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Universal Audio UAD User Manual

Powered plug-ins software version 6.1
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UAD P
U
G
SER
UIDE
S
V
OFTWARE
ERSION
M
V
111025
ANUAL
ERSION
Universal Audio, Inc.
1700 Green Hills Road
Scotts Valley, CA 95066-4926
Voice: +1-831-440-1176
Fax: +1-831-461-1550
www.uaudio.com
Customer Support (USA):
1-877-MY-UAUDIO (877-698-2834)
OWERED
6.1
P
-I
LUG
NS

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Summary of Contents for Universal Audio UAD

  • Page 1 UAD P OWERED UIDE OFTWARE ERSION 111025 ANUAL ERSION Universal Audio, Inc. 1700 Green Hills Road Scotts Valley, CA 95066-4926 Voice: +1-831-440-1176 Fax: +1-831-461-1550 www.uaudio.com Customer Support (USA): 1-877-MY-UAUDIO (877-698-2834)

  • Page 2: Fcc Compliance

    Improper ventilation will cause overheating, and can Warranty damage the unit. The Warranty for all Universal Audio hardware is one (1) year from date of Heat purchase, including parts and labor. The unit should be situated away from heat sources, or other equipment that produces heat.
  • Page 3 The Universal Audio Software is licensed, not sold, defects. Your exclusive remedy, at Universal Audio's option, is to return and by Universal Audio to the original end user for use only on the terms set forth have replaced the inaccurate media containing the Software programs or receive here.
  • Page 4 Upon termination ©2011 Universal Audio, Inc. All rights reserved. by Universal Audio, you will return to Universal Audio, at your expense, the This manual and any associated software, artwork, product designs, and design Software, including documentation, and any copies thereof.

  • Page 5: Table Of Contents

    TABLE OF CONTENTS Chapter 1. Introduction ......... Welcome! .
  • Page 6 TABLE OF CONTENTS Chapter 5. Using Multiple UAD Devices......Overview ..............55 Plug-In License Policy .
  • Page 7 TABLE OF CONTENTS Range Limits ..............98 Entering Values .
  • Page 8 TABLE OF CONTENTS Primary Controls ............. 151 Secondary Controls .
  • Page 9 TABLE OF CONTENTS Chapter 17. DreamVerb ........Overview .
  • Page 10 TABLE OF CONTENTS Webzine Article ............. . 253 Chapter 21.
  • Page 11 TABLE OF CONTENTS Chapter 26. LA-3A Compressor ........Overview .
  • Page 12 TABLE OF CONTENTS Moog Filter Screenshot ............333 Moog Filter Controls .
  • Page 13 TABLE OF CONTENTS Other Controls ............. . . 371 Neve 33609SE .
  • Page 14 TABLE OF CONTENTS Precision De-Esser Controls ........... . 428 Operating Tips .
  • Page 15 TABLE OF CONTENTS Precision Multiband Interface ........... 462 Band Controls .
  • Page 16 TABLE OF CONTENTS Chapter 50. Roland Dimension D ....... . . Overview .
  • Page 17 TABLE OF CONTENTS Chapter 55. Studer A800 ........Multichannel Tape Recorder .

  • Page 18: Chapter 1. Introduction

    CHAPTER 1 Introduction Welcome! Congratulations, and welcome to the UA Family! You now own the best sounding, most powerful sonic upgrade available for your DAW. The UAD-2 and version 6 software represents the culmination of a multi-year develop- ment effort delivering the latest in state-of-the-art audio processing technology and is the next evolution of the revolutionary, award-winning UAD Powered Plug-Ins &...
  • Page 19 FAQ’s and enhanced sup- port so you can really get the most out of your UAD-2. Developing the UAD-2 as well as Universal Audio’s entire line of quality au- dio products designed to meet the needs of the modern recording studio while retaining the character of classic vintage equipment—has been a very special...

  • Page 20: Features

    Features • High-bandwidth x1 PCI Express card (PCIe 2.0 compatible) • UAD-2 Solo: low-profile, half-height, short PCIe card • UAD-2 Duo/Quad: full-height, short PCIe card • UAD-2 Satellite: Duo or Quad in FireWire enclosure w/power supply • 1, 2 or 4 Analog Devices SHARC floating-point processors •...

  • Page 21: The Uad System

    The UAD System The UAD Powered Plug-Ins package is a hardware-plus-software system that consists of one or more UAD DSP accelerator devices combined with the Pow- ered Plug-Ins software. Multiple UAD package types are available in the prod- uct line to accommodate your particular hardware system, processing needs, and budget.
  • Page 22 User Manuals This complete user manual for the product (the document you are reading now) is included in the software bundle. The filename of the manual is UADManual.pdf. The User Manual is the primary product user documenta- tion. It is on the software CD-ROM, and is also placed inside the Powered Plug-Ins Documentation folder on the hard drive during software installation.

  • Page 23: Online Documentation

    The unofficial UAD Powered Plug-Ins users forum, for the exchange of tips and information, is on the world wide web at: • http://www.studionu.com/uadforums Customer Support Customer support is provided by Universal Audio staff to all registered UAD Powered Plug-Ins users (see “Registration” on page 53 for details).
  • Page 24 To request online support, please visit our support page, then click the “Sub- mit Support Ticket” button to create a help ticket: • http://www.uaudio.com/support/uad Factory Address Universal Audio, Inc. 1700 Green Hills Road Scotts Valley, CA 95066-4926 • http://www.uaudio.com Main Website...

  • Page 25: Chapter 2. Uad Installation

    CHAPTER 2 UAD Installation Overview UAD Powered Plug-Ins installation and configuration consists of four steps: • UAD software installation Insert the enclosed CD-ROM and run the installer. • UAD hardware installation Follow the instructions in this chapter. • UAD device registration Add your device to your my.uaudio.com Account.

  • Page 26: System Requirements

    System Requirements UAD Powered Plug-Ins require the following hardware and software: Windows • Microsoft Windows XP (Home, Professional, or x64 Edition), Windows (x86 and x64) Server 2003, Windows Vista, or Windows 7 • Mac OS X 10.5 Leopard, 10.6 Snow Leopard, or 10.7 Lion (32-bit and 64-bit*) •...

  • Page 27: Latest Information & Software Updates

    We test the specific host applications listed in Table 1 on page 27 for com- patibility with UAD Powered Plug-Ins, and only these hosts are supported by our technical staff. We recommend the latest versions of these host applica- tions for optimum performance. Host applications that are not listed may work with UAD Powered Plug-ins, but compatibility with them cannot be guaran- teed.

  • Page 28: Uad Software Installation

    UAD Software Installation Install Software If you are installing UAD Powered Plug-Ins for the first time, install the software First before installing the UAD device(s). This is particularly important on Windows systems. If you are updating to a newer version of the software or installing additional UAD devices, it is not necessary to remove the previous UAD soft- ware or hardware from the system, but you should still install the newer soft- ware before adding new devices.
  • Page 29 When installation has completed, power down your system to install the UAD card(s) following the instructions on page 30. If the UAD device is al- ready installed or you are updating, restart the system. After restarting, the New Hardware Wizard will try to locate the new driv- ers.

  • Page 30: Uad Hardware Installation

    The UAD Meter & Control Panel application and UAD documentation is cop- Installed Locations ied to these locations on the hard drive during installation: • C:\Program Files\Universal Audio\Powered Plug-Ins Windows You can access these files from the Windows Start Menu at: • Start>All Programs>UAD Powered Plug-Ins The VST plug-in files are installed to the location specified during installation.
  • Page 31 However, if a computer system has both PCI/PCI-X and PCIe slots, the UAD–1, UAD–1e, and UAD-2 can all be installed and used simultaneously as a multidevice system. See Chapter 5, “Using Multiple UAD Devices.” Important: The UAD-1 will ONLY work in PCI and PCI-X slots, and the UAD- 1e, UAD-2, and UAD-Xtenda will ONLY work in PCI Express (PCIe) slots.

  • Page 32: Authorization

    Before handling the UAD card, discharge any static electricity by touching the outer casing of the power supply. Remove the UAD card from its protective anti-static bag. Do not touch the gold edge connector contacts. Hold the card gently by the top edges, and line up its connector with the slot inside the computer.

  • Page 33: Authorize Plug-Ins Procedure

    Important: All UAD plug-ins must be authorized before they can be used (unauthorized plug-ins can be used in demo mode for 14 days without autho- rization). Authorization is accomplished by clicking the “Authorize Plug-Ins” button in the UAD Meter & Control Panel application. The procedure is in the next section.

  • Page 34: Offline Authorization

    Figure 3. Double-click the downloaded UAD authorization file. Offline Authorization If the UAD computer is not connected to the internet, you will need to manually transfer the registration URL into the browser of a web-enabled computer. To download and apply the UAD authorization file if not connected to the internet: Install UAD version 5 (or higher) software and the UAD hardware using the procedures detailed in this chapter (the system must be operating properly).

  • Page 35: Using Unlicensed Plug-Ins (Demo Mode)

    The authorization file should begin downloading automatically. Click the “Download Authorization” link to download the auth file if not. Transfer the authorization file to the UAD computer. Double-click the authorization file. The authorization is loaded onto the UAD device(s) and after a few seconds the “Authorizations Updated Suc- cessfully”...
  • Page 36 To confirm proper UAD installation and operation: Launch the UAD Meter & Control Panel application (see page 62). Open the System Information panel (see page 64). When the UAD device is displayed in the Hardware area and its status is “OK”...

  • Page 37: Learn More

    Learn More After installation, registration, and authorization, you’re ready to use UAD Powered Plug-Ins. We especially recommend reading chapters 3, 4, 6, and 7 in this manual to gain important insights about using the product. Visit our support site for the latest technical information and additional infor- mation not included with the software, or to contact technical support about any technical difficulties: •...

  • Page 38: Chapter 3. Uad System Overview

    “power” behind UAD Powered Plug-Ins. Most of the UAD plug-ins use extremely complex algorithms to provide the quality sound and accurate mod- eling Universal Audio is famous for. The UAD processor engines are signifi- cantly more optimized to perform the complex DSP routines required for these algorithms than a standard desktop computer CPU can deliver.
  • Page 39 Note: Multiple UAD hardware types can be used concurrently in the same computer. For details, see Chapter 5, “Using Multiple UAD Devices.” UAD-2 is our second-generation UAD product line that offers UAD-2 Family many improvements over the original UAD-1, most notable is significantly increased DSP horsepower.
  • Page 40 The UAD-2 SOLO/Laptop device (and UAD–Xpander) can be used with an optional 3rd-party PCIe-to-ExpressCard adapter card, which enables the UAD ExpressCard to be used in desktop computers that have PCIe expansion slots. This system provides a convenient way to switch the UAD-2 SOLO/Laptop be- tween desktop and notebook computers.
  • Page 41 The Mackie card is a UAD-1. Mackie was the worldwide distributor of UAD Mackie UAD-1 Powered Plug-Ins for its first two years on the market. Universal Audio has been the developer and manufacturer of UAD Powered Plug-Ins hardware and software since its inception.

  • Page 42: The Uad Software

    Most UAD plug-ins require optional licenses to run without restrictions. Op- Optional Plug-Ins tional plug-in licenses are obtained at my.uaudio.com, the Universal Audio online store. Licenses can be purchased separately, or they can be purchased with “vouchers” that are bundled in most retail packages.
  • Page 43 UAD Meter & The UAD Meter & Control Panel (page 61) is a utility ap- Control Panel plication that is used to monitor and configure UAD de- vice resources. It has two main windows: the UAD Meter, and the UAD Control Panel. The UAD Meter window (Figure 7 on page 61) displays...

  • Page 44: The Daw Environment

    The DAW Environment The digital audio workstation (“DAW”) environment is an over- all system where audio produc- tion takes place, either with or without UAD Powered Plug-Ins. The UAD system is an add-on to the computer-based DAW that can dramatically improve the sonic quality and performance of the DAW, while still working en- tirely from within the DAW.
  • Page 45 Each host application has its own set of system requirements. In addition to the UAD-specific system requirements, the host computer must meet the host application system requirements. Because the host application environment is integral to the UAD system but is completely out of our control, we cannot claim compatibility with all hosts that may support use of the UAD plug-in formats.

  • Page 46: My.uaudio.com

    I/O Drivers The audio interface is a hardware device that requires a software device driver for the host computer OS. In addition to instructing the OS on how to control the interface hardware, the driver acts as a software “middleman” be- tween the host application and the I/O ports.

  • Page 47: Chapter 4. My.uaudio.com

    CHAPTER 4 My.uaudio.com My.uaudio.com is the Universal Audio online store where UAD devices are registered to your account and UAD plug-in authorizations are obtained. Bun- dled plug-in vouchers are redeemed at the store and optional plug-in licenses can be purchased at my.uaudio as well. This chapter provides details about UAD plug-in authorization and licensing, and the my.uaudio.com store.

