 244 Neve 1073SE Controls 234 244 Neve 33609 Compressor 235 Neve 33609 Controls 237 Neve 33609 Screenshot 236 Neve 33609SE 244 Nigel 169 178 179 251 Index INDEX Nigel Features 20 Nigel Modules 172 174 179 Note Values 59 Nuendo 29 On Off Button 204 206 On Off Rotary Switch 171 Onset Knob 199 Order Fulfillment Timing 66 Order Menu 192 Output 101 120 Output Knob 195 209 213 216 Output Level Meter 190 Output VU Meter 109 Overview 131
220. of the UAD Precision Equalizer See Compensating for Precision Equalizer on page 51 for more information The Neve 1073SE does not require additional latency compensation because it is not upsampled Note Compensating for Neve 1073 is not required if the host application supports full plugin delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 44 31 T auus 720 Neve and 10736 are registered trademarks of AMS Neve England and are used under license with kind permission from Neve UAD Powered Plug Ins 234 Neve 1073 Equalizer CHAPTER 20 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 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 ded
221. of the original signal or to bypass the plugin 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 is self oscillating and restarting the feedback loop is desired This switch disables signal sent into the echo portion of the processor when set to NORMAL The switch will have no effect if Mode Selector on page 225 is set to Reverb Only This control is some times affectionately referred to as the dub switch This switch puts the plugin into tempo sync mode See Tempo Sync on page 58 for Tempo Sync information including addi tional sync info specific to the RE 201 These LCD style readouts display the current de lay time s of the RE 201 The three displays correspond to the three virtual heads in the plugin and always maintain their proportional relationship to each other HEAD 1 The delay time values 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 225 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 gum n the original hardware the tape loop is contained in a user
222. oject independent session file must be open to configure Ableton Live Options gt Delay Compensation UAD Delay Compensator plugin DelayComp Overview When to use DelayComp VSTi The UAD Delay Compensator DelayComp for short is a simple plugin which can be used to synchronize unprocessed tracks with those that are processed by UAD Powered Plug Ins It provides a mechanism of delay compensation for situations when the host application does not implement automatic plugin la tency compensation such as on sends groups and buses see Table 2 on page 44 The UAD Delay Compensator acts as a dummy UAD Powered Plug In auto matically introducing the necessary amount of latency for tracks which are NOT processed by UAD Powered Plug Ins It requires no DSP from the host CPU or the UAD card and allows you specify the number of UAD Powered Plug Ins instances you wish to compensate Figure 13 The UAD Delay Compensator plugin window UAD DelayComp should be used whenever unprocessed audio tracks are played alongside audio tracks that are assigned to a send group bus that is using a UAD plugin s In this scenario inserting a UAD DelayComp plugin on the UNPROCESSED track s will automatically re synchronize the audio Cubase and Nuendo currently do not automatically compensate for latency on MIDI virtual instrument VSTi tracks Therefore UAD DelayComp should also be used on non VSTi tracks when VSTi s are in use Note Check
223. or der to provide sonic characteristics similar to the 1 176LN but with signifi cantly less DSP usage It is provided to allow 1176LN like sound when DSP resources are limited The 1176SE behavior is practically identical to the 1176LN Its sound is nearly identical too but certain compromises had to be made in order to squeeze the extra DSP performance that the 1176SE provides At nominal set tings the sonic difference is negligible At extreme cranked settings nobody with golden ears will say it sounds exactly like the 1176LN but it still sounds great and is very usable in most situations 1176SE Controls 1176SE controls are exactly the same as the 1176LN Please refer to the the 1 176LN section for 1 176SE control descriptions see 11761 Controls on page 120 UNIVERSAL AUDIO UAD Powered Plug Ins Manual 122 LA 2A and 1176LN CHAPTER 8 Fairchild 670 Overview 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 compressor lim iters which are famous for their fantastic sound quality The stereo Fairchild 670 is probably the Holy Grail of compressors in studio gear esoterica not only because of its price known to fetch 30 000 and be yond on the vintage market but also its extreme rareness and the difficulties in maintaining such a uni
224. ost host applications include their own method of managing plugin presets For example the currently selected preset is saved in Cubase Nuendo when Save Effect is used The solo mute buttons wet dry input are not saved All presets and programs are saved when Save Bank is used in the host They are also saved in the session file for each instance of the plugin Editing the name modifies the current preset s name The new name will ap pear in all preset selection lists and will be saved with the session bank or effect Spatial Characteristics Size The apparent size of a reverberant space is dependent on many factors Most reverbs on the market have a size parameter which usually modifies sev eral facets of 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 Reverberation 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 UAD Powered Plug Ins Manual 103 DreamVerb Pre Delay Space Intimacy and remoteness are largely controlled by the pre delays Generally speaking use shorter pre delays for more intimate spaces Clear
225. otating 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 but 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 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 UAD Powered Plug Ins 227 Roland RE 201 Power Switch Echo Normal Sync tid Time Display Tape Age Note Echo Volume has no affect when the Mode Selector is in the Reverb Only position This switch determines whether the plugin is active This is use ful for comparing the processed settings to that
226. ote 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 on page 27 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 zn WEM UJ CE necessary with tape delay sending the return to a tape deck Different tape speeds allowed dif 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 select and time are completely independent from the other plugin controls EQ Predelay Width etcetera Three plate models algorithms are available for reverb process ing This switch specifies which plate will be active Each setting is a model of a completely separate and unique plate system Three 140 s for the price of one Note You can also switch the active plate by clicking the A B or C lette
227. out our UAD DelayComp Examples on the UAD Powered Plug Ins CD ROM or download them from our website for real world examples formatted for several popular host applications UAD Powered Plug Ins Manual 46 Using UAD Powered Plug Ins Plugs Parameter Samples parameter Grouping Tracks Requiring DelayComp The DelayComp Plugs parameter value to be used on an unprocessed track or tracks is simply the number of UAD Powered Plug Ins that are being used in se quence on the send group or bus For example if three separate sends are used and each send has one in stance of UAD plugins the Delay Compensator Plugs value for the unproc essed tracks would be one However if one send group bus is used that has three instances of UAD Powered Plug Ins stacked up the Delay Compensator Plugs value for the dry tracks would be three Note The Delay Compensator Plugs value matches the total of UAD Pow ered Plug Ins used serially stacked one above another in series NOT the to tal number of UAD Powered Plug Ins used The Samples parameter shifts the audio with single sample accuracy in either direction It is provided mainly for compensation of the Pultec EQ Compen sating for Pultec EQ on page 49 Precision Limiter Compensating for Pre cision Limiter on page 50 Precision Equalizer Compensating for Precision Equalizer on page 51 and Precision Multiband Compensating for Preci sion Multiband on page 52 However