  • Page 48: Authorization Overview

    Bundled Plug-Ins UAD plug-ins that are bundled with the UAD device are automatically li- censed when the device is registered. After registration, the Authorization File must be loaded. Note: UAD devices must be authorized to run bundled (included) plug-ins. “Authorization Overview” on page 48 for details.
  • Page 49 Video Help Our support website contains many helpful videos that explain how to register and authorize the product, obtain optional plug-ins, and more: • http://www.uaudio.com/support/uad/videos.html This section is a detailed overview of the entire UAD authorization system. For Procedure the step-by-step authorization instructions, see “Authorize Plug-Ins Procedure”...
  • Page 50 My Systems The UAD devices and plug-ins that you own and can authorize can be found in your My Systems page at my.uaudio.com. My Systems keeps track of which UAD devices are in which computer, and the authorization status of each UAD plug-in.

  • Page 51: Demo Mode

    • The .uad/.uad2 authorization file contains plug-in license keys for the spe- cific UAD devices in each computer group at Systems. The file will not authorize any other UAD devices. • An authorization file is not associated to the host computer or the UAD in- staller in any way.

  • Page 52: Ua Online Store

    Click the Start Demo button for the desired UAD plug-in. 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. • (UAD-2 only) In addition to the Plug-Ins panel, Demo mode can also be ac- Demo Notes tivated directly from the UAD Toolbar (see page...

  • Page 53: Buying Plug-Ins

    Registration Registration at my.uaudio.com is required for all UAD users to obtain UAD de- vice authorizations, redeem vouchers, purchase optional UAD plug-in li- censes, get software updates, and receive customer support. It is also an op- portunity for you to inform us of your system details so we can serve you better, and for us to keep you informed about important updates and new product announcements.

  • Page 54: Transferring Uad Devices And Licenses

    Lots of product information such as features, specifications, audio/video demos, and reviews are available on the plug-in product pages at the store to help you make your buying decisions. Purchase To purchase and authorize an optional UAD plug-in: Procedure Login to your Account at my.uaudio.com.

  • Page 55: Chapter 5. Using Multiple Uad Devices

    59 for additional details if combining these device types. Plug-In License Policy The Universal Audio End-User License Agreement (“EULA”) on page 3 grants you the non-exclusive right to use UAD Powered Plug-Ins on a single computer at a single location.

  • Page 56: Uad Link Licensing

    However, as an example, if you have four UAD devices but run a dual-device system in two separate computers, you are required to purchase separate li- censes for the second system. “UAD Link Licensing” on page 56 details the exception to this policy, where licenses for portable UAD devices can be linked to a desktop system.

  • Page 57: Authorizing Multiple Devices

    Authorizing Multiple Devices When you buy an optional plug-in, your purchased license is valid for all the UAD devices in the computer. The license is tied to the specific UAD devices in the System (see page 50) when the license was purchased. For example, if you have two devices when you purchase a plug-in, your authorization file will authorize both devices.

  • Page 58: Multidevice Dsp Loading

    The UAD device power requirements are listed in Table 2 on page 58. These figures are measurements of the actual power draw for these devices when running at full DSP load. Note: UAD-2 Satellite cannot be powered by the Firewire bus; it requires the included external power supply adapter for operation.

  • Page 59: Device Info Display

    Device Info Display UAD DSP and memory re- sources used for each in- stalled device, and the ability to enable/disable individual devices, is displayed in the System Information window. “System Information Panel” on page 65 for com- plete details. Disabling Devices Individual UAD devices can be disabled using the Device Enabled function (see page...
  • Page 60 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 devices during tracking may give the extra pinch of host CPU you need.

  • Page 61: Chapter 6. Uad Meter & Control Panel

    CHAPTER 6 UAD Meter & Control Panel Overview The UAD Meter & Control Panel application is used to monitor UAD device resources, confirm the UAD system is operating properly, and configure the global UAD Powered Plug-Ins system parameters. The UAD Meter window displays the current DSP, pro- gram, and memory status of the UAD hardware in real- time.

  • Page 62: Launching The Uad Meter & Control Panel Application

    Plug-Ins/UAD Meter & Control Panel. OR, Double-click the executable file on the hard drive located at C:Program Files/Universal Audio/Powered Plug-Ins/UADPerfMon.exe. To launch the UAD Meter in Mac OS X: Single-click the UAD Meter & Control Panel alias that was optionally placed in the Dock during installation.

  • Page 63: Uad Meter Elements

    UAD Meter Elements Refer to Figure 7 on page 61 for these element descriptions. Title Bar The title bar at the top of the UAD Meter window contains buttons to quit the UAD Meter & Control panel application and minimize the UAD Meter win- dow, and a drop-menu to access the Control Panel window functions.

  • Page 64: Uad Control Panel

    The DSP gauges display the amount of digital signal processing resources that are being used by the UAD Powered Plug-Ins algorithms. DSP is the primary hardware “juice” that powers the UAD Powered Plug-Ins algorithms. When UAD plug-ins are disabled, DSP requirements are decreased. This resource shows how much “program memory”...

  • Page 65: System Information Panel

    Click the Menu button Figure 8. Accessing the UAD Control Panel Once the main UAD Control Panel window is open, the individual window panels are accessed by clicking the title buttons (Figure Figure 9. The Control Panel window panel buttons Note: The FireWire button is only displayed if UAD-2 Satellite is connected.
  • Page 66 Figure 10. The UAD System Information panel Plug-In Latency UAD plug-in latency for each device type (UAD-2 and UAD-1) is displayed Section here. The calculation is based on the audio I/O interface buffer size and the sample rate. The window uses this information to calculate and display the re- sulting latency in samples and milliseconds.
  • Page 67 UAD-2: The displayed latency is the audio I/O interface buffer size when Extra Buffering (page 74) is off. When Extra Buffering is on, the displayed latency is the audio I/O interface buffer size plus 64 samples. UAD-1: The displayed latency is twice the audio I/O interface buffer size. Note: The displayed sample latency number does not include the extra sam- ples produced by upsampled UAD plug-ins.

  • Page 68: Plug-Ins Panel

    DSP Load If more than one UAD DSP is installed, information for each of the processors is displayed. DSP, Program (“PGM”), and Memory (“MEM”) loads are dis- played as a percentage of total available load for that processor. The number of UAD plug-ins (“PLG”) running on each individual processor is also displayed (not available for UAD-1).
  • Page 69 Plug-In Column All currently installed UAD Powered Plug-Ins are displayed in the Plug-In col- umn. Use the scrollbar to view the entire list if necessary. The Status column reflects the current state of each UAD plug-in. The status de- Status Column pends on which device (UAD-2 or UAD-1) the plug-in is running on;...
  • Page 70 Figure 11. The UAD Plug-Ins panel The Run On column indicates which device (UAD-2 or UAD-1) the specified Run On Column plug-in will load onto. When both UAD-2 and UAD-1 are installed, you can select between them with the Run On menu in order to better manage your DSP resources.

  • Page 71: Configuration Panel

    For example, you could run low-DSP plug-ins such as the UAD CS-1 on the UAD-1, while specifying that resource-hungry plug-ins such as Neve 33609 run on the UAD-2. The Run On column contains a drop menu for each plug-in. Spec- Run On Menu ify which device type (UAD-2 or UAD-1) the plug-in will load onto with the Run On drop menu.
  • Page 72 Figure 12. The UAD Configuration panel Without UAD Powered Plug-Ins installed, overloading the host system with na- DSP Load Limiting tive (host based) plug-ins can cause dropouts and possibly system lockup. Overview Steinberg hosts, for example, provide a switch that allows you to trade la- tency for stability when the system is overloaded.
  • Page 73 With the Limit DSP Load feature, the UAD DSP can also be limited so the load cannot exceed 100%, thereby increasing overall system stability in high load situations. With very heavy UAD loads, DSP load limiting may also improve host CPU performance. There are many variables that affect DSP load (sample rate, buffer size, pa- rameter values, mono/stereo, automation, host system, etc).
  • Page 74 UAD-2 DSP DSP LoadLock (UAD-2 only) reserves the maximum LoadLock UAD-2 DSP load required by each plug-in, even if cer- tain plug-in features are disabled. This ensures there will always be enough DSP if those features are later enabled, or when automating parameters that affect the DSP load.
  • Page 75 AMD-8131 If your computer uses the AMD-8131 PCI controller chipset, check the Mode “AMD-8131 Compatible” box. This will improve UAD performance on these systems. For the new setting to take affect, you must reset the audio interface using one of the following methods: •Close the re-open the session •Stop then restart the audio engine •Modify or reset the audio device settings...
  • Page 76 Windows Sonar Compatibility Mode Tick the Sonar Compatibility Mode checkbox to improve UAD-1 plug-in per- formance when used with Cakewalk Sonar. This mode should be disabled when using different hosts, otherwise audio degradation could occur. Release all DSP resources on Audio Unit bypass Some Audio Unit hosts dynamically bypass plug-ins when they are not being used during playback, for example when no audio is present at the current playback position.
  • Page 77 On multi-processor machines Live Mode forces all plug-ins on tracks with UAD plug-ins (and any aux/buses fed by those tracks) to run on one processor only. To allow host-based (native) plug-ins to run on all processors under these conditions, deactivate this setting. Note: Changes to this setting do not take effect until all open sessions con- taining UAD plug-ins are reloaded.

  • Page 78: Firewire Panel

    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. Toggle initial value modifier Holding the specified modifier key while clicking a parameter control will tog- gle between the value of the control when the editor was opened and its last edited value.
  • Page 79 For more information about FireWire and using it with UAD-2 Satellite, see “FireWire Basics” on page 137, “FireWire Bandwidth vs. UAD DSP” on page 143, and “FireWire Bus Power” on page 144. Figure 13. The UAD FireWire panel Current Link The current speed of the FireWire link between the host computer and the Speed UAD-2 Satellite is displayed here.
  • Page 80 If the host computer has multiple FireWire buses (this is rare), up to two speeds will be displayed, with the values separated by a comma. Note: If the host computer supports FireWire 800 and the Target Link Speed is set to 800, but the Current Link Speed still displays 400, check the bus or- dering of the FireWire devices.
  • Page 81 It is important to note that all devices on the FireWire bus share the available data bandwidth of the bus, including hard drives and audio interfaces as well as UAD-2 Satellite. Therefore all of the bandwidth cannot be allocated for UAD use if FireWire hard drives and/or audio interfaces are on the same bus.
  • Page 82 When a UAD plug-in is loaded on UAD-2 Satellite by the host software, the Plug-In Calculator is automatically adjusted, using the session sample rate, Current Link Speed, and UAD Bandwidth Allocation values. Max Stereo Plug-Ins The maximum number of stereo UAD plug-ins that can run on UAD-2 Satellite, based upon the FireWire System settings and a given session sample rate, is...
  • Page 83 Used by other This number displays the percentage of FireWire bus bandwidth that is used devices by all the FireWire devices connected to the bus EXCEPT for UAD-2 Satellite, such as hard drives and audio interfaces. The number is used to help deter- mine an optimum value for the UAD Bandwidth Allocation parameter.

  • Page 84: Help & Support Panel

    Help & Support Panel The Help & Support panel (Figure 15) contains numerous helpful weblinks to help you get the most out your UAD Powered Plug-Ins experience. The button names are self-explanatory. Click a button to launch the URL in your default web browser (you must be connected to the internet to launch the web pages).

  • Page 85: Chapter 7. Using Uad Powered Plug-Ins

    CHAPTER 7 Using UAD Powered Plug-Ins Overview Once the UAD device(s) and Powered Plug-Ins have been properly installed, the UAD Powered Plug-Ins are accessed and used just like any host-based plug-in. All UAD Powered Plug-Ins can run concurrently with each other and with host-based plug-ins simultaneously, in any combination.

  • Page 86: The Uad Plug-In Window

    Logic Pro Figure 17. Launching a UAD Powered Plug-In in Apple Logic Pro The UAD Plug-In Window A typical UAD Powered Plug-In window is shown in Figure 18. The graphical user interface (GUI) typically contains several control parameters, for modify- ing the behavior of the plug-in, and display elements such as meters, for visual feedback.

  • Page 87: Uad Toolbar

    Controls View Some host applications have an alternate plug-in display mode feature called Controls View, Parameter Mode, or similar nomenclature. This mode typically displays the control parameters as a list with simple sliders, switches, and menus (the appearance is controlled by the host), which some users prefer. Consult the host documentation for how to display this view.
  • Page 88 Settings Menu The Settings menu provides a convenient way to manage your UAD plug-in parameter settings. To select the func- tions, click the folder icon in the Toolbar, then select an ac- tion from the drop-menu that appears. The Settings load/save feature supports presets but not banks.

  • Page 89: Livetrack Mode

    For example, if the default lo- cation was selected when running the installer, the location would be: • C:\Program Files\Universal Audio\Powered Plugins\Presets Note: This default location can be changed during installation; the new lo- cation will be remembered as the default.
  • Page 90 Increased Host Loading using LiveTrack When LiveTrack is active, host CPU loading increases. The host load is di- rectly proportional to the DSP load of the UAD plug-in(s) in LiveTrack mode, however host CPU is never used for Powered Plug-in processing. Extra Latency using LiveTrack When extra buffering is enabled (page...

  • Page 91: Adjusting Parameters

    Disabled When “DISABLED” is displayed in red, the plug-in will not pro- cess audio. This can occur in two situations; either the demo pe- riod has expired (click the Buy button!), or the UAD DSP is over- loaded and there are not enough device resources to run the plug-in. Status Blank When no text is displayed in the Status area, the plug-in is fully authorized (li- censed) and operating normally.

  • Page 92: Shortcuts

    Text Entry Parameter values can 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.

  • Page 93: Dsp Loading Information

    Table 3. Keyboard shortcuts Keyboard Action: Result: Control + Click Parameter (Mac only) Select parameter for keyboard control (without changing its value) Shift + Drag Fine Control UpArrow Increment Fine RightArrow Shift + PageUp DownArrow Decrement Fine LeftArrow Shift + PageDown Shift + UpArrow Increment Coarse Shift + RightArrow...

  • Page 94: Automation

    UAD Devices Because Firewire has significantly less bandwidth than the PCIe protocol, if with UAD-2 UAD-2 Satellite is running with UAD-2 PCIe card(s) in a multidevice system, Satellite UAD plug-ins will load on the UAD-2 card(s) before the Firewire device in or- der to maximize Firewire bandwidth.

  • Page 95: External Midi Control

    External MIDI Control UAD Powered Plug-In parameters can be controlled by an external MIDI con- troller, if this feature is supported by the host application. Each host applica- tion has its own particular methods for external MIDI control. Consult the host application documentation for specific instructions on using external MIDI control with the application.

  • Page 96: Chapter 8. Tempo Sync

    CHAPTER 8 Tempo Sync Overview The time-based parameters of several UAD Powered Plug-Ins can be synchro- nized 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.

  • Page 97: Available Note Values

    Sync Activation To activate Tempo Sync, click the “Sync” button within the plug-in interface. The Sync button “LED” will illuminate and the time parameters will change from a time-based display to a note value (see Figure 21). Note: When Tempo Sync is activated, the plug-in 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.

  • Page 98: Range Limits

    Range Limits 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: •...

  • Page 99: Out Of Range

    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). Out of range 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 (Figure 22).

  • Page 100: Roland Re-201 Sync

    Roland RE-201 Sync When the RE-201is 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 with a “+” or “–” symbol. The leading head in the current mode is accurately synced;...

  • Page 101: Chapter 9. Uad Delay Compensation

    CHAPTER 9 UAD Delay Compensation Latency & Delay Compensation 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 device. The audio is then processed by the UAD device and sent back to the host application. This back-and-forth shuffling of audio data is called “buffering”...
  • Page 102 Table 6. Host Application plug-in delay compensation Implementations Full PDC Platform Partial PDC Platform Steinberg Cubase SX 2 Win / Mac Logic 5, 6, 7.0 Win / Mac Steinberg Nuendo 2 Win / Mac Steinberg Wavelab 6 Windows No PDC Sony Vegas 6 Windows Digidesign Pro Tools LE...

  • Page 103: Uad-1 Delay Compensator

    Host Application For optimum results, the “Plug-in Delay Compensation” option setting should Settings be enabled in the host application. This will provide automatic latency com- pensation when UAD plug-ins 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.
  • Page 104 The UAD-1 Delay Compensator acts as a dummy UAD Powered Plug-In, au- tomatically introducing the necessary amount of latency for tracks which are NOT processed by UAD Powered Plug-Ins. It requires no DSP from the UAD device and allows you specify the number of UAD Powered Plug-Ins instances you wish to compensate.
  • Page 105 Grouping Tracks The UAD DelayComp plug-in is generally used on track inserts. However, Requiring when many tracks require delay compensation, instead of placing individual DelayComp Delay Compensator plug-ins 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-1 Delay Compensator on that bus or group.

  • Page 106: Uad-1 Track Advance

    UAD-1 Track Advance Overview The previous discussions on delay compensation (see “Latency & Delay Com- pensation” on page 101) apply mainly when using only audio tracks. When MIDI tracks are played simultaneously alongside audio tracks, a different (but related) synchronization issue can arise. Let’s say you have a MIDI track and an audio track with a UAD-1 plug-in on the audio track insert.
  • Page 107 Important: UAD TrackAdv should not be used in host applications that pro- vide full PDC throughout the entire signal path. TrackAdv or DelayComp is not needed at all in such hosts. See “Host PDC Implementation” on page 101. UAD TrackAdv is designed to be used on audio track inserts of tracks that are How to use TrackAdv assigned to a send/group/bus that has one or more UAD plug-ins applied.

  • Page 108: Compensating Upsampled Plug-Ins

    Send Situation: You have 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.
  • Page 109 • Compensating for upsampled UAD plug-ins is not required when these plug- ins are used for program material on the output bus, where latency is not a consideration. • If only one latency value is shown in Table 7 on page 110, the value ap- plies to both UAD–1 and UAD-2.

  • Page 110: Upsampling Values Table

    Upsampling Values Table Table 7 below lists the additional latency produced by upsampled UAD plug- ins. See the “Compensating Upsampled Plug-Ins” on page 108 for details. Table 7. Upsampled UAD plug-ins with additional latencies Sample Rate (kHz) Upsampled Plug-In 44.1 88.2 176.4 Pultiec EQ/Pultec-Pro...

  • Page 111: Upsampled Compensation Examples

    Upsampled Compensation Examples Situation: You have a session at 44.1kHz with bass, drums, guitar, and 2 vo- Group/Bus Example cal tracks. You want a fat, warm vocal blend so you put both vocal tracks on a group/bus and apply one instance of UAD Helios 69 to the vocal bus. Re- sult: The vocal tracks play late in relation to the instrument tracks.
  • Page 112 PMB Group/Bus Situation: You have a session with bass, drums, piano, and 2 vocal tracks. Examples 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 section group/bus.

  • Page 113: Live Processing

    Live Processing The previous discussions of delay compensation applies primarily to play- back and mixing of existing tracks. During recording (tracking), the primary concern 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”...

  • Page 114: Chapter 10. Uad Expresscard Products

    USB and Firewire connections free for dongles, Audio I/O, and hard drives, while operating at full PCI Express bandwidth. Universal Audio has three ExpressCard products: UAD-2 SOLO/Laptop™, UAD-Xpander™, and UAD–Xtenda™. Once installed and configured, these products are functionally identical to their UAD card counterparts (see “The...
  • Page 115 Instructions in this chapter are specific to the UAD ExpressCard products only, and apply in addition to the other chapters. To get the most from your UAD ExpressCard products, please review the following additional information: Important Information Important user information is presented on a printed document within the UAD ExpressCard product retail package.

  • Page 116: Uad-2 Solo/Laptop Details

    • ExpressCard/34 to ExpressCard/54 Adapter • UAD DSP Family Quickstart Guide DVD • UAD Powered Plug-Ins software CD-ROM • Important Information Sheet • Universal Audio Full Line Catalog SOLO/Laptop To use the UAD-2 SOLO/Laptop, your system must meet the minimum system System requirements for UAD Powered Plug-Ins (see “System Requirements”...
  • Page 117 Software Updates The CD-ROM in the retail package may not contain the latest UAD software. Please check our website for software updates: • http://www.uaudio.com/support/uad/downloads/ • If the UAD software is already installed, the UAD Meter & Control Panel has a convenient button that links to the updates page (“Check for Updates”...
  • Page 118 Slide the UAD-2 SOLO/Laptop ExpressCard fully into the host computer’s ExpressCard/34 expansion slot (or ExpressCard/54 expansion slot with the adapter) until it is firmly seated. The LED on the SOLO/Laptop will initially flash red/green, indicating the hardware is powered by the computer but the UAD drivers are not yet loaded.

  • Page 119: Important Solo/Laptop Notes

    Important SOLO/Laptop Notes For maximum system stability and reduced possibility of data loss, please ob- serve these operational requirements when operating UAD-2 SOLO/Laptop: Sleep Important: Close sessions and remove UAD-2 SOLO/Laptop before sleep! Before putting the computer into system sleep/hibernate/standby mode, quit all UAD host software and remove the UAD-2 SOLO/Laptop device.

  • Page 120: Uad-Xtenda

    UAD–Xtenda UAD–Xtenda is an optional package that enables UAD-2 SOLO/Laptop and UAD–Xpander to be used in a desktop computer that has PCIe expansion slots. The UAD–Xtenda provides a convenient way to switch the same UAD ExpressCard between desktop and notebook computers. Note: UAD-Xtenda is a discontinued product.

  • Page 121: Uad-Xpander Details

    UAD–Xpander Details Important: The information in the remainder of this chapter apply to the dis- continued UAD–Xpander ONLY. For UAD-2 SOLO/Laptop instructions, see “UAD-2 SOLO/Laptop Details” on page 116. • Noiseless, Fanless, Alumi-cool chassis design Features • Ultra-fast (2.5Gbps) ExpressCard/34 interface (can be used in ExpressCard/54 slots) •...
  • Page 122 UAD–Xpander requires the following hardware and software: • UAD Powered Plug-ins software v4.7.1 or higher (included) • Available ExpressCard/34 or ExpressCard/54 expansion slot • Available PCI Express (PCIe) slot for each optional UAD–Xtenda card • (Win) Windows notebooks are supported under Windows Vista only Software Install Software First Installation...

  • Page 123: Uad-Xpander Connections

    UAD–Xpander Connections This section describes how to set up the UAD–Xpander and connect it to the computer. Hardware installation is the same for all platforms. Power Down! Before connecting the UAD–Xpander to your computer, make sure both sys- tems are completely powered down. Important: Because the Xpander drivers are loaded during startup, merely putting the system to hibernate or sleep is insufficient.
  • Page 124 Note: All UAD–Xpander instructions apply regardless of whether the unit is attached to a notebook computer or a desktop computer via UAD–Xtenda. For optimum results, specific steps must be followed when starting the Startup Sequence UAD–Xpander and host computer system. Following this sequence ensures the Xpander electrical and UAD driver requirements are properly met.
  • Page 125 • When UAD–Xpander power is on but there is no electrical connection to the computer (such as when the computer is off), the UA logo glows red. • When power is on and there is an electrical connection to the computer, the UA logo glows blue (Figure 25).
  • Page 126 Power down the ExpressCard, using the following method as defined by the operating system: • (Windows) In the Windows Task Bar, click the Safely Remove Hardware icon, and select “Safely remove Universal Audio UAD-1 DSP card” (Figure 26 on page 126).

  • Page 127: Important Xpander Notes

    To disable Sleep in Windows: In the Control Panel>Performance and Maintenance>Power Op- tions>Power Scheme panel, set the Power Scheme to “Always On” To disable Sleep in when notebook lid is closed: In Control Panel>Perfor- mance and Maintenance>Power Options: Click the “Change when the computer sleeps”...

  • Page 128: Chapter 11. Uad-2 Satellite

    CHAPTER 11 UAD-2 Satellite Overview UAD-2 Satellite is a UAD-2 DSP accelerator that connects to the host computer UAD Powered Plug-Ins via via FireWire 800 or FireWire 400 and hosts UAD-2 Powered Plug-Ins on Mac FireWire OS systems. Unlike previous UAD-2 PCIe products, UAD-2 Satellite is a com- pletely external unit with power supply that does not require a PCI, PCIe or Ex- pressCard interface.

  • Page 129: Uad-2 Satellite Details

    • External power supply with international AC plug adapters • FireWire 800 (9-pin) cable • UAD Powered Plug-Ins software installer on CD-ROM • Important Information Sheet • Universal Audio Full Line Catalog UAD Powered Plug-Ins Manual - 129 - Chapter 11: UAD-2 Satellite...

  • Page 130: Uad-2 Satellite Installation

    Satellite System To use UAD-2 Satellite, your system must meet the minimum system require- Requirements ments for UAD Powered Plug-Ins in addition to the UAD-2 Satellite prod- uct-specific requirements below. UAD-2 Satellite requires the following hardware and software: • Mac OS 10.6 Snow Leopard (Intel systems only) •...
  • Page 131 Security Slot The Kensington Security Slot is on the rear panel. This feature helps prevent theft when used with an optional locking cable such as the Kensington MicroSaver Security Cable. Refer to the instructions that come with the optional cable. External Power UAD-2 Satellite includes an external international DC power supply with Supply...
  • Page 132 Connecting Important: Install the UAD software before connecting UAD-2 Satellite (see UAD-2 Satellite “UAD Software Installation” on page 28). UAD-2 Satellite may be connected before or after the system is booted. To connect UAD-2 Satellite: Ensure that UAD v5.8.1 (or higher) software is already installed and that the system was restarted after software installation.