228. outputs See Host PDC Implementation on page 44 The compensation value to use depends on the session sample rate Use the Table 3 values in DelayComp to compensate for Precision Limiter latency when using it on track inserts or buses Table 3 Precision Limiter Latency Compensation Values Session Sample Rate UAD DelayComp Samples Value 44 1kHz 64 Samples 48kHz 69 Samples 88 2kHz 129 Samples 96kHz 140 Samples 176 4kHz 259 Samples 192kHz 281 Samples Situation You have a song with bass drums guitar and 2 horn tracks The session is running at 44 TkHz You want to maximize the level for the horns so you put both horn tracks on a group bus and apply one instance of Precision Limiter to the horn bus Result The horn tracks play late in relation to the other instrument tracks UAD Powered Plug Ins Manual 50 Using UAD Powered Plug Ins Solution Send the output of the unprocessed instrument tracks but not the horn tracks or the Precision Limiter return to a different group bus and put one DelayComp with a Plugs value of 1 and a Sample value of 64 on this group bus that contains the dry non horn tracks If you put 2 Precision Limiters stacked in series on the horn bus the unprocessed bus DelayComp Plugs value would be 2 and the Sample value would be 128 Here s another example with the same situation but with a session sample rate of 96kHz Solution Send the output of the unprocessed
229. plication that displays the current CPU and memory status of the UAD DSP hardware card in realtime Its small float ing window enables you to monitor the resource load of the UAD while si multaneously using your host application It also contains system information and configuration windows that enable you to confirm the UAD is functioning properly check the version of the soft ware drivers and adjust the UAD buffers If multiple UAD cards are installed the displayed CPU and memory usage is the total for all installed cards Usage statistics of individual cards can be viewed using the System Information window see page 34 UAD 1 Performance Meter v4 1 0 x 87 Br 39 rietied Figure 4 UAD Performance Meter application window Windows UAD 1 DSP Performance Meter Figure 5 The UAD Performance Meter application window Mac OS To launch the UAD Performance Meter application in Windows 1 Double click the UAD Meter shortcut that was placed on the Desktop during installation OR 2 Access the application from the Start Menu at Programs UAD Powered Plug Ins UAD Meter OR 3 Double click the executable file on the hard drive located at C Program Files Universal Audio Powered Plug Ins UADPerfMon exe UAD Powered Plug Ins Manual 30 Using UAD Powered Plug Ins Launching the Meter Mac 0 To launch the UAD Performance Meter application in Mac OS 1 Single click the UAD Meter
230. portion of the equal Switch izer KCS is an acronym for KiloCycles per Second kiloHertz Seven fre quencies are available all in kiloHertz 3 4 5 8 10 12 and 16 Bandwidth Knob This knob sets the proportion of frequencies surrounding the center frequency determined by the KCS switch to be affected by the high boost This is a Q control Lower values yield a narrower band and effect fewer frequencies Boost Knob This controls sets the amount of gain for the high frequency portion of the equalizer High Attenuation Controls Attenuation This switch determines the frequency of the high frequency attenuator Three Selector Switch frequencies are available all in kiloHertz 5 10 and 20 Attenuation This knob determines the amount of high shelf cut to be applied to the fre Knob quency set by the Attenuation Selector switch UNIVERSAL AUDIO UAD Powered Plug Ins 172 Pultec and Pultec Pro Pultec MEQ 5 Screenshot 8 500 9 300 200 PULTEC MIDRANGE EQUALIZER MEQ 5 Figure 68 The Pultec Pro MEQ 5 Midrange Equalizer plugin window Pultec MEQ 5 Controls On Off Toggle Switch The MEQ 5 can control three frequency ranges simultaneously using three groups of interacting parameters The first group controls the low mid frequencies and has two controls fre quency select and boost The second group controls the mid frequencies and has two controls frequency select and attenuation The third group con
231. quency Hz Figure 70 Pultec MEQ 5 Low Peak Response UAD Powered Plug Ins 175 Pultec and Pultec Pro Dip Response MEQ 5 Frequency Response Dip 500Hz Level dB 8 T T a T 10 10 Frequency Hz Figure 71 Pultec MEQ 5 Dip Response UAD Powered Plug Ins UNIVERSAL AUDIO 176 Pultec and Pultec Pro High Peak Response TUI MEQ 5 Frequency Response High Peak 1 5kHz T T T T Level dB 10 10 Frequency Hz Figure 72 Pultec MEQ 5 High Peak Response UNIVERSAL AUDIO UAD Powered Plug Ins 177 Pultec Pultec Pro CHAPTER 14 Introducing Nigel Nigel offers the latest generation of guitar processing technology integrated into a complete multi effects plugin solution Utilizing Universal Audio s exclu sive component modeling technology along with some very creative digital design Nigel delivers a complete palette of guitar tones along with most ev ery effect a guitar player might need all with minimal latency and no load on your host computer s CPU Nigel s Preflex advanced guitar amp modeling technology goes well be yond the usual pre amp amp cabinet emulators In addition to delivering a wide range of highly playable classic amp tones from the Clean amp Warm California tube sound to more metal soaked British tones a bevy of original timbres simply not possible on any other guitar sys
232. r and Inverse Thick Fog ab sorb more low frequencies instead of high frequencies UAD Powered Plug Ins Manual 95 DreamVerb Materials The Materials Blending Bars see Figure 34 on page 94 are used to blend the Blending Bars three materials together at any ratio The materials are not just mixed together with the bars the reverberation algorithm itself is modified by blending 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 O76 To use only air drag the horizontal Blending Bar to the bottom so air is set to 100 Reflections Panel The Reflections panel Figure 35 on page 97 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 ear
233. r instance For ex ample if using both MEQ 5 and within a single Pultec Pro only one instance compensation is required UAD Powered Plug Ins Manual 49 Using UAD Powered Plug Ins Compensating for Precision Limiter Precision Limiter Group Bus Examples 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 plugins This is not normally an issue because the Precision Limiter is designed to be used for program material on the output bus where latency is not a consideration However if the Precision Limiter is used elsewhere in the signal chain and the host does not automatically compensate for latency at that point in the signal chain it requires slightly more compensation to re main perfectly synchronized with other tracks Therefore when using the DelayComp or TrackAdv plugin to manually com pensate for the Precision Limiter enter the Samples value from Table 3 below in addition to the appropriate Plugs value for each instance of Precision Lim iter Since the maximum Samples value in one DelayComp instance is 128 more than one DelayComp instance will be required in series if the sample rate is 88 2kHz or higher Important Compensating for Precision Limiter is not required if the host ap plication supports full plugin delay compensation throughout the entire signal path or when it is used only on the
234. r similar buffer setting and the Extra Buff ers if any in the UAD Configuration window If this latency is not compensated the processed audio will not be perfectly synchronized with unprocessed audio Fortunately most host applications au tomatically compensate for this latency when plugins are used on track inserts by simply turning on the Plugin Delay Compensation or similar Preferences setting Some hosts even provide Full Plugin Delay Compensation through out the entire signal path including sends groups and buses Important Delay compensation is fully automatic and requires no user in tervention when UAD Powered Plug Ins are used in hosts that support Full Plu gin Delay Compensation Table 2 below lists the current implementation of plugin delay compensation PDC in the officially supported UAD host applications Table 2 Host Application Plugin Delay Compensation Implementations Full PDC Platform Steinberg Cubase SX 2 amp 3 Win Mac Partial PDC Platform Steinberg Nuendo 2 amp 3 Win Mac Logic 5 6 7 0 Win Mac Steinberg Wavelab 6 Windows Sony Vegas 6 Windows No PDC Sony ACID Pro 5 Windows Digidesign Pro Tools LE Win Mac Sony Sound Forge 8 Windows Image Line FL Studio Windows Ableton Live 5 Win Mac Celemony Melodyne Win Mac Cakewalk Sonar 5 Windows Tascam GigaStudio 3 Windows Magix Samplitude 7 amp 8 Windows MOTU Digital Performer 4 12 Macintosh Mackie Tracktion 1