  • Page 133: Uad-2 Satellite Operation

    UAD-2 Satellite Operation After UAD Powered Plug-Ins software v5.8.1 (or higher) is installed (page and UAD-2 Satellite is properly connected to the computer via FireWire (page 130), the system is ready for use. Refer to other chapters in this manual for software operating instructions.
  • Page 134 Existing UAD If you already have another UAD device, you can share those UAD licenses Licenses with UAD-2 Satellite. This option is presented during initial device registra- tion; please consider your options carefully when registering. Hot plugging refers to the ability to disconnect UAD-2 Satellite while the host Hot Plugging computer is active or sleeping, and reconnect it at a later time without reboo- ting.

  • Page 135: Important Uad-2 Satellite Notes

    System Sleep System sleep while UAD-2 Satellite is active is not supported. Before sleeping the system, quit all plug-in host applications (including the UAD Meter & Con- trol Panel) and disconnect UAD-2 Satellite. After wake, UAD-2 Satellite may be reconnected. Important: Quit all hosts and disconnect UAD-2 Satellite before system sleep.
  • Page 136 • Although “Hot Plugging” on page 134 is supported, disconnecting UAD-2 Satellite when UAD plug-ins are running could cause unpredictable behav- ior. Quit all UAD hosts and the UAD Meter & Control Panel before discon- necting or powering down UAD-2 Satellite. Important: Do not disconnect UAD-2 Satellite while UAD plug-ins are loaded.

  • Page 137: Firewire Basics

    FireWire Basics FireWire (also known as “IEEE 1394” and “i.Link”) is a high-speed serial data interconnection protocol that is used to transfer digital information between devices. FireWire is commonly used to interconnect computer systems to hard drives, audio interfaces, and digital camcorders. A complete discussion of FireWire is beyond the scope of this manual, but some of the main points and how they apply to UAD-2 Satellite are covered below.
  • Page 138 Note: UAD-2 Satellite is a FireWire 800 device. See “Mixing FireWire Speeds” on page 140 for more information about using FW800 and FW400 devices on the same FireWire bus. FireWire 400 and FireWire 800 devices use different connectors (Figure 32 FireWire Connectors below).
  • Page 139 Additionally, UAD-2 Satellite can function as a FireWire hub, by using the un- used ports on the unit to connect other FireWire devices as in Figure 36. Note that UAD-2 Satellite does not supply FireWire bus power to downstream de- vices;...
  • Page 140 Connections The ability to connect and disconnect FireWire devices while power is ap- plied (or not) is part of the FireWire specification. Since UAD-2 Satellite is IEEE 1394 compliant, the device may be “hot plugged” while powered up. Note: “Hot Plugging” on page 134 for detailed information.

  • Page 141: Firewire Bandwidth

    It is possible to configure a FireWire bus to run at both FW400 and FW800 speeds simultaneously if the host computer bus is FW800, supporting maxi- mum throughput for a mix of FW400+FW800 devices. This is accomplished by putting any/all FW400 devices AFTER any/all FW800 devices in a daisy chain (see Figure 39 on page 141).
  • Page 142 Figure 40. The UAD Meter with UAD-2 Satellite Important: FireWire bandwidth is unrelated to UAD DSP loads. See “FireWire Bandwidth vs. UAD DSP” on page 143 for details. If UAD-2 Satellite is the only device on the FireWire bus, UAD processing traf- Sharing Bandwidth fic can use the entire bandwidth of the bus.

  • Page 143: Firewire Bandwidth Vs. Uad Dsp

    Figure 42. The UAD FireWire panel (control descriptions are in Chapter 6) FireWire Bandwidth vs. UAD DSP The amount of FireWire bandwidth used by UAD-2 Satellite depends on the number (the quantity) of UAD plug-ins that are loaded on the device; the amount of DSP used by a UAD plug-in (the quality) does not affect FireWire bandwidth at all.

  • Page 144: Firewire Bus Power

    FireWire vs. The maximum possible data throughput even at FireWire 800 speeds is only PCIe a fraction of what is possible with PCIe. Therefore, if very high UAD plug-in counts are required, UAD-2 PCIe cards provide an alternate solution. FireWire Bus Power Some FireWire devices can be “bus powered”...
  • Page 145 FW800 Computer The externally powered FireWire repeater must supply bus power! Powered FW400 repeater UAD-2 Satellite External HD 2 (externally powered) (bus powered) External HD 1 Apogee Duet (externally powered) (bus powered) Figure 43. Proper connection of bus powered FireWire devices This example uses the Apogee Duet, a popular audio interface with one FireWire port that can only be bus powered.

  • Page 146: Chapter 12. Ampex Atr-102

    CHAPTER 12 Ampex ATR-102 Mastering Tape Recorder It's Not a Record Until it's Mastered on an Ampex® Tape Machine. For more than three decades, the two-channel Ampex ATR-102 Mastering Tape Recorder has turned music recordings into records. With its cohesive sound, punch, and ability to provide subtle-to-deep tape saturation and color, the Ampex ATR-102 is a fixture in major recording and mastering studios —...

  • Page 147: Ampex Atr-102 Screenshots

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

  • Page 148: Operational Overview

    Operational Overview Famous Tape The UAD Ampex ATR-102 provides all of the original unit’s desirable analog Sound sweetness. Like magnetic tape, users can dial in a clean sound, or just the right amount of harmonic saturation. Mixdown Tape The primary purpose of the UAD Ampex ATR-102 is to obtain tape mixdown Deck sonics within the DAW environment.
  • Page 149 Ancillary Noises Tape recorders have inherent signal noises that are a by-product of the elec- tro-mechanical nature of the machine. While “undesirable” tape system noise is historically considered a negative and was an attribute that pushed the technical envelope for better machine design and tape formulas (and ulti- mately, “noiseless”...
  • Page 150 Even though automatic calibration is available, the individual controls that ad- Low Level Tuning just calibration are exposed for sonic manipulation. Playback EQ, record (tape) EQ, and record bias can easily be altered for manual calibration and/or creative purposes. Manual UAD Ampex ATR-102 includes the full suite of tools required to manually cal- Calibration Tools ibrate the recorder.

  • Page 151: Primary Controls

    Primary Controls Meters The two Meters display signal levels of the plug-in for the left and right chan- nels. Meter ballistics of the original hardware are modeled. The Meters can be switched to display input or output levels in peak or VU modes. Figure 46.
  • Page 152 Clip LED The left and right channels each have a Clip LED, just above the Meter. The Clip LED is not in the original hardware; it is a UAD-only feature. The Clip LED illuminates only when the machine’s audio electronics clip. The Clip LED is not affected by the recorded tape signal, even if the tape is over- loaded and distorting.
  • Page 153 Record is a primary “color” control for the plug-in. Just like genuine magnetic tape, lower Record levels will have a cleaner sound, while higher levels result in more harmonic saturation and coloration. Higher Record levels will also in- crease the output level from the plug-in. The Reproduce control can be low- ered to compensate if unity gain operation is desired.
  • Page 154 When Link is active, automation data is written and read for the left channel only. In this case, the automation data for the left will control both channels. Additionally, changing the right channel parameters from a control surface or when in “controls only” (non-GUI) mode will have no effect. Unlink When Unlink is active, the controls for the left and right channels are indepen- dent.
  • Page 155 OFF is similar to the Thru position in the Path Select control (page 157) except that the Meters are still active when the Thru control is used. However, in this state, the Meters indicate signal levels at the input of the plug-in prior to pro- cessing.
  • Page 156 Each type has its own subtle sonic variation, distortion onset, and tape com- pression characteristics. Generally speaking, the lower the Cal Level for each formula, the higher the signal level required to reach saturation and distor- tion. Cal Level automatically sets tape calibration/fluxivity. The Cal Level Cal Level setting takes care of the setup one would need to make under equiv- alent hardware operation, and sets the reference tape/flux level with-...
  • Page 157 The tape manufacturer’s recommended calibration settings for each Tape Type are shown in Table Table 8. Tape Manufacturer’s Recommended Calibration Levels Tape Type Calibration Flux Level +0 dB 177 nWb/m 35-90 +3 dB 251 nWb/m +3 dB 251 nWb/m +6 dB 355 nWb/m +6 dB 355 nWb/m...
  • Page 158 Repro Repro mode models the sound of tape recording through the record head and playback through the reproduction head, plus all corresponding machine electronics. Input Input mode emulates the sound of the Ampex ATR-102 through the machine electronics only, without tape sonics. This is the scenario when the machine is in live monitoring mode but the tape transport is not running.

  • Page 159: Secondary Controls

    Secondary Controls The secondary controls (Figure 47 below) adjust the various calibration, ancillary noise, tone generator, and tape delay parameters. The secondary controls panel is accessed by clicking the OPEN button beneath the AMPEX label. Figure 47. UAD Ampex ATR-102 secondary controls The Ampex ATR-102 has individual calibration controls for ad- Auto Cal justing sync (record) EQ, reproduction (playback) EQ, and...
  • Page 160 After Auto Calibration occurs, the automatically adjusted pa- rameters can be modified to any other value if desired. If a cal- ibration parameter is adjusted while Auto Cal is ON, the ON LED illuminates in red instead of green, indicating that the sys- tem is no longer in the calibrated state.
  • Page 161 Repro HF Adjusts the tape playback high frequency content when Path Select is set to Sync or Repro. Repro LF Adjusts the tape playback low frequency content when Path Select is set to Sync or Repro. Bias This control adjusts the amount of bias in the record signal. Bias is defined as an oscillator beyond the audible range ap- plied to the audio at the record head, allowing for adjustment of the record behavior.
  • Page 162 When Tape Speed is set to 30 IPS, the green Emphasis EQ LEDs are not illu- minated (and cannot be switched), indicating that the Emphasis EQ is set to AES. However, the Hum frequency can still be set for 30 IPS mode by setting Emphasis EQ to NAB (for 60 Hz) or CCIR (for 50 Hz) prior to setting Tape Speed to 30 IPS.
  • Page 163 Wow usually refers to very low frequency fluctuations, while Flutter refers to faster fluctuations. Wow and flutter is measured as the percentage of deflec- tion from the original pitch. Both are more pronounced at lower tape speeds. Note: Wow and Flutter levels change with Tape Speed, but they are not af- fected by automatic calibration.
  • Page 164 Tape Delay Enable These buttons are global enable/disable controls for the Tape Delay effect. When Tape Delay is ON, its red numerical display is active, and other Tape Delay parameters can be adjusted. Dry/Wet Mix The Dry/Wet pushbuttons control the mix of the Tape Delay effect. The amount of dry and wet signals are displayed as percentages.
  • Page 165 Manual These controls are the suite of tools included to perform Calibration Tools manual calibration of the recorder. These UAD-only tools are not in the original hardware. Manual calibra- tion is entirely optional, as the Auto Cal feature can quickly and automatically calibrate the system. The manual calibration tools consist of an “external”...
  • Page 166 Manual Cal Knob The Manual Cal knob performs two functions: it sets the signal level of the “external” test tone generator for record calibration, and specifies when alignment tapes are to be used for playback calibration. When set to –16 dB, –6 dB, or +4 dB, a generated sine wave test tone at the frequency specified by the Tones buttons is sent to the input of the record cir- cuitry.

  • Page 167: Manual Calibration Procedure

    Manual Calibration Procedure Manual calibration tools are provided so expert users can calibrate the sys- tem to their preferred methods for obtaining desired results. For example, some technicians may prefer adjustments for lowest distortion at a certain fre- quency; setting bias for maximum sensitivity (instead of overbiasing); or other non-standard techniques.
  • Page 168 To manually calibrate UAD Ampex ATR-102: 1. Set the Manual Cal Knob to the “MRL” position. The built-in alignment tape Repro Level Calibration tone will sound and its level can be viewed on the Meters. 2. Set the Tones frequency to 1 kHz. 3.
  • Page 169 11. Increase Bias (clockwise) until the meter level is reduced by –3.5 dB from its maximum (for 3.5 dB of overbias; see Manual Calibration Notes).* *When calibrating at 3.75 or 7.5 IPS, the tone generator is at a lower level, therefore meter resolu- tion is decreased.

  • Page 170: Manual Calibration Notes

    Manual Calibration Notes • 0 dB on the output meter represents +4 dBm (and –12 dBFS digital) when Reproduce is in its calibrated position, which is marked with the “red arrow sticker.” • For proper calibration, follow the entire calibration procedure in order. •...