235. red Plug Ins Manual 123 Fairchild 670 Fairchild Screenshot LEFT CHANNEL LEFT METERING INPUT GAIN THRESHOLD TIME CONSTANT 210 EL ES o 27 2 2 x f 2 s 5 JI BAL LEFT AT 5 RIGHT vent 4 RIGHT RIGHT CHANNEL RIGHT j METERING INPUT GAIN THRESHOLD GR o 10 o 5 E E g Ly RIGHT 2 7 2 gt Y W f 3 4 N gt 2 A 4 f y JI BAL d amp aa oam LEFT RIGHT e tiunx e LEFT OUT RIGHT OUT 31 O SIDECHAIN conrrors Z2 Factory Factory 2 05 o M gt DC BIAS DC BIAS UNLINK e E a 4 JI eo Figure 48 The Fairchild plugin window 2 Compressors 4 Modes There are two compressors within the Fairchild 670 They can be used as dual L R dual mono stereo or they can be linked together and used on ei ther the L R or mono stereo signals The mode in which the compressors operate is determined by the combina tion of the AGC switch and the Sidechain Link switch See Fairchild Modes on page 126 for detailed mode information UAD Powered Plug Ins Manual 124 Fairchild 670 Controls Overview Parameter Labels Most of the controls are associated with one or the other of the compressors as opposed to being strictly associated with one channel of input output de pe
236. requency will be limited Sets the proportion of frequencies surrounding the center frequency to be af 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 that of the original signal or bypass the entire EQ section to reduce UAD DSP load Adjusts the signal output level of the plugin 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 freque
237. resent 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 shelving filter When set to Shelf on the H1 and H2 bands the band becomes a high shelving filter Band Enable Each band can be individually engaged with the Button 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 UAD Powered Plug Ins 155 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 12 below Note Not all host applications support
238. rmines the amp type for the B section of the Amp Selecting an Amp Type reconfigures the amplifier characteristics and the function of the other Amp parameters The Morph control is used to smoothly transform one amp type into another creating new sounds never before possible Morph accomplishes this task by interpolating between amplifier component values of the A and B Amp types as the slider is moved Morph is NOT a blend or crossfade control Morph allows you to continuously shift between two completely different amp sounds in realtime with full automation And because the Color and Bent knobs also control multiple parameters simultaneously which is essentially a morph amazing new dynamically shifting timbres can be realized e Hz Figure 77 The Cabinet module within Preflex The Cabinet module reproduces the sonic character of a guitar speaker and its enclosure as captured by a microphone The Cabinet receives its input sig nal from the Preflex Amp output The Cabinet output is the final Preflex signal output The Preflex Cabinets are emulations of actual guitar speaker enclosures that were captured by a Shure SM57 microphone then meticulously analyzed as usual by our team of rocket scientists A wide variety of cabinets are in cluded using several speaker types configurations and microphone place ment techniques Each cabinet type has a unique sound and frequency response characteristic Select the desired
239. rs above the Plate Select switch and the Reverb Time meters SLOW BLOW UAD Powered Plug Ins 107 Plate 140 Reverb Time Meters Damper Controls Reverb Time EQ EQ Enable Switch Reverb Time Meters display the reverb time of plates A B and C in seconds The meter for the active plate model as specified by the Plate Se lect switch is illuminated Note The meter value can be changed by dragging its needle in addition to its corresponding Damper controls The Damper Controls 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 re verb time This group of parameters contain the controls for Plate 140 5 onboard utility equalizer It is a two band low and high shelv ing EQ that uses analog sounding algorithms for great tonal shaping options The EQ section is independent from the reverb algorithms and the low cut filter on the modeled plate systems See Cut Filter on page 112 The frequency parameters specify the center of the transition band which is defined as the frequency at which the level in dB is the midpoint between DC and the band edge level Note There is one EQ per plugin instance Each plate model A B C within a preset cannot have unique EQ values The Plate 140 equalizer can be disabled with the EQ Enable switch UAD DSP usage is not increased when EQ is enabled U
240. rs to be linked together so that they always compress the same amount But here the inputs to the two compressors are fed with the mono and stereo components of the signal This means that in general a transient which occurs in both chan nels 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 The mode in which the compressors operate is determined by the combina tion of the AGC switch and the Sidechain Link switch The switch positions re quired for each mode is shown in Table 10 below Table 10 Fairchild Operating Modes AGC Switch Sidechain Link Operating Mode Left Right Unlinked Dual Left Right Dual Mono Lat Vert Unlinked Lateral Vertical Dual mono stereo Left Right Linked Stereo couple left right Lat Vert Linked Stereo couple mono stereo Is there any reason would want to link the two sidechains together and still have the settings for the two channels different Yes Linking the sidechains simply prevents left right image shifting Threshold and input gains can be set independently to cause the compressor to be more sensitive to instruments which are panned to one side or the other Output con trols can be set separately in order to correct an overall image shift at the out put This switch determines whether the plugin is active When th
241. rsion requires AU compatible host software such as Apple Logic Pro or MOTU Digital Performer Processor upgrade cards are not officially supported UAD Powered Plug Ins Manual 22 Introduction Manual Conventions Cross Platform Solution Headings Windows Mac OS Screen Shots UAD Powered Plug Ins is a cross platform solution for both Windows and Mac OS X based computers The UAD hardware card can be installed into either platform it is the exact same hardware for both platforms Operation of the plugins are practically identical regardless of the host system platform and ap plication However certain platform specific instructions will differ according to the host system you are using Instructions in this guide that are platform specific will be indicated with a heading in red letters Instructions that are identical regardless of platform are not differentiated Instructions specific to the Windows platform will use this red Windows heading Instructions specific to the Macintosh platform will use this red Mac OS heading Screenshots in this manual may be taken from the Windows and or Mac OS version of the software and are used interchangeably when 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
242. s 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 to 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 10076 The resulting early reflection pattern is displayed at the top of the Timing panel see Figure 24 on page 82 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
243. s 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 20076 this high frequency 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 frequencies while re flecting high frequencies Since plywood is usually very flat with little surface texture to capture high frequencies high frequencies tend to be reflected At 100 the reverberation produced is very sizzly and increasingly bright At 100 it is 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 mat
244. s display the sig nal level at the input of the plugin and is not affected by the Input knob Ovtput When the Meter switch is in Output mode the main level meters display the level at the output of the plugin When the Limiter is enabled the Output and Input knobs will affect this display Scale The meter Scale switch increases the resolution of the main stereo level meter See Figure 53 below The meter range that is displayed in Normal and Zoom modes is dependent upon the meter Type setting see Type on page 148 GAIN REDUCTION LIMITER up ee HOLD er 1 SCALE NORMAL TYPE Figure 53 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 6 to OdB with a linear response of O 5dB per segment In Zoom mode the range is 18dB to OdB with two dif ferent linear responses O 2dB per segment from 18 to and 0 1dB per segment from 6 to OdB UAD Powered Plug Ins Manual 150 Precision Limiter Hold Clear K 20 In Normal mode the meter range is 40dB to 20dB with a linear response of O 5d
245. s from the card during dynamic bypassing When the option is checked UAD DSP usage may be reduced during dynamic bypassing but the possibility of glitching during playback is increased Note This setting affects the Mac OS X Audio Units platform only Force Logic Live Mode When UAD v4 3 0 and higher and Logic 7 2 1 and higher are used to gether and this setting is checked all Logic tracks with UAD plugins are forced into Live Mode and latency is reduced Reduced latency is useful for tracking when Logic s Software Monitoring feature is active When Live Mode is active UAD latency is twice the hardware O buffer size In Logic versions prior to 7 2 1 and later versions when live mode is dis abled latency is determined by the larger of the hardware O buffer size and the Process Buffer Range setting within Logic Since the minimum Pro cess Buffer Range setting Small in Logic 7 corresponds to 512 samples this means the minimum possible UAD latency is 1024 samples the current la tency is displayed in the UAD Meter System Information window when Live Mode is inactive Note On dual processor machines Live Mode forces all plugins on tracks with UAD 1 plugins and any aux busses fed by those tracks to run on one processor only To allow host plugins to run on both processors under these conditions deactivate this setting UAD Powered Plug Ins Manual 41 Using UAD Powered Plug Ins Configuration Window Mac OS
246. sable the Low band Note You can also click the low shelf symbol above the knob to cycle through the available values The available low band center frequencies are 35Hz 60Hz 1 10Hz 220Hz 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 18dB per octave slope The available frequencies are 5 2 80Hz 160Hz 300Hz and OFF When OFF is specified the low cut filter is disabled UAD 1CPU usage is not reduced when OFF UAD Powered Plug Ins 232 Neve 1073 Equalizer Phase Neve 1073SE Note You can also click the low cut symbol above the knob to cycle through the available values The Phase switch reverses inverts the signal by adding a 180 phase shift When the switch is in the In darker position the phase is re M versed Leave the switch Out lighter position for normal phase The equalizer is engaged when the EQL switch is in the In darker 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
247. se of UAD Powered Plug Ins will introduce excess host CPU load New settings Extra buffers 0 AMD 8131 compatible Current settings Extra buffers 0 AMD 8131 mode Off To configure the UAD for Cubase and Nuendo large ASIO buffer size support 1 Launch the UAD Performance Meter 2 Open the system menu by clicking the icon at the upper left of the Perfor mance Meter and select the Configuration option 3 Increase the Extra Buffers control until New latency matches the current buffer size of the ASIO device 4 Reset the ASIO device using one of the following methods Close the re open the session eStop then restart the audio engine Modify or reset the audio device settings 5 The Current latency display should now match the New latency dis play Configuration of Extra Buffers is complete UAD Powered Plug Ins Manual 37 Using UAD Powered Plug Ins DSP Settings Limit CPU Load These controls limit the maximum UAD CPU load before no more plugins will be processed by the UAD DSP Limit CPU Load CPU Load Limit 95 Without UAD Powered Plug Ins installed overloading the host system with na tive host based plugins can cause dropouts and possibly system lockup Steinberg hosts for example provide a switch that allows you to trade la tency for stability when the system is overloaded Similarly the UAD DSP load cannot exceed 100 without unpredictable behavior
248. sed on a channel insert this control should generally be OFF Note Wet Solo is a global per RE 201 plugin instance control Its value is not saved within presets 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 SPACE ECHO 201 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 229 Roland RE 201 CHAPTER 19 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
249. ses Both the A and B parameter sets are contained within a single Precision Equalizer preset UAD Powered Plug Ins 153 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 side 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 Click the Stereo button to cycle through modes A and B Click the Dual button to activate dual mono mode Click the indicator light above each mode Click hold drag the indicator light above each mode Luiz 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 153 clicking A gt B cop ies the left AND right parameter values from parameter set A to parameter set B and clicking the A B button copies all the values from parameter set B to parameter 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
250. sing 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 filters 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 145 Precision Limiter Precision Limiter Screenshot INPUT OUTPUT 010 POT MAS E 30
251. sions as well as other intellectual property laws and treaties Universal Audio retains title to and ownership of the Software and all copies thereof in any form Universal Audio retains all rights in the Software not specifically granted to the Licensee Nothing in this Agreement constitutes a waiver of Universal Audio s rights under United States copyright law or any other law 3 Permitted Use and Restrictions You may install the Software into the memory of a single computer but may not electronically transfer the Software to someone else s computer or operate it in a time sharing or service bureau operation You may make one copy of the Software for backup purposes only and replacement backup copies in the event of loss of or damage to a backup copy provided you include all copyright notices contained on the original media on the backup copy You may not modify translate adapt reverse engineer decompile create other works from or disassemble the Software or any portions thereof Similarly you may not copy modify adapt transfer or create other works based upon the printed materials and online or electronic documentation accompanying or published for use with the Software the Documentation 4 Transfer You may not export transfer convey rent sublicense or otherwise distribute the Software or any rights therein to any person or entity Notwithstanding the foregoing you may transfer this license to a transferee
252. slots However if a computer system has both PCI PCI X and PCle slots the UAD 1 and UAD 1e can both be installed and used simultaneously as system The UAD drivers are the same for both cards UAD Powered Plug Ins Manual 24 Installation Installing the UAD Hardware After installing the UAD Powered Plug Ins software install the UAD DSP card s Hardware installation is the same for all platforms To install the UAD DSP card s 1 Turn off your computer 2 Open the computer case If necessary refer to the computer manvfacturer s documentation for instructions 3 Remove the rear slot cover and screw of the lowest numbered available ex pansion slot 4 Before handling the UAD card discharge any static electricity by touching the outer casing of the power supply 5 Remove the UAD card from its protective anti static bag Do not touch the gold edge connector contacts 6 Hold the card gently by the top edges and line up its connector with the slot inside the computer Figure 1 UAD card installation 7 When the connector and slot are aligned press the card into the slot with firm even pressure The card should pop into place The top of the slot on the motherboard should be flush and parallel with the edge of the UAD card 8 Secure the card with the previously removed screw 9 Replace the computer case Hardware installation is now complete UAD Powered Plug Ins
253. 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 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 Start by setting a general timing on the ER and LF graphs to give a rough re verb size This timing ordinarily needs to be tweaked several times along the way 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 flections panel 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 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