  • Page 171: Parameter Dependencies

    Parameter Dependencies Available Some ATR-102 parameter value ranges depend on the value of other param- Settings eters. These dependencies are listed in Table 13 below. Table 13. Ampex ATR-102 parameter dependencies Tape Speed Head Width Tape 1 Tape 2 Tape 3 Tape 4 Emphasis EQ 30 IPS...
  • Page 172 Original Ampex ATR-102 Mastering Recorder Brochure UAD Powered Plug-Ins Manual - 172 - Chapter 12: Ampex ATR-102...

  • Page 173: Chapter 13. Cambridge Eq

    CHAPTER 13 Cambridge EQ Overview The UAD Cambridge EQ plug-in is a mastering-quality, no-compromise equal- izer that enables powerful tonal shaping of any audio source. Its algorithm was modeled from various high-end analog filters, providing a sonically rich foundation for timbral 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.

  • Page 174: Cambridge Eq Controls

    Cambridge EQ Controls Each feature of the Cambridge EQ interface is detailed below. Response Curve The Response Curve Display plots the frequency response of the current Cam- Display bridge EQ settings. It provides instant visual feedback of how audio is being processed by the equalizer.
  • Page 175 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.
  • Page 176 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 is ±20 dB. The A/B Selector switches between two separate sets of Cam- A/B Selector Button bridge EQ plug-in values.

  • Page 177: Low Cut / High Cut Filters

    Low Cut / High Cut Filters 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.

  • Page 178: Eq Bands

    Cut Frequency This knob determines the cutoff frequency for the Cut filters. The available Knob range is from 20 Hz – 5 kHz for the low cut filter, and 20 Hz – 20 kHz for the high cut filter. EQ Bands All five of the EQ bands can be used in parametric or shelf mode.

  • Page 179: Parametric Eq

    Table 14. Available ranges for the Band Frequency parameter Low Frequencies (LF) 20-400 Hz Low-Mid Frequencies (LMF) 30-600 Hz Mid Frequencies (MF) 100-6 kHz High-Mid Frequencies (HMF) 900-18 kHz High Frequencies (HF) 2k-20 kHz When operating at sample rates less than 44.1 kHz, the maximum fre- Note: quency will be limited.
  • Page 180 Parametric Q 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.
  • Page 181 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 Figure 54. Parametric Type II response When set to Type III, there is a Q/Gain dependency on boost and attenua- Type III tion.

  • Page 182: Shelf Eq

    Shelf EQ Shelf Enable Each band can be switched from parametric mode to shelf Button 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 57 on page...
  • Page 183 Figure 56. Shelf Type A Shelf Mode Indicator Line Figure 57. Shelf Type B Figure 58. Shelf Type C UAD Powered Plug-Ins Manual - 183 - Chapter 13: Cambridge EQ...

  • Page 184: Chapter 14. Cooper Time Cube

    CHAPTER 14 Cooper Time Cube Dual Mechanical Delay Line The original Cooper Time Cube was a Duane H. Cooper and Bill Putnam col- laborative design that brought a garden hose-based mechanical delay to the world in 1971 and has achieved cult status as the most unique delay ever made.

  • Page 185: Design Overview

    Design Overview The original UREI/Universal Audio Model 920-16 Cooper Time Cube hard- ware (see “Cooper Time Cube Hardware” on page 189) has two audio channels, A and B. Each channel is transduced to/from a coiled length of plastic tubing which provides the acoustic “sound columns” that define its dis- tinctive sonic character.
  • Page 186 HP Filter The 12 dB per octave high pass filter is used to reduce low frequencies at the input to the delays when desired. The high pass filter affects the delayed (wet) signals only. The available frequency range is from 20 Hz to 12 kHz. Turn the knob clockwise to reduce low frequencies into the delay processors.
  • Page 187 Color The Color switch toggles between the original filter emphasis of the hardware in position A and the “leveled” filter in position B which allows for greater De- cay ranges. Unlike the other parameters, the A and B labels for Color are for reference only.

  • Page 188: Channel Controls

    Channel Controls The channel controls affect each channel of the processor independently. The control functionality is identical for each channel. “A” indicates the left chan- nel and “B” is the right channel. Figure 61. The channel controls Delay controls the delay time for each channel of the processor. The selected Delay A/B value is shown in the Echo display (“Echo A/B”...

  • Page 189: Cooper Time Cube Hardware

    Echo Volume This control determines the volume of the delayed signal. Rotate the control clockwise for louder echo. Up to +10 dB of gain is available at the maximum setting. Reducing the control to its minimum value will mute the delay. Tip: Click the “ECHO VOL”...

  • Page 190: Chapter 15. Cs-1 Channel Strip

    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 plug-in. In- dividual effects in the CS-1 Channel Strip can be bypassed when not in use to preserve UAD DSP use.

  • Page 191: Ex-1 Equalizer And Compressor

    EX-1 Equalizer and Compressor Figure 65. The EX-1 EQ/Compressor plug-in window The EX-1 plug-in consists of a five-band parametric EQ and compressor. EX-1 Equalizer Controls The Equalizer portion of the EX-1 is a five-band fully parametric EQ. Each band has its own set of controls. The first two bands can also be enabled to function as low-shelf or high-pass filter.

  • Page 192: Ex-1 Compressor Controls

    Gain (G) Knob The Gain control determines the amount by which the frequency setting is boosted or attenuated. The available range is ±18 dB. Determines the center frequency to be boosted or attenuated by the Gain set- Frequency (fc) Knob ting.

  • Page 193: Ex-1M Overview

    Ratio Knob 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.

  • Page 194: Dm-1 Delay Modulator

    DM-1 Delay Modulator Figure 66. The DM-1 Delay Modulator plug-in window The DM-1 Delay Modulator provides stereo effects for delay, chorus, and flange. DM-1 Controls Sync Button This button puts the plug-in into Tempo Sync mode. See Chapter 8, “Tempo Sync”for more information.
  • Page 195 Mode Pop-up Determines the DM-1 effect mode. The available modes are: Chorus, Menu 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.

  • Page 196: Dm-1L

    The RECIR units are expressed as a percentage in all Modes except Dual De- lay and Ping Pong. In these modes, RECIR values are expressed as T60 time, or the time before the signal drops 60 decibels. This low pass filter reduces the amount of high frequencies in the signal. Turn Damping Knob down this control to reduce the brightness.

  • Page 197: Reflection Engine

    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. Figure 67. The DM-1L includes a Link button RS-1 Reflection Engine Figure 68.

  • Page 198: Rs-1 Controls

    RS-1 Controls Sync Button This button puts the plug-in into Tempo Sync mode. See Chapter 8, “Tempo Sync” for more information. Determines the shape of the reverberant space, and the resulting reflective Shape Pop-up Menu patterns. Table 15. Available RS-1 Shapes Cube Square Plate Rectangular Plate...
  • Page 199 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.

  • Page 200: Chapter 16. Dbx 160 Compressor/Limiter

    CHAPTER 16 dbx 160 Compressor/Limiter Overview The dbx® 160 Compressor/Limiter is an officially licensed and faithful emu- lation of the legendary dbx 160 hardware compressor/limiter — still widely considered the best VCA compressor ever made. Originally designed and sold by David Blackmer in 1971, this solid-state design set the standard for performance and affordability.

  • Page 201: Dbx 160 Controls

    dbx 160 Controls The minimal controls on the UAD dbx 160 make it very simple to operate. Threshold Knob The Threshold knob defines the level at which the onset of compression occurs. Incoming signals that exceed the Threshold level are compressed. Signals below the Thresh- old are unaffected.

  • Page 202: Webzine Articles

    Output Gain Output Gain controls the signal level that is output from the plug-in. The available range is ±20 dB. Generally speaking, adjust the Output control after the de- sired amount of compression is achieved with the Threshold and Compression controls. Output does not affect the amount of compression.

  • Page 203: Chapter 17. Dreamverb

    CHAPTER 17 DreamVerb Overview DreamVerb™, Universal Audio’s flagship stereo reverb plug-in, draws on the unparalleled flexibility of RealVerb Pro. Its intuitive and powerful interface lets you create a room from a huge list of different materials and room shapes. These acoustic spaces can be customized further by blending the different room shapes and surfaces with one another, while the density of the air can be changed to simulate different ambient situations.

  • Page 204: Signal Flow

    Screenshot Figure 70. The DreamVerb plug-in window Signal Flow Figure 71 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.

  • Page 205: Resonance (Equalization) Panel

    (Figure 70 on page 204) is similarly organized. The DreamVerb user interface Reflected energy equalization is controlled with the Resonance panel. The pattern of early reflections (their relative timing and amplitudes) is determined by the room shapes in the Shape panel (Figure 74 on page 207).
  • Page 206 Bypass switch Band Amplitude control bats Band 1 (low Band 5 (high Band 2, 3, and 4 shelving) control Edge control bats shelving) control Figure 72. DreamVerb Resonance panel The equalizer can be disabled with this switch. When the switch is off (black Bypass instead of grey), the other resonance controls have no effect.

  • Page 207: Shape Panel

    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.
  • Page 208 Shape Menus DreamVerb lets you specify two room shapes that can be blended to create a hybrid of early reflection pat- terns. The first and second shape each have their own menu. The available shapes are the same for each of the two shape menus.

  • Page 209: Materials Panel

    Materials Panel The parameters in the Materials panel, in conjunction with the Shape panel (Figure 74 on page 207) and Reverberation panel (Figure 77 on page 213) ef- fect the spatial characteristics of the reverb. The material composition of an acoustical space effects how different fre- quency components decay over time.
  • Page 210 Materials Menus 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.

  • Page 211: Reflections Panel

    Figure 75 on page 209) are used to blend Materials The Materials Blending Bars (see Blending Bars the three materials together at any ratio. The materials are not just mixed to- gether with the bars; the reverberation algorithm itself is modified by blend- ing.
  • Page 212 ER End control bat (time & amplitude) Bypass switch Materials Filtering control bat ER Start control bat (predelay & amplitude) Late-field relative timing display Figure 76. DreamVerb Reflections panel Bypass 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.

  • Page 213: Reverberation Panel

    Late-Field To highlight the relative timing relationship between the early reflections and Relative Timing 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.

  • Page 214: Positioning Panel

    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. This bat controls two late-field parameters. Dragging the bat vertically con- Amplitude &...
  • Page 215 Figure 78. DreamVerb Positioning panel Direct 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 <100 pans the signal hard left; a value of 100> pans the signal hard right.

  • Page 216: Levels Panel

    Distance 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.

  • Page 217: Dreamverb Preset Management

    Mute 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.

  • Page 218: Spatial Characteristics

    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.

  • Page 219: Preset Design Tips

    Space 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.
  • Page 220 • 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.

  • Page 221: Chapter 18. Empirical Labs El7 Fatso

    FATSO Sr. offers a “Tranny” saturation control, sidechain filtering, and deeper com- pression parameters including Threshold, Attack and Release. These special FATSO Sr. mods are only available with Universal Audio’s plug-in version of this unique studio tool. Note: The additional controls in the FATSO Sr.

  • Page 222: Fatso Screenshots

    FATSO Screenshots Figure 80. The FATSO Jr. plug-in window Figure 81. The FATSO Sr. plug-in window FATSO Functional Overview The FATSO was essentially designed to integrate frequencies in a musical Four Processing Types manner and provide some foolproof vintage sounding compression. Gener- ally, it is difficult to make the unit sound unnatural due to its vintage topology.
  • Page 223 2nd and 3rd get increasingly harsh and unmusical, and therefore should be lower in amplitude (<-60 dB) to keep within our line of thinking. Second har- monic is considered to be the warmest and most “consonant” harmonic dis- tortion. Warmth High Frequency Saturation Processor This circuit is meant to simulate the softening of the high frequencies that oc-...
  • Page 224 Transformer design and use is an art, and there are always trade-offs. How- ever, it has been widely known that a good audio transformer circuit can do wonderful things to an audio signal. This was the goal of the Tranny circuit. The hardware designers tried to emulate the desirable characteristics of the good old input/output transformers in a consistent musical way, and in a se- lectable fashion.

  • Page 225: Fatso Controls

    Tracking Tracking mode (green and yellow LED) is an 1176 type compressor that is great for tracking instruments and vocals during the recording process or dur- ing mixdown. Spank Spank mode (red LED) is a radical limiter type compressor that was specifi- cally designed to emulate the nice squeeze of the older SSL talkback compres- sors from the 70's &...

  • Page 226: Channel Controls

    Channel Controls Input The Input knob defines the signal level going into the plug-in. Higher levels result in a more saturated signal. Levels above 0 VU provide dramatically higher distortion characteristics, especially when clipped (as indicated by the Pinned LED). See THD Indicators below.
  • Page 227 Table 16. Compressor Mode LED States Compressor Mode LED State Active Compressor Mode(s) All Unlit Compressor inactive Green Buss Yellow General Purpose (G.P.) Green + Yellow Tracking (most versatile ratio) Spank Red + Green Spank + Buss Red + Yellow Spank + General Purpose Red + Green + Yellow Spank + Tracking...
  • Page 228 Bypass/Tranny This black button is a multifunction control. Clicking the button re- peatedly cycles through Tranny, Bypass, and Tranny Off modes. The currently active mode is indicated by the adjacent LED's. Tranny (green LED) The Tranny processor is active in this mode (see “The Tranny Processor”...