254. speaker from the Cabinet Type pull down menu Abbrevia tions used in the Cabinet Types list for the speaker enclosure and mic tech niques are detailed in Table 17 The Cabinet Types list itself is in Table 18 UAD Powered Plug Ins Manual 188 Nigel Cabinet Abbreviations Cabinet Type List Note For the following descriptions of the Cabinet models and other refer ences that you may find throughout this manual please be aware that Celes tion Greenback Oxford Blue Marshall Fender Line 6 Pod SansAmp Shure ADA Utah and any other manvfacturer model name description and designations are all trademarks of their respective owners which are in no way associated or affiliated with Universal Audio These trademarks and names are used solely for the purpose of describing certain timbres produced using Universal Audio s exclusive modeling technology Table 17 Cabinet Abbreviation Descriptions ABBREVIATION DESCRIPTION 1 12 2 12 4 12 One two or four twelve inch speaker s 1 10 2 10 4 10 One two or four ten inch speaker s OB Open Back cabinet SC Sealed Cabinet closed back cabinet On Axis Mic close and perpendicular at 90 degrees off center Off Axis Mic close and angled off center Edge Mic close and angled at edge of speaker Far Mic approximately 2 feet from speaker 1 12 OB 90 watt Celestion early 1990 s 2 12 OB Left speaker Oxford Blue Right Utah both 60 wat
255. ssor precedes the lim eshold nass e iter see Signal Flow on page 236 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 44 to 15dB in 5dB increments If the compressor is enabled the Gain control in the compressor section Compressor Gain on page 238 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 al and a2 The automatic settings al and a2 are program dependant The value for al 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 plugin The limiter has no effect unless this switch is in the In down position UAD Powered Plug Ins 237 Neve 33609 Compressor Attack Compressor Compressor Threshold Compressor Recovery Compressor Gain Attack determines how fast limiting will engage when the signal exceeds the limiter threshold The Fast setting is 2
256. st be in shelving mode some gain must be applied and the Q must be above its minimum valve UAD Powered Plug Ins 167 Cambridge EQ 10k 0b 20k Shelf Mode Indicator Line 10k 20570 Figure 65 Shelf Type C analog ears digital minds UAD Powered Plug Ins 168 Cambridge EQ CHAPTER 13 Pultec and Pultec Pro Overview The Pultec EQP 1A Program Equalizer and Pultec MEQ 5 plugins are faithful electronic reproductions of the classic hardware equalizers Our DSP wizards have ensured that every revered sonic nuance of these vintage processors are faithfully maintained UAD Pultec and UAD Pultec Pro The UAD Pultec plugin is the EQP 1A Program Equalizer that was introduced in version 2 2 to much acclaim UAD Pultec Pro was introduced in version 3 5 and includes both the EQP 1A and MEQ 5 modules The EQP 1A is iden tical in UAD Pultec and UAD Pultec Pro In designing the Pultec equalizer plugins we performed detailed analyses of the signal path and equalization characteristics of selected well maintained in spec Pultec equalizers used regularly in professional studios A golden unit was selected and the resulting model reproduces the measured equal ization and signal path characteristics to within a fraction of a dB mean error for all knob settings All of the unique features of the original Pultec EG s are included in the plu gins including the separate boost and attenuation controls the smooth
257. stays high longer Sin 3 Modified sine wave that stays low longer Square Square wave Square 2 Modified square wave that stays high longer Square 3 Modified square wave that stays low longer Sin 180 Sine wave 180 degrees out of phase Square 180 Square wave 180 degrees out of phase Order Menu Determines the filter order for the Phasor filter banks This setting affects the tonal complexity of the Phasor Higher Order filters are more detailed than lower Order filters Ten filter Order values are available 3 through 12 Phasor On Off Enables or disables the Phasor module You can use this switch to compare the Button Phasor settings to that of the original signal or bypass the Phasor to reduce UAD DSP load UAD Powered Plug Ins Manual UNIVERSAL AUDIO 192 Mod Filter Module The Mod Filter is an advanced filter plug in that is capable of fixed wah auto wah envelope follower sample hold driven filter and other modulated filter effects It has been modeled after the Mutron Ill and other popular filters The filter cutoff frequency can be controlled by the signal level at the input to the module or a low frequency oscillator LFO This realtime dynamic response is what gives the Mod Filter its unique sound PATE LO SWEEP HI HODTYPE FILTER EET SENS 1 ET ehed FILER _ Figure 79 The Mod Filter plugin win
258. stead of delaying unprocessed tracks it shifts them forward It does this by reporting to the host application that a track has a UAD plugin on it so the host compensates for the latency However the track audio is not actually processed by the UAD so the net re sult is that the audio plays early Figure 14 The UAD Track Advance plugin window Note The Track Advance plugin only works in hosts that support partial track inserts only automatic delay compensation UAD TrackAdv should be used whenever MIDI tracks are played alongside audio tracks that are assigned to a send group bus that is using UAD plu gin s Important UAD TrackAdv should not be used in host applications that pro vide full plugin delay compensation throughout the entire signal path UAD TrackAdv or DelayComp is not needed at all in such hosts See Host PDC Im plementation on page 44 UAD TrackAdv is designed to be used on audio track inserts of tracks that are assigned to a send group bus that has one or more UAD plugins applied By first advancing the audio with TrackAdv on the track insert then processing the same track on send group bus that has a plugin the net latency result is zero and the audio will be perfectly aligned with the MIDI tracks UAD Powered Plug Ins Manual 55 Using UAD Powered Plug Ins Plugs parameter Samples parameter The TrackAdv Plugs parameter value to be used on a track insert is simply the number of UAD plugins
259. stic with decent 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 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 Cut This knob determines the cutoff frequency for the Cut filters The available Kno range is from 20Hz 5kHz for the low cut filter and 20Hz 20kHz for the high cut filter UAD Powered Plug Ins 162 Cambridge EQ EQ Bands Enable Button Frequency Knob 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 164 and Shelf EQ on page 167 Figure 59 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 that of the original signal or to bypass the individual band UAD DSP usage is slightly de creased when a band is dis
260. 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 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 i
261. t 1 32D 5 16 1 1D 12 1 1 16 1 2T 7 4 16 1 RE 201 only 1 8T 1 4D 2 1 1 16D 1 2 3 1 A quarter note is always a quarter note independent of the time signature In different time signatures a quarter note can represent different numbers of mu sical beats e g 6 8 or different fractions of a bar e g 5 4 For example say the time signature is 6 8 and the delay time tempo sync note value is 1 4 IF a sound occurs on beat one of the measure then its delay will occur on beat 3 which is 1 4 note i e two 8th notes later Note The beat value in a sequencer s BPM tempo setting always refers to a quarter note independent of time signature UAD Powered Plug Ins Manual 59 Using UAD Powered Plug Ins Range Limits Entering Values Some parameters in Tempo Sync mode cannot access the entire note value range in Table 4 because their maximum values would always be out of range above certain note values assuming a maximum usable tempo of 300 BPM 250BPM for Roland RE 201 These parameter limits are e DM 1 RS 1 time 300ms maximum 1 4D DM 1L time 2400ms maximum 3 1 Nigel Echo time 1200ms maximum 1 1D Nigel Tremolo fade in onset 4000ms maximum 5 1 e Roland RE 201 Head 1 range 5 32 1 64 Roland RE 201 Head 2 range 1 4 1 32 Roland RE 201 Head 3 range 1 2T 1 32D In addition to adjusting the parameter knob the two following methods can be used for entering Tempo Sync
262. t With its 14 transformers 20 vacuum tubes 6 rack space encompassing girth and weighing in at 65 pounds the Fairchild 670 is truly the heavyweight champion of compression Originating from the early 1950 s the design of the 670 uses a single push pull stage of amplification with an extremely high control voltage The Fair child 670 is a variable mu tube limiter Variable mu limiters are unique in that they use tubes for gain reduction and not just as amplifiers The audio path is quite simple and compression happens directly in the audio path rather than sending out to a separate compression circuit The unit can be used as a limiter or compressor depending upon personal taste and program 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 any where between these two extremes using the Threshold and DC Bias controls The UAD Fairchild was created by meticulously modeling down to the com ponent level as usual a carefully selected hardware unit Our golden unit was the Fairchild 670 SN 505 at Ocean Way Recording in Hollywood The Fairchild was advertised as The World Accepted Standard for Level Control back in the 1950 s when it was originally sold It is still revered for its extremely smooth artifactfree sound and now Universal Audio has made it easily accessible to you And you don t have to let it warm up for 30 minutes before use UAD Powe
263. t early 1960 s 2 12 SC 90 watt Celestions early 1990 s 4 12 SC 25 watt Celestion Greenbacks circa 1967 British Emulation of Marshall effects box cabinet NoCA FXB Emulation of ADA effects box cabinet LA FXB Emulation of Line 6 Pod effects box cabinet NY FXB Emulation of SansAmp effects box cabinet Table 18 List of Cabinet Types 1 12 OB Off Axis 2 12 OB Off Axis 4 12 SC Edge 2 12 SC Far 1 12 OB On Axis 2 12 OB On Axis 4 12 SC Far 4 12 British 1 12 OB Edge 1 10 NoCA FXB 2 12 OB Edge 2 10 NoCA FXB 1 12 OB Far 4 10 NoCA FXB 2 12 OB Far 1 12 LA FXB 2 12 SC Off Axis 2 12 LA FXB 4 12 SC Off Axis 4 10 LA FXB 2 12 SC On Axis 1 12 NY FXB 4 12 SC On Axis UAD Powered Plug Ins Manual 189 Nigel Cabinet On Off Button Output Level Meter Phasor Module Sync Button Rate Knob Sweep Knobs Enables or disables the Cabinet module within Preflex The Cabinet is en gaged when the button indicator is bright red You can use this switch to com pare the Cabinet settings to that of the original signal or bypass the entire Cabinet section to reduce UAD DSP load This LED style VU meter displays the level of the signal at the output of the Cab inet Just before the red LED is illuminated the signal is at OdB In order to avoid overloading your host application signal path adjust the Preflex output level so that the signal is at or below OdB The Phasor is a frequency vari
264. t below the desired signal input level so the signal passes as you play The Boost button Figure 74 on page 180 increases the overall signal level within Preflex by 20dB It is completely independent of the Gate and Com pressor On Off controls and will provide a signal boost even with the Gate and Compressor are off Note The Boost button is only available within Nigel and Preflex The individ ual Gate Comp plugin does not contain the Boost button because Boost only affects the Amp within Preflex Sets the threshold level for the compression Any signals that exceed this level are compressed Signals below the level are unaffected A Threshold of OdB yields no compression The range is OdB to 6OdB As the Threshold control is increased and more compression occurs output level is typically reduced However the compressor provides an auto makeup gain function to automatically compensate for reduced levels Adjust the Out put level control if more gain is desired Determines the amount of gain reduction used by the compressor 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 6OdB UAD Powered Plug Ins Manual 182 Nigel Compressor Attack Menu Compressor Release Menu Compressor On Off Button Sets the amount of time that must elapse onc
265. t is received a link to the reg file is provided 9 The reg settings file containing the authorization key for the UAD is then downloaded directly from your account page at the web store 10 Save the reg file to disk then double click the resulting reg settings file on the disk Click Yes to automatically update the windows registry The UAD card is authorized to run the copy protected plugin 11 Back up the reg settings file containing the authorization key and keep it in a safe place for future authorizations The authorization procedure for Windows is complete UAD Powered Plug Ins Manual 71 Using UAD Powered Plug Ins Authorization Procedure Mac OS To authorize a UAD card to run a copy protected plugin under Mac OS 1 2 0 gt Ensure UAD Powered Plug Ins version 4 0 or higher is already installed and configured properly see Installation on page 24 Prior versions do not contain all the optional plugins Quit all open VST and Audio Units host applications then launch the UAD Meter application page 31 When the UAD Meter is in the foreground select Authorizations from the File Menu page 32 The Authorizations window appears Click the Copy button within the Authorizations window The Hardware IDs text is copied to the system clipboard Go to the following URL on the internet my uaudio com store Follow the instructions on web page s
266. tch is in the Off position the plugin is disabled and UAD DSP usage is reduced Phase coherent stereo imaging is maintained when the LA 2A plugin is used on a stereo signal UNIVERSAL AUDIO UAD Powered Plug Ins Manual 118 LA 2A 1176 1176LN Solid State Limiting Amplifier The 1176LN is known for bringing out the presence and color of audio sig nals adding brightness and clarity to vocals and bite to drums and guitar 1176LN Signal A functional block diagram of the 1 176LN Limiting Amplifier is provided Flow Figure 45 Signal limiting and compression is performed by the Gain Reduc tion section Before the signal is applied to the Gain Reduction section the au dio signal is attenuated by the Input stage The amount of attenuation is con trolled by the input control potentiometer The amount of gain reduction as well as the compressor Attack and Release times are controlled by Gain Re duction Control circuit After Gain Reduction a pre amp is use to increase the signal level The Output Control potentiometer is then used to control the amount of drive that is applied to the output amplifier The 1176LN is a feed back style compressor since the signal level is sensed after the gain reduction is applied to the signal Input Input GR Pre Output Output Transformer Circuit Amplifier Amplifier gt 3 GR Control Circuit H V Figure 45 1176LN signal flow UNIVERS
267. tem can be realized Pre flex also offers variable componentlevel morphing between any two amp pre sets truly bringing creative guitar voicing to the next level As with the UAD Powered Plug Ins CS 1 channel strip the components of Ni gel are also supplied as individual plug ins for unprecedented DSP and cre ative efficiency Each Nigel module includes Universal Audio s proven smoothing algorithm for zipper free automation of all parameters Nigel may change the way you think about guitar signal processing Never before have such exciting realistic and extreme guitar sounds been heard from a software plugin Enjoy UNIVERSAL AUDIO UAD Powered Plug Ins Manual 178 Nigel Nigel Screenshot LOMP PRE amp 72 Ae THRESH RAIO ATIACK 3 D T COLOR THRESH FADEIN ONSET RATE DEPTH Medim RELEASE to t iFOTYpE gt 2 gt E 70 MU DELAY RATE LO WEED H RECIR RATE DEPTH TIME RECIR DAMPING gt C 2734 TS 356 7E ard a e AMP A bright AMP E v Ah ion ME ien ME ox 14 cas TA NIGDN Sn ORDER lt 7 529 E ati LFOTYPE Sno MOD FILTER An As syne ECHO RAE 10 SWEED H OUTPUT 4252 INPUT TIME RECIR DAMPING MX on gt r 725 572 Fe 1 g 1 Tie ae B
268. the DAW that no mixer should be without Introducing the Plate 140 Plug In German company EMT made a breakthrough in 1957 with the release of the EMT 140 which utilized a resonating metal plate to create ambience Noth ing is quite like the wonderfully smooth sound of plate reverb that still endures as part of the fabric of modern music However plate reverb systems are pensive bulky need to be isolated from vibration and maintained regularly therefore plates are usually found only in major studios Universal Audio faithfully recreates that unmistakable sound with the Plate 140 Plug In The Plate 140 replicates the sonic signature of three uniquely dif ferent EMT 140s found at The Plant Studios in Sausalito That s nearly two thousand pounds of sound in one plug in We thoughtfully combined the look of various elements from the EMT 140 system into one convenient panel rep licating the original damper controls for decay and adding additional con trols for the convenience of the modern DAW user Plate 140 Screenshot 100 130 Q5A 190 260 025A EQ Os IN LOFREG 100 c 20K GAIN PRE DELAY WIDTH MIX 0 50 50 1 2 4 0 2501 0 100 DRY WET Figure 39 The UAD Plate 140 plugin window UAD Powered Plug Ins 106 Plate 140 Plate 140 Controls Reverb Plate Select Switch The Plate 140 interface is an amalgam of controls found at the plate amplifier itself and the rem