  • Page 229: Global Controls

    Global Controls The global controls are not channel-specific; they apply to both channels. Link Compress The control signal sidechains of the gain reduction processors for channels 1 and 2 can be linked using the Link Compress function. To activate Link Compress, click the LINK COMPRESS text or LED on Ch1, on the left.

  • Page 230: Fatso Sr. Controls

    Controls Unlinked Unlink the controls when dual-mono operation is desired. Channel 1 and 2 controls are completely independent in this mode, and automation data is written and read by each channel separately. Link Controls is disabled when the FATSO is used in a mono-in/mono-out configuration. Important: Unlike the other controls for channels 1 and 2, which are iden- tical on the left and right sides of the interface, the Link CONTROLS function...
  • Page 231 Filter Filter regulates the cutoff frequency of the filter on the compres- (HP SIDE FILT) sor's control signal sidechain. When active, frequencies below the filter value are not passed to the sidechain. Values of 60 Hz, 120 Hz, 240 Hz, 480 Hz, and Off are available. The filter slope is 6 dB per octave.
  • Page 232 Attack LED’s Unlit – Compressor Inactive When the compressor is disabled and all Attack LED’s are unlit, the button is disabled. Note: This control has no effect when the compressor is inactive, or when it is in “pure” Spank mode (see “Compressor Mode”...

  • Page 233: Webzine Article

    5, and Filter/Attack/Release buttons off. WebZine Article An in-depth article with practical applications of the FATSO can be found in the “Analog Obsession” article of the Universal Audio July 2009 Webzine: • http://www.uaudio.com/webzine/2009/july/analog.html The Empirical Labs EL7 FATSO Jr. hardware unit All visual and aural references to the FATSO and all use of EMPIRICAL LABS’s trademarks are being...

  • Page 234: Chapter 19. Emt 140 Plate Reverb

    Plant Studios in Sausalito, CA. That’s nearly two thou- sand pounds of sound in one plug-in! Impractical or impossible for most be- fore, Universal Audio brings this classic mix tool within the reach of everyone. Licensed and endorsed by EMT Studiotechnik GmbH as the world’s only au- thentic plate reverb emulation.

  • Page 235: Emt 140 Controls

    EMT 140 Controls The EMT 140 interface is an amalgam of controls found at the plate amplifier itself and the remote damper controls, plus a few DAW-friendly controls that we added for your convenience. The GUI incorporates the original look and feel of those controls, and utilizes that look for the DAW-only controls.

  • Page 236: Reverb Controls

    Reverb Controls 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.

  • Page 237: Stereo Controls

    Stereo Controls Width Width allows you to narrow the stereo image of EMT 140. The range is from 0 – 100%. At a value of zero, EMT 140 returns a monophonic reverb. At 100%, the stereo reverb field is as wide as possible.

  • Page 238: Modulation Controls

    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- Low Gain ting for the low band is boosted or attenuated. The available range is ±12 dB, in increments of 0.5 dB (fine control) or 1.0 dB (coarse control).

  • Page 239: Blend Controls

    Output Meter The vintage-style VU Meter represents the plug-in output level. It is active when the Power switch is on, and slowly returns to zero when Power is switched off. Blend Controls The amount of time between the dry signal and the onset of the Predelay reverb is controlled with this knob.
  • Page 240 Power Switch This toggle switch enables or disables EMT 140. You can use it to compare the processed settings to the original signal, or to by- pass the plug-in which reduces (but not eliminates) the UAD DSP load (unless “UAD-2 DSP LoadLock” on page 74 is enabled).

  • Page 241: Chapter 20. Emt 250 Electronic Reverberator

    CHAPTER 20 EMT 250 Electronic Reverberator Introduction Unveiled by EMT at the AES convention in 1976 and inducted into the TEC Hall of Fame in 2007, the EMT 250 was the first digital reverberation device to create ambience through a purely electronic system. With its single reverb program and iconic lever-driven control surface, the EMT 250 is still an indis- pensable tool within the record-making elite and is widely considered one of the best-sounding reverbs ever made.

  • Page 242: Emt 250 Screenshot

    EMT 250 Screenshot Figure 83. The EMT 250 plug-in window Functional Overview Program Modes The EMT 250 offers six effect types: Reverb, Delay, Phase, Chorus, Echo, and Space. These effects are called “program modes” in the EMT 250. Only one mode can be active at a time.
  • Page 243 Each unique parameter in the plug-in retains a distinct value, but only the pa- rameters that are active in the current program mode are visible in the graph- ical user interface. All parameters are always visible in Controls View (see “Controls View”...
  • Page 244 In some program modes, the yellow “LED ring” around the control is illumi- nated to indicate that changing the switch position will change the sound. For program modes that do not offer quadraphonic processing (e.g., Delay), the switch is re-purposed to sum the processed outputs to mono. In Echo mode, it functions as an input mute.

  • Page 245: Program Mode Controls

    Program Mode Controls The details of each unique program mode are below, followed by descrip- tions of the global controls, which affect all program modes. Control Table 17 displays the parameter that each control is mapped to for each of Functions the EMT 250 program modes.
  • Page 246 Reverb Reverb program mode offers the same all-time classic reverb algorithm that made the EMT 250 famous. Decay Time (Lever 1) Lever 1 controls the main reverb tail decay time. The red LEDs on the left side of lever 1 indicate the current decay time; the green LEDs on the right side of lever 1 are inactive.
  • Page 247 Delay Delay program mode offers two independent delay processors, one each for the left and right output channels. Up to 375ms delay time is available for each channel. Delay repeats (feedback) are not available in Delay mode; use Echo mode if delay feedback is desired. Note: The maximum per-channel delay time of 375ms in Delay mode is ob- tained by setting the coarse, fine, and predelay times to their respective max-...
  • Page 248 Important: In Delay mode, lever 3 does not control a “real” parameter; it is only used to select the active channel for other parameters in the graphical user interface. For this reason, the parameter is not exposed for external con- trol surfaces or automation, nor is it saved in sessions or presets.
  • Page 249 In Phase mode the green LEDs to the of right lever 1 are active, but the panel markings (0–300ms) do not represent the actual phase delay time values. In- stead, the LEDs indicate the relative value between 0–15ms. Predelay (Lever 4) Lever 4 can be used as a common predelay to both phase delays.
  • Page 250 Positions “I” and “II” are of a simpler nature, while “III” and “IV” are more complex. Position “I” duplicates the Left Front and Right Front outputs of the hardware. “II” duplicates Left Rear and Right Rear outputs of the hardware. “III”...
  • Page 251 Note: Levers 1 and 2 both control the echo time, but these parameters are not individually exposed for external control surfaces and automation. In- stead, a single echo time parameter is exposed, and levers 1 and 2 in the plug-in interface are both updated to match the value. HF Decay (Lever 3) Lever 3 controls the high frequency damping in Echo mode.

  • Page 252: Global Controls

    Predelay (Lever 4) Lever 4 is used as a typical reverb predelay parameter. See “Lever 4 Prede- lay” on page 243 for more information. Front/Rear In Space mode, the Front/Rear Outputs switch is illuminated. Changing the switch setting will yield a slightly different effect. See “Front/Rear Outputs”...

  • Page 253: Webzine Article

    Dry/Wet The Dry/Wet slider control determines the balance between the original and the pro- cessed signal. The range is from 0% (dry, unprocessed) to 100% (wet, processed sig- nal only). This control uses a logarithmic scale to provide increased resolution when se- lecting lower values.
  • Page 254 Original EMT 250 advertisement – “A dream becomes reality” The EMT 250 Electronic Reverberator hardware unit Special thanks to EMT Studiotechnik GmbH, Dr. Barry Blesser, Allen Sides, and Ocean Way Recording for their assistance with this project. UAD Powered Plug-Ins Manual - 254 - Chapter 20: EMT 250 Electronic Reverberator...

  • Page 255: Chapter 21. Ep-34 Classic Tape Echo

    *EP-34 Tape Echo is not affiliated with, sponsored nor endorsed by any companies currently using the Echoplex name. The EP-34 Tape Echo name, as well as the EP-3 and EP-4 model names, are used solely to identify the classic effects emulated by Universal Audio’s product. UAD Powered Plug-Ins Manual...

  • Page 256: Ep-34 Tape Echo Screenshot

    EP-34 Tape Echo Screenshot Figure 84. The UAD EP-34 Tape Echo plug-in window EP-34 Controls Echo Delay Echo Delay controls the delay time of the unit. The selected value is shown in the Echo display (page 257). The parameter can be adjusted by using the metallic “slider handle” or the “slider nose”...
  • Page 257 The available delay range is 80 to 700 milliseconds. When Sync is active, beat values from 1/64 to 1/2 can be selected (see Table 5 on page 97). When the beat value is out of range, the value is displayed in parenthesis. This occurs in Sync mode when the time of the note value exceeds 700ms (as defined by the current tempo of the host application).
  • Page 258 Echo Volume This knob determines the wet/dry mix of the delayed signal. In the minimum position, the “dry” signal is colored by the cir- cuitry of the modeled emulation. Rotate the control clockwise for louder echo. Reducing the control to its minimum value will mute the delay.
  • Page 259 Echo Pan Pan sets the position of the delayed (wet) signal in the stereo field; it does not affect the unprocessed (dry) signal. Tip: Click the “Echo” control text to return the knob to center. Note: When the plug-in is used in a mono-in/mono-out (“MIMO”) configuration, the Pan knob does not function and cannot be adjusted.

  • Page 260: Ep-34 Hardware History

    Sync This switch engages Sync mode for the plug-in. In Sync mode, delay times are synchronized to (and therefore dependent upon) the mas- ter tempo of the host application. When Sync is toggled, parameter units are converted between milliseconds and beats to the closest matching value.

  • Page 261: Webzine Article

    *EP-34 Tape Echo is not affiliated with, sponsored nor endorsed by any companies currently using the Echoplex name. The EP-34 Tape Echo name, as well as the EP-3 and EP-4 model names, are used solely to identify the classic effects emulated by Universal Audio’s product. UAD Powered Plug-Ins Manual...

  • Page 262: Chapter 22. Fairchild

    Control” back in the 1950’s when it was originally sold. It is still revered for its extremely smooth, artifact-free 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...

  • Page 263: Fairchild Screenshot

    Fairchild Screenshot Figure 86. The Fairchild plug-in 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- “Fairchild Modes”...

  • Page 264: Controls Overview

    Controls Overview 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- pends 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.

  • Page 265: Fairchild Modes

    Fairchild Modes Dual 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- Lateral –...

  • Page 266: Controls

    Stereo, coupled This mode, like stereo couple left/right, causes the two compressors to be mono/stereo 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.
  • Page 267 Meter Select Switch This switch determines what is displayed on the VU meters. If GR 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.
  • Page 268 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 19 below.
  • Page 269 DC Bias 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. The ‘factory cal’ tick mark should be aligned with the screw slot “dot”...

  • Page 270: Chapter 23. Harrison 32C Eq

    An original 4032 still resides in Florida with Thriller engineer and Bill Putnam protégé Bruce Swedien, where he continues his love affair with the desk he calls “marvelous sounding.” Universal Audio’s plug-in version of the all-important 32C EQ module is measured from Mr.

  • Page 271: Harrison 32C Eq And Harrison 32C Se Controls

    Harrison 32C EQ and Harrison 32C SE Controls Note: Knob settings, when compared to the graphical user interface silk- screen numbers, may not match the actual parameter values. This behavior is identical to the original hardware, which we modeled exactly. When the plug-in is viewed in parameter list mode (see “Controls View”...
  • Page 272 Low Pass (high cut) This control determines the cutoff frequency for the low pass filter. The avail- able range is 1.6 kHz to 20 kHz. Each of the four EQ bands have Four EQ Bands similar controls. The band center frequency is controlled the top row of knobs, and the band gain is controlled by the bottom row.

  • Page 273: Harrison 32C Se

    Hi Gain This control determines the amount by which the frequency setting for the high band is boosted or attenuated. The available range is ±10 dB. The Gain knob controls the signal level that is Gain output from the plug-in. The default value is 0 dB.

  • Page 274: Harrison 32C Latency

    “Host PDC Implementation” on page 101. WebZine Article An article about the Harrison 32C can be found in the “Plug-In Power” article of the Universal Audio January 2009 Webzine at: • http://www.uaudio.com/webzine/2009/january/power.html The Harrison 4032 Console, featuring the Harrison 32C EQ Special thanks to Bruce Swedien for his gracious cooperation with the UAD Harrison 32C project.