269. the control is actually moved This allows you turn off absolute linking without making any changes Copy Ctrl 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 gate independent of the Type value in the other bands 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 141 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 135 Precision Multiband Threshold Ratio COMPRESS When a band is set to Compress the dynamic 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
270. tics 98 Steinberg Nuendo 29 Stereo Mode 153 Stereo Operation 118 121 Sweep Hi Knob 191 195 202 Sweep Knobs 190 194 202 Sweep Lo Knob 191 194 202 Sync Button 211 215 System Information Window 34 62 System Requirements 22 T Teletronix LA 2A 16 253 Index INDEX Tempo Sync 58 Wah Pedal Mode 195 196 Tempo Sync Modes 61 Welcome 14 Tempo Sync Plugins 59 Wet 102 Text Entry 26 Wet Solo Button 110 Thank You 247 Wet Dry Mix Knob 213 216 Threshold 128 When to use TrackAdv 55 Threshold Thresh Knob 198 Width Knob 109 Threshold Knob 210 Windows 23 37 Time Constant 129 Time Knob 205 7 Track Advance 54 Zoom Buttons 160 TrackAdv Examples 56 Trem Fade 198 Trem Fade On Off Button 200 TremModEcho Module 197 Tremolo Mode 200 Trigger LED 198 Typel 165 Type 165 Type IIl 166 Type Menu 195 196 199 203 U UAD Hardware 25 UAD Performance Meter 30 UAD DSP Card 15 UAD 1 Hardware 25 Use Host Mode 39 User Interface Settings 39 Using Powered Plug Ins 26 Using the Meter 32 v VariTrem Mode 200 version 30 VSTi 46 VU Meter 224 W Wah 194 UAD Powered Plug Ins Manual 254 Index
271. til the knob reaches is maximum value again at which time the effect is re engaged Wah Pedal mode is ideally suited to emulating a real Wah pedal by using a MIDI foot pedal controller Mod Menu Table Table 20 Mod Filter Mod Types and Descriptions Sin LFO mode with Sine waveshape Square LFO mode with Square waveshape Random LFO mode with Random waveshape Env Up Normal Envelope mode Filter cutoff frequency is dynamically increased as signal level increases Env Down Inverted Envelope mode Filter cutoff frequency is dynamically decreased as signal level increases Wah Fixed Wah mode Wah Pedal Fixed Wah mode with latched bypass mode Filter Type Menu Determines the type of filter to be used by the Mod Filter This parameter will affect the overall sonic character of the plugin Four filter types are available Table 21 Mod Filter Filter Types and Descriptions Lowpass Frequencies below the filter cutoff frequency are allowed to pass through the filter Bandpass Frequencies around the filter cutoff frequency are allowed to pass through the filter Lowest and highest frequencies are not passed Highpass Frequencies above the filter cutoff frequency are allowed to pass through the filter Wah Traditional wah pedal setting Mod Filter Enables or disables the Mod Filter You can use this switch to compare the On Off Button Filter settings to that of the original sign
272. tion ally the function and label of the second and third controls in the Mod Delay module are determined by the Mode menu When the Mod Delay Mode is set to Flanger the second and third knobs are labeled Sweep Lo and Sweep Hi respectively When the Mod Delay Mode is set to Chorus or Vibrato the second and third knobs are labeled Depth and Time respectively In all modes except Flanger the function and sound of the controls are iden tical only the settings are different Similarly in Flanger 1 and 2 modes the function and sound of the controls are identical only the settings are different Table 23 Mod Delay Mode Menu List Chorus 1 Flanger 1 Vibrato 2 Chorus 2 Flanger 2 Comb Filter 1 Quad Chorus Vibrato 1 Comb Filter 2 Mod Dela Enables or disables the Mod Delay You can use this switch to compare the y y p On Off Button Mod Delay settings to that of the original signal or bypass the Mod Delay to reduce UAD DSP load UAD Powered Plug Ins Manual 204 Nigel Echo Module Sync Button Input Knob Time Knob Recirculation Recir Knob INPUT RECIR DAMPING MIX ro MODE gt Figure 83 The Echo module The Echo module is a delay line used primarily for longer echo effects When very short delay times or modulation are desired use the Mod Delay instead When VERY long delay times are desired use the UAD plugin which has up to 2400 millise
273. trol Compression expansion or gate can be chosen separately for each of the five bands The unparalleled flexi bility and easy to follow graphical 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 UMEL LEVEL 27 24 2 8 151 121 i ode THRESHOLD ALL 60 RATIO ALL GAIN ALL pe CS EG ESI EEN i Mor d NC 124 342 SPN VERSAL AUDIO WS PHASE 4 0 dB BEINN BETS s MIN DYN ED LINEAR Figure 49 The UAD Precision Multiband plugin window UAD Powered Plug Ins 131 Precision Multiband Precision Multiband Interface The Precision Multiband interface is designed to make this complex processor easier to use Five separate frequency bands are available 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 param
274. trols 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 69 1 2 45 7471 200 34 7 700 1 5 8 500 9 5 2 8 Vr 9 300 5 1 2 9 0 10 200 0 10 PULTEC MIDRANGE EQUALIZER Figure 69 Control grouping within the Pultec Pro MEQ 5 This switch disables the MEQ 5 portion of Pultec Pro It allows you to compare the processed and unprocessed signal of the MEQ 5 When in the out posi tion the UAD DSP load is reduced UAD Powered Plug Ins 173 Pultec and Pultec Pro In the hardware 5 the audio is still slightly colored even when the switch is in the Out position and the peak dip controls are at zero This is due to the fact that the signal is still passing through its circuitry Because the plu gin emulates the hardware in every regard the signal will be slightly pro cessed when this switch is in the In position and the peak dip controls are at zero If a true bypass is desired use the host disable switch Low Peak Controls ira This switch determines the frequency of the low midrange portion of the equal Selector Switch izer Five frequencies are available 200Hz 300Hz 500Hz 700Hz and 1kHz Boost Knob This knob determines the amount of low midrange Peak gain to be applied to the frequency set by the low midrange frequency selector Dip Controls This switch
275. ts See Host PDC Implementation on page 44 Pultec EQP 1A Screenshot PULTEC ATTEN SEL 5 10 2 PROGRAM EQUALIZER EQP 1A 1 UNIVERSAL AUDIO INC SANTA CRUZ CA J SHARP BROAD LOW FREQUENCY BANDWIDTH HIGH FREQUENCY Figure 66 The Pultec EQP 1A Program Equalizer plugin window Pultec EQP 1A Controls The EQP 1A can control three frequency ranges simultaneously using three groups of interacting parameters The first group controls the low frequencies and has three controls boost at tenuation and frequency select The second group controls the high frequen cies and has three controls boost bandwidth and frequency select The third group also controls 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 67 on page 171 UAD Powered Plug Ins 170 Pultec and Pultec Pro In Out Toggle Switch i On Off Rotary Switch ATTEN SEL 5 10 29 SHARP BROAD LOW FREQUENCY BANDWIDTH HIGH FREQUENCY Figure 67 Control grouping within the Pultec EQP 1A This is a signal bypass control It allows you to compare the processed and un processed signal It does NOT reduce UAD DSP load In the hardware EQP 1A the audio is still slightly colored even when the switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Because the plugin emulates the hardware in
276. ualization gain for the midrange band is selected with the inner knob of the dual concentric control The available range is approximately 1 8 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 disable the Mid band UAD Powered Plug Ins 231 Neve 1073 Equalizer Low Band Low Cut Note You can also click the midrange symbol above the knob to cycle through the available values The available midrange center frequencies are 360Hz 700Hz 1 6kHz 3 2kHz 4 8kHz 7 2kHz 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 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 x 15dB 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 di