  • Page 275: Chapter 24. Helios Type 69 Equalizer

    Helios consoles for their personal use. Of all the Helios consoles produced between 1969 and 1979, the original “Type 69” is considered the most musical. Universal Audio modeled the EQ section of the very first Type 69. This console was originally found at Island’s Basing Street Studio in London;...

  • Page 276: Helios Type 69 Controls

    Helios Type 69 Controls Overview The simple yet powerful Helios Type 69 Passive EQ adds a unique sonic tex- ture to the music that passes through it. It can be pushed to its most extreme boost settings while retaining openness and clarity. The Type 69 Passive EQ replicates all the controls of the original hardware.
  • Page 277 Bass The Bass knob has a dual purpose. It specifies the amount of attenuation when the low band is in shelving mode, and specifies the frequency of the low frequency peak filter when the Bass Gain knob is not zero. When Bass is set to one of the frequency values (60 Hz, 100 Hz, 200 Hz, or 300 Hz) the low band is in peak mode.
  • Page 278 Whether gain or attenuation is applied is determined by the Mid Type Note: control. Mid Type specifies whether the midrange band is in Peak or Trough Mid Type mode. When switched to Peak, the Mid Gain control will boost the midrange.

  • Page 279: Helios 69 Latency

    WebZine Article An interesting anecdotal article about the Helios console and Type 69 EQ can be found in the “Analog Obsession” article of the Universal Audio March 2007 Webzine (Volume 5, Number 2), published on the internet at: • http://www.uaudio.com/webzine/2007/march/index4.html...
  • Page 280 Basing Street—Home of the original Type 69 Helios desk The same desk, now in Berkeley’s Morningwood, nearly 40 years later UAD Powered Plug-Ins Manual - 280 - Chapter 24: Helios Type 69 Equalizer...

  • Page 281: Chapter 25. La-2A And 1176Ln

    CHAPTER 25 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 engineers whose styles range from rock to rap, classical to country and every- thing in between.
  • Page 282 Figure 91 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 91, the signal level of a perfect amplifier is represented with a constant output gain of 10 dB.
  • Page 283 Compression region 10 dB of compression 2:1 compression ratio Output –10 knee Level (dB) –20 –30 –30 –20 –10 Input Level (dB) Figure 92. Input and output curve of compressor with 2:1 ratio and –20 dB threshold As mentioned 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.

  • Page 284: Teletronix La-2A Leveling Amplifier

    Teletronix LA-2A Leveling Amplifier Background Audio professionals passionate 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.

  • Page 285: La-2A Controls

    LA-2A Controls Figure 94. The LA-2A plug-in window. Changes the characteristics of the compressor I/O curve. When set to Com- Limit/Compress press, the curve is more gentle, and presents a low compression ratio. When set to Limit, a higher compression ratio is used. Gain Adjusts the output level (by up to 40 dB).

  • Page 286: 1176Ln Solid-State Limiting Amplifier

    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 1176LN Limiting Amplifier is provided in Flow Figure 95.

  • Page 287: 1176Ln Controls

    1176LN Controls Figure 96. The 1176LN plug-in window Input 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.
  • Page 288 All Buttons mode Just like the hardware version of the 1176LN, 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.

  • Page 289: 1176Se "Special Edition

    Stereo Phase-coherent stereo imaging is maintained when the 1176LN plug-in is Operation used on a stereo signal. 1176SE “Special Edition” Figure 97. The 1176SE plug-in window The 1176SE is derived from the 1176LN. Its algorithm has been revised in or- Overview der to provide sonic characteristics similar to the 1176LN but with signifi- cantly less DSP usage.

  • Page 290: Chapter 26. La-3A Compressor

    CHAPTER 26- LA-3A Compressor Overview The original Teletronix LA-3A Audio Leveler made its debut at the 1969 New York AES show. Marking a departure from the tube design of the LA-2A Lev- eling Amplifier, the solid-state LA-3A offered a new sound in optical gain re- duction, with faster attack and release characteristics that were noticeably dif- ferent from its predecessor.

  • Page 291: La-3A Controls

    LA-3A Controls Background For detailed information about compressors, see “Compressor Basics” on page 281. This switch changes the characteristics of the compressor I/O curve. When Comp/Lim set to Compress, the curve is more gentle, and presents a low compression ra- tio.

  • Page 292: Chapter 27. Lexicon

    CHAPTER 27 Lexicon 224 Classic Digital Reverb From the moment it was unleashed on the audio industry in 1978, the original Lexicon 224 Digital Reverb — with its tactile, slider-based controller and fa- mously lush reverb tail — almost single-handedly defined the sound of an en- tire era.
  • Page 293 Parameters Every tunable parameter from the original is present in the Lexicon 224 plug-in, and exposed as dedicated controls — inviting easy experimentation and sonic exploration. All seven algorithms/nine programs are available un- der the Program selection. Lexicon’s distinctive Bass/Mid “split decay” adjust- ments and Crossover control set the highly tunable reverb image, along with the Treble Decay for rolling off high frequencies.

  • Page 294: Lexicon 224 Screenshot

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

  • Page 295: Operational Overview

    Operational Overview Graphical User The original Lexicon 224 consists of two hardware elements. The “main- Interface frame” rack-mountable 4U chassis contains the power supply, circuitry, and audio input/output connectors. The remote control unit has a display, buttons, and sliders which control the 224 parameters and functionality. Some of these buttons and sliders have dual and even triple functionality, which makes using certain “buried”...
  • Page 296 Like the original hardware, UAD Lexicon 224 buttons are momentary-style Lexicon 224 Buttons and don’t latch in a down position. When a function is unavailable within a particular program, the button’s LED will not illuminate when clicked (the LEDs also don’t illuminate for the increment/decrement buttons). The first click of an increment/decrement button displays the current value of the parameter;...
  • Page 297 When configured as mono-in/mono-out (“MIMO”), output A is used exclu- sively except in programs 2, 4, and 9, where outputs A and C are summed into one monophonic signal. This implementation is recommended in the orig- inal hardware manual. If Rear Outs is enabled in MIMO mode, outputs B and D are used instead of A and C.
  • Page 298 Display Hold is set to 1.5 (the default value), after parameters are edited, the value displayed here reverts after 1.5 seconds to a reverb time which is related to the combined Bass and Mid slider values. This relationship is based on approximations designed by the original Lexicon engineers;...

  • Page 299: Primary Controls

    Primary Controls Program The Program buttons (Figure 101) are used to specify which of the nine de- fault Lexicon programs, and its associated algorithm, is active. See “Lexicon 224 Programs” on page 295 for an overview. Eight reverb programs and one chorus program are available. Click a reverb program button 1 –...
  • Page 300 Bass The Bass slider defines the reverb decay time for the frequencies below the Crossover value. Higher Bass values result in longer bass frequency decay times (when Crossover is not set too low). The Bass reverb decay time value, in seconds, is shown in the Numerical Display. The available range is 0.6 sec- onds to 70 seconds.
  • Page 301 Treble Decay Treble Decay sets a frequency above which decay is very rapid. Lower values will produce a “darker” reverb with less high frequency content. If Treble De- cay is set very low, then adjusting Bass, Mid, and Crossover may have little to no audible effect.
  • Page 302 Higher Diffusion values are frequently desirable when the material has a lot of percussion. Higher Diffusion can also contribute to a smoother-sounding re- verb. With low Diffusion values the early reverb will be “grainy” and sparse, but will produce a clear, bright sound that is very useful with strings, horns, and vocals.
  • Page 303 Important: When Immediate is off and a program is changed, previously modified parameter values are lost, unless the settings were saved as a preset or if the session file was previously saved so it can be recalled. This UAD-only control enables or disables the modeled inherent dy- System Noise namic system noise of the original Lexicon 224 hardware.
  • Page 304 Mode Mode Enhancement makes the sound of the Lexicon 224 programs more nat- Enhancement ural by preventing room modes from ringing in the reverb tail. Mode En- hancement works by continuously modulating certain delay lines (taps) within the program algorithms, which increases the effective density without thicken- ing the reverb itself.
  • Page 305 The Pitch Shift controls are accessed in the Hidden Controls panel. See page 306 for access details. Decay Optimization improves the Lexicon 224 reverb clarity and naturalness Decay Optimization by dynamically reducing reverb diffusion and coloration in response to input signal levels.

  • Page 306: Hidden Controls

    Solo When Solo is activated, the Dry/Wet mix is set to 100% wet and the Dry/Wet controls are deactivated. Solo mode is optimal when using Lexicon 224 in the “classic” reverb configuration (placed on an effect group/bus that is configured for use with channel sends). When Lexicon 224 is used on a channel insert, Solo should be deactivated.
  • Page 307 Access The hidden controls are exposed by click- ing the “OPEN” text to the right of the Dis- play Panel. Conversely, the exposed panel is closed by clicking the “CLOSE” text while the panel is open. Note: The last-used state of the Hidden Controls panel (open or closed) is re- tained when a new Lexicon 224 plug-in is instantiated.
  • Page 308 When Link is active, automation data is written and read for the left channel only. The automation for the left channel controls both channels in Link mode. Note: When link is active, modifying the right channel parameters will have no effect when changed from a control surface or when in “controls only” (non-GUI) mode.

  • Page 309: Program Descriptions

    Program Descriptions P1 Small Concert This program emulates the sound of a small concert hall, with moderate initial Hall B density and moderately non-uniform decay. It is optimized for reverb times of 1.5 to 5 seconds (for longer decay times, P3 Large Concert Hall B is recom- mended instead).
  • Page 310 P8 Constant In naturally occurring reverb, new reflections are continuously added to the Density Plate A decaying sound over time. This sonic build-up increases density and colora- tion in the reverb tail. P8 Constant Density Plate A has high initial density and coloration (giving a “plate”...
  • Page 311 Table 21. Lexicon 224 Outputs Used With Monophonic Output Program Output(s) Program Output(s) 1. Small Concert Hall B 6. Small Concert Hall A 2. Vocal Plate A + C 7. Room A 3. Large Concert Hall B 8. Constant Density Plate A 4.

  • Page 312: Chapter 28. Little Labs Ibp

    CHAPTER 28 Little Labs IBP Overview The Little Labs IBP Phase Alignment Tool easily eliminates the undesirable hol- low comb-filtered sound when combining out-of-phase and partially out-of-phase audio signals. Designed as a phase problem-solving device, the award-winning Little Labs IBP (“In-Between Phase”) has established itself with audio engineers as not only a “fix it”...

  • Page 313: Little Labs Ibp Controls

    Delay Adjust The Delay Adjust parameter is unique to Universal Audio’s “workstation” ver- sion of the Little Labs IBP. Delay Adjust is a continuously variable control that simply delays the input signal from 0.0 to 4.0 milliseconds.

  • Page 314: Little Labs Ibp Latency

    Phase Adjust This switch determines the range of the Phase Adjust parameter. This is useful 90°/180° when finer Phase Adjust resolution is desired. When the switch is disengaged, the Phase Adjust range is 180°. When the switch is engaged (darker), the Phase Adjust range is 90°. This switch sets the range of frequency emphasis.

  • Page 315: Chapter 29. Little Labs Vog

    CHAPTER 29 Little Labs VOG Bass Resonance Processor For many top engineers, the Little Labs VOG (Voice Of God) is the ultimate bass resonance tool for mixing. Available for the first time as a plug-in, the Lit- tle Labs-authenticated VOG for the UAD-2 platform accurately models the sonic characteristics of this unique 500-series hardware audio processor in every detail.

  • Page 316: Little Labs Vog Screenshot

    Little Labs VOG Screenshot Figure 104. The UAD Little Labs VOG plug-in window Operational Overview Two simple knobs allow you to dial in the VOG’s desired frequency and effect amplitude. The center of the sweepable frequency range is selected via two push-buttons of 40 Hz and 100 Hz, or you can set the center to 200 Hz by pressing both buttons simultaneously.

  • Page 317: Little Labs Vog Parameters

    cies above remain intact. The higher the amplitude of the peak resonance frequency, the more you cut off the mud below, effectively performing two functions at once. A dedicated “flat” button allows you to quickly audition A/B comparisons. The VOG is intended for mixing, mastering, post-production sweetening, In Use sound design, and audio restoration.
  • Page 318 Note: The control values for Frequency, which range from 0 – 10, are arbi- trary and do not reflect a particular frequency value. The two Center switches define the active center frequency Center of the effect, which in turn determines the available fre- quency range.

  • Page 319: Chapter 30. Manley Massive Passive Eq

    CHAPTER 30 Manley Massive Passive EQ Overview Universal Audio’s UAD Powered Plug-In versions of the Manley Massive Pas- sive EQs represent UA’s most ambitious and detailed EQ model to date. The two-channel, four-band Manley Massive Passive tube EQ utilizes design strengths from choice console, parametric, graphic, and Pultec EQs —...