277. urer is Universal Audio Inc 330 Encinal Street Santa Cruz CA 95060 2101 USA 9 Miscellaneous This Agreement shall be governed by and construed in accordance with the laws of the United States and the State of California as applied to agreements entered into and to be performed entirely within California between California residents If for any reason a court of competent jurisdiction finds any provision of this License or portion thereof to be unenforceable that provision of the License shall be enforced to the maximum extent permissible so as to effect the intent of the parties and the remainder of this License shall continue in full force and effect This Agreement constitutes the entire agreement between the parties with respect to the use of the Software and Documentation and supersedes all prior or contemporaneous understandings or agreements written or oral regarding such subject matter No amendment to or modification of this License will be binding unless in writing and signed by a duly authorized representative of Universal Audio Should you have any questions concerning this Agreement please contact Universal Audio at 330 Encinal Street Santa Cruz CA 95060 2101 USA 1 831 466 3737 voice 1 831 466 3775 fax www uaudio com web TABLE OF CONTENTS Chapter 1 Introduction 14 NT 14 wid ate
278. utput levels wet dry mix and reverb mute controls can be modified Input Output 0 0 dB 0 0 dB _ Figure 38 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 is unity gain UAD Powered Plug Ins Manual 101 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 10076 wet 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 DreamVerb Preset Management Factory Presets Save Load Default Preset Location In the preset menu there is a bank of 32 factory presets Presets modified in the bank are saved when another preset within the bank is se
279. ve 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 336095E 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 The Neve 336095E controls are exactly the same as the Neve 33609 Please refer to the Neve 33609 section for Neve 33609SE control descriptions see Neve 33609 Controls on page 237 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 plugins You may enter a value in the Samples parameter in DelayComp or TrackAdv to compensate The la tency and its compensation is identical to that of the UAD Precision Equal izer See Compensating for Precision Equalizer on page 51 for more infor mation The Neve 33609SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Neve 33609 336095E is not required if the host application supports full plugin delay compensation throughout the si
280. vious discussion of delay compensation applies primarily to playback and mixing of existing tracks During recording tracking the primary con cern usually centers around getting the absolute lowest possible latency out of your hardware and software combination The lower the latency is the closer you can get to a realtime ears match the fingers performance situation in the digital environment where some latency is unavoidable Minimizing realtime latency is simply a matter of setting the hardware device driver ASIO or similar buffer setting as low as possible before system over loads or diminished audio quality such as distortion occurs The manufac turer of the sound output device in use may offer additional tips for optimizing latency on systems that use their hardware Note Keep in mind the latency for each instance of UAD Powered Plug Ins is equal to twice the current buffer size of the host system This is because av dio needs to travel to the UAD card then back again For example with a buffer size of 256 samples one Powered Plug In will introduce 512 samples of latency and two Powered Plug Ins in succession will introduce 1024 sam ples of latency UAD Powered Plug Ins Manual 57 Using UAD Powered Plug Ins DSP Usage Tempo Sync The UAD card features an on board CPU and 4 MB of memory for processing Powered Plug Ins The host system memory and CPU are never used for Pow ered Plug Ins processing However there wil
281. w the Lo value the Lo value will de crease to match the Hi value Sets the intensity of the filtering effect Higher values increase the intensity Recirculation allows both positive and negative values The polarity refers to the phase of the feedback as compared to the original signal If Recirculation displays a positive value the feedback will be in phase with the source If it displays a negative value then the feedback will be out of phase This control determines the balance between the processed and the original signal Values greater than 50 emphasize the processed signal and values less than 50 emphasize the original signal A value of 100 delivers just the processed wet signal and a value of 0 delivers just the source dry sig nal Mix allows both positive and negative values The polarity refers to the phase of the processed signal as compared to the original signal If a positive value is displayed then the processed signal will be in phase with the source With a negative value the processed signal is flipped 180 degrees out of phase with the source signal UAD Powered Plug Ins Manual 191 Nigel LFO Type Menu Determines the LFO low frequency oscillator waveshape and phase used to modulate the signal The waveshape can be set to triangle or sine each with varying duty cycles and phases Table 19 Phasor LFO Types and Descriptions Sin Pure sine wave Sin 2 Modified sine wave that
282. width 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 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 61 20k 100 EU Bk 20k Figure 61 Parametric Type Il response UAD Powered Plug Ins 165 Cambridge EQ Type Ill 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 vated 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 knob position at maximum gain See Figure 62 10 0 20 kan 100 Figure 62 Parametric Type Ill response UNIVERSAL AUDIO UAD Powered Plug Ins 166 Cambridge EQ Shelf EQ Shelf Enable Button Shelf Type Button Shelf Q Each band can be switched from parametric mode
283. you can use the key board to adjust it without making its value jump first Table 1 lists the keyboard shortcuts that are available for modifying parame ter values When using keyboard shortcuts the last edited control will be mod ified or on Mac OS you can use control click to select a different control as the target for keyboard shortcuts without changing the control s value Note Not all host applications support sending keystrokes to plugins Table 1 Keyboard shortcuts Keyboard Action Control Click Parameter Mac OS only Select parameter for keyboard control without changing its value UpArrow Increment Fine RightArrow Shift PageUp DownArrow Decrement Fine LeftArrow Shift PageDown Shift UpArrow Increment coarse Shift RightArrow PageUp Shift DownArrow Decrement coarse Shift LeftArrow PageDown Control Click parameter Windows Toggle initial editor setting the value when the Modifier Click parameter Mac OS editor window was last opened Modifier key set in Configuration Window Control Shift Click parameter Windows Revert to initial editor setting the value when the Modifier Shift Click parameter Mac OS editor window was last opened Modifier key set in Configuration Window UAD Powered Plug Ins Manual 27 Using UAD Powered Plug Ins Automation Every UAD Powered Plug In parameter can be automated if this feature is sup ported by the host application Eac
284. ys like to hear from our customers and welcome your comments and suggestions If you have any questions you can email us at info uaudio com In case your audio toolbox needs might include hardware such our UA Clas sics series please be sure to have a look at our web site for more information about the entire UA family of products at http www vaudio com The Universal Audio Team analog ears digital minds UAD Powered Plug Ins Manual 247 History INDEX Symbols reg Key File 65 Numerics 1176LN 113 245 1176LN Controls 120 1176LN Limiting Amplifier 15 1176SE Special Edition 122 1176SE Controls 122 1176SE Limiting Amplifier 16 A A B Selector 155 161 220 222 228 243 Accessing Meter Functions 31 acoustical space 94 Adjusting Parameters 26 AGC Mode 128 Air Blending 96 Air Density Menu 95 algorithm 93 All Button 134 All Buttons mode 121 Always On Top 32 AMD 8131 Mode 40 Amp Bent Knob 186 Amp Color Knob 186 Amp EQ Groups 185 Amp On Off Button 187 Amp Output Knob 186 Amp Overview 184 Amp Post EQ Knobs 186 Amp Pre EQ Knobs 185 Amp Type and Variable Knob Functions 184 Amp Type Descriptions 187 Amp Type Menus 187 Amp Types 185 Amp A Type Menu 188 Type Menu 188 Amplitude amp Slope 99 UAD Powered Plug Ins Manual Attack 120 Attack Knob 209 Attenuation Knob 171 172 174 Attenuation Selector Switch 172 Authorization 7 1 Authorization Procedure Mac OS 72 Authorization Procedure W

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