  • Page 320: Massive Passive Screenshots

    Massive Passive Screenshots Figure 105. The Massive Passive plug-in window Figure 106. The Massive Passive Mastering plug-in window Unusual EQ Conventions The Massive Passive has design and operation characteristics that make it unique in the EQ world. Some of these factors mean the “Massivo” may not respond in a manner that you would expect from typical EQs.

  • Page 321: Massive Passive Mastering Eq

    Unique Shelves Most EQs offer a shelving mode for the edge bands only. Massive Passive of- fers the shelving option on all bands for expanded sonic possibilities, such as “staircase” EQ curves. One result of not using negative feedback loops in the design is that the gain No negative feedback loops control for a band cannot have a “bipolar”...

  • Page 322: Standard Vs. Mastering Versions

    Standard vs. Mastering Versions The layout and function of the Massive Passive controls are essentially identi- cal for both the Standard and Mastering versions. The exact control differ- ences between the controls are detailed in Table 24 below. Table 24. Control differences between Massive Passive versions Standard Mastering Channel Gain Range...
  • Page 323 The Shelf/Bell toggle switch defines the shape of the filter band. A Shelf/Bell unique aspect of this control is that unlike other EQs where only the edge frequencies offer a shelving mode, with Massive Passive all bands can be used in either mode for expanded sonic possibilities. Note: The Bandwidth control (page...
  • Page 324 Gain has a fair amount of interaction with the Bandwidth control. The maxi- mum band gain is available in Shelf mode when Bandwidth is fully counter-clockwise; less band gain is available in Shelf mode as the Band- width is decreased (rotated clockwise). Conversely, the maximum gain is available in Bell mode when Bandwidth is fully clockwise;...
  • Page 325 As Bandwidth is increased in Shelf mode, a bell curve begins to be intro- duced in the opposite direction (i.e., overshoot). For example, if the Shelf is boosted, a dip is created at higher Bandwidth values. At maximum Band- width, this overshoot curve is pronounced. The effect of the Bandwidth control in Shelf mode is shown in Figure 108 below.

  • Page 326: Channel Controls

    Frequency This control defines the center frequency (Bell mode) or edge frequency (Shelf mode) for the band. Each band provides a wide range of specially tuned overlapping and interleaving frequency choices. The available frequencies for each band are listed in Table 25 below.
  • Page 327 The Channel Gain controls are intended to help match levels between “By- pass” and “EQ enabled” modes so that the EQ effect can be more accurately judged. With drastic EQ there may not be enough range to match levels, but with drastic EQ this kind of comparison is of little use.

  • Page 328: Other Controls

    Figure 109. High Pass and Low Pass filter response curves (standard version) Mastering The Low Pass/High Pass filter frequencies in the mastering version are tuned Filters specifically for mastering, and the slopes are flatter until the knee. The slopes are 18 dB per octave on the mastering filters except for the highest value (52K) which is 30 dB/octave.

  • Page 329: Massive Passive Latency

    When set to Link (up position), modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same po- sition (channel 1 & 2 controls are ganged together in Link mode). When Link is active, automation data is written and read for channel one only.
  • Page 330 • You may also find yourself getting away with what seems like massive amounts of boost. Where the knobs end up, may seem scary particularly for mastering. Keep in mind that, even at maximum boost, a wide bell might only max out at 6 dB of boost (less for the lowest band) and only reaches 20 dB at the narrowest bandwidth.

  • Page 331: Additional Information

    Additional Information The original (and rather lengthy) user manual written by Manley Labs for the hardware unit contains a wealth of great information about the philosophy, design decisions, and use of the Massive Passive EQ. It is highly recom- mended reading for those interested in technical details. The manual can be found on their website, along with info about their other great products: •...

  • Page 332: Chapter 31. Moog Multimode Filter

    CHAPTER 31 Moog Multimode Filter Overview If UA were able to conceive a product with Moog, what would it be? The answer is revealed in the new UAD Moog Multimode Filter, which delivers the first truly analog-sounding VCF (voltage controlled filter) emulation made for mixing, performing, creating, or destroying.

  • Page 333: Moog Filter Screenshot

    Moog Filter Screenshot Figure 110. The UAD Moog Filter plug-in window Moog Filter Controls The Moog Filter is true stereo, with separate filters for the left and right chan- nels. The dual filters share the same controls. The only time the left and right filters diverge is when Filter Spacing or LFO Offset are not zero.
  • Page 334 Warning: Due to these differences in input structure, cut and pasting of full-to-SE and SE-to-full presets may cause noticeable differences in gain. Keep hold of the master fader! The Drive/Gain multicolor LED indicates the plug-in signal level Drive/Gain LED just after the Drive/Gain control. The Drive/Gain LED operates when the plug-in is in Bypass mode, but not when Power is off.
  • Page 335 Cutoff This parameter defines the cutoff frequency of both filter channels in all modes (lowpass, bandpass, highpass). UA has expanded the available frequency range of 20 Hz to 12 kHz on the MF-101 Moogerfooger to the broader avail- able range of 12 Hz to 12 kHz on the Moog Mulitmode Filter. In lowpass mode, frequencies above the cutoff are attenuated.
  • Page 336 Step/Track This switch is a smoothing control for the filter cutoff frequency parameter. Smoothing is most obvious on continuous filter sweeps when varying the cut- off rapidly with the knob or automation. Step mode can be desirable when sudden cutoff changes are automated and other creative purposes. Smoothing is on in the Track position, and off in the Step position.
  • Page 337 The LFO (low frequency oscillator) modulates the filter cutoff frequency. Sev- eral waveform shapes are available. The LFO can be synchronized to the tempo of the host (see Free/Sync below). Amount controls the depth of the LFO filter cutoff modulation. A higher value Amount will have a broader filter sweep.
  • Page 338 Offset can create great stereo spacial effects. When the filter is in Mono mode, both filters are still heard. Tip: Click the knob label (“OFFSET”) to return the value to zero. Mix varies the amount of filtering that is occurring. It is not a true dry/wet con- trol;...

  • Page 339: Moog Filter Se

    Moog Filter SE Overview The UAD Moog Filter SE is derived from the UAD Moog Filter. Its algorithm has been revised (primarily the elimination of the Drive circuit) in order to pro- vide sonic characteristics very similar to the Moog Filter but with significantly less DSP usage.

  • Page 340: Moog Filter Latency

    Moog Filter Latency The Moog Filter (but not the Moog Filter SE) uses an internal upsampling tech- nique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. See “Compensating Upsam- pled Plug-Ins” on page 108 for more information.

  • Page 341: Chapter 32. Mxr Flanger/Doubler

    CHAPTER 32 MXR Flanger/Doubler Classic Electronic Flanging For more than 30 years, musicians and engineers have relied upon the MXR Flanger/Doubler as one of best-sounding bucket-brigade flanging effects ever made. Through its signature flanging, doubling, and delay effects, the MXR Flanger/Doubler imprints a unique stamp on guitars, bass, keys, drums, or just about any source needing movement and depth.

  • Page 342: Mxr Flanger/Doubler Screenshot

    MXR Flanger/Doubler Screenshot Figure 112. The UAD MXR Flanger/Doubler plug-in window Operational Overview Model 126 The MXR “Model 126” Flanger/Doubler is an analog delay processor that uses “bucket-brigade” technology to create short signal delays. The delay time can be modulated manually, or automatically with a low frequency os- cillator (LFO).

  • Page 343: Mxr Flanger/Doubler Controls

    Software-Only The UAD MXR Flanger/Doubler plug-in has some features not included in the Features original hardware. The LFO rate can be synchronized to the tempo of the DAW session; the LFO can be reset; Stereo mode can apply processing to both sides of a stereo signal;...
  • Page 344 Flanger When in the “down” (gray) position, Flanger mode is active. This is the de- fault setting. Doubler Doubler mode is active when the button is in the “up” (white) position. This software-only switch modifies the processed signals at the out- Stereo Mode puts when used in a stereo-output configuration.
  • Page 345 This continuous control determines the delay time of the Manual processor. The delay time is modulated by the Sweep LFO when the Width value is higher than 0%. The available range of the control depends on the set- ting of the Effect button. In Flanger mode, the available delay time range is 4.9 milliseconds to 0.33 millisec- onds.
  • Page 346 This continuous control adjusts the blend between the original dry signal and the processed wet signal(s). The available range is 0 – 100%. When set to minimum, only the dry signal is heard. When set to maximum, the signal is almost entirely wet, however a small amount of dry signal is present (like the original hardware).
  • Page 347 Sync The speed of the Sweep LFO can be synchronized to the tempo of the host application by engaging the Sync button. Tempo Sync is engaged when the button is in the “down” (gray) position and the LED above the button is illuminated. Chapter 8, “Tempo Sync”...

  • Page 348: Mxr Flanger/Doubler Latency

    MXR Flanger/Doubler Latency This plug-in uses an internal upsampling technique. The upsampling results in a slightly larger latency than most other UAD plug-ins. See “Compensating Upsampled Plug-Ins” on page 108 for more information. Note: Compensating for additional latency is not required if the host appli- cation supports full plug-in delay compensation throughout the signal path, or when it is used only on the outputs.

  • Page 349: Chapter 33. Neve 1073 Equalizer

    Modeling the 3-band EQ and high-pass filter in painstaking detail and thor- oughness, Universal Audio's Neve 1073 EQ will deliver the same sonic ex- perience expected from its analog cousin with exacting detail. Bundled to- gether come two versions: The 1073 EQ with absolute sonic accuracy, and the 1073SE EQ for high instance counts.
  • Page 350 Input Gain The Input Gain control sets the level at the input of the plug-in. The range is from –20 dB to +10 dB. When the Input Gain knob “snaps” to the OFF position, plug-in processing is disabled and UAD DSP usage is reduced (unless “UAD-2 DSP LoadLock”...
  • Page 351 The available midrange center frequencies are 360 Hz, 700 Hz, 1.6 kHz, 3.2 kHz, 4.8 kHz, 7.2 kHz, and OFF. When OFF is specified, the band is dis- abled. UAD CPU usage is not reduced when the band is OFF. The low frequency band is controlled by dual-concentric Low Band knobs, delivering smooth shelving equalization.

  • Page 352: Neve 1073Se

    Phase The PHASE button inverts the polarity of the signal. When the switch is in the “In” (darker) position, the phase is inverted. Leave the switch “Out” (lighter) position for normal phase. The equalizer is engaged when the EQL switch is in the “In” (darker) position.

  • Page 353: Neve 1073 Latency

    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 1073SE Controls” on page 349). Neve 1073 Latency The Neve 1073 (but not the 1073SE) uses an internal upsampling technique to facilitate its amazing sonic quality.

  • Page 354: Chapter 34. Neve 1081 Equalizer

    The Rolling Stones to The Red Hot Chili Peppers. Universal Audio’s Neve 1081 EQ delivers the same sonic experience as its analog cousin with exacting detail. The 1081 EQ also includes a DSP opti- mized 1081SE EQ for higher instance counts.

  • Page 355: Neve 1081 And 1081Se Controls

    Neve 1081 and 1081SE Controls Overview The Neve 1081 channel module is a four-band EQ with high and low cut fil- ters. The 1081 features two parametric midrange bands, with “Hi-Q” selec- tions for tighter boosts or cuts. Both the high and low shelf filters have select- able frequencies and may be switched to bell filters.
  • Page 356 High Band The high band delivers smooth high frequency shelving or peak equalization. The inner knob controls the band gain, and the outer ring selects the frequency or band disable. High Gain The equalization gain for the high band is selected with the inner knob of the dual-concentric control.
  • Page 357 High-Mid Frequency The high-midrange band frequency is selected with the outer ring of the dual- concentric knob controls. The ring control can be dragged with the mouse, or click directly on the “silkscreen” text to specify a frequency or disable the band.
  • Page 358 The available low-mid band center frequencies are 220 Hz, 270 Hz, 330 Hz, 390 Hz, 470 Hz, 560 Hz, 680 Hz, 820 Hz, 1000 Hz,1200 Hz, and OFF. When OFF is specified, the band is disabled. UAD CPU usage is not re- duced when the band is OFF.
  • Page 359 Cut Filters The independent low and high cut filters are controlled by the dual-concentric knobs to the right of the low band (see Figure 116 on page 355). The controls specify the fixed frequency of the cut filter. The cut filters have an 18 dB per octave slope.

  • Page 360: Neve 1081Se

    Neve 1081SE Figure 117. The Neve 1081SE plug-in window Overview The UAD Neve 1081SE is derived from the UAD Neve 1081. Its algorithm has been revised in order to provide sonic characteristics very similar to the 1081 but with significantly less DSP usage. It is provided to allow 1081-like sound when DSP resources are limited.

  • Page 361: Chapter 35. Neve 31102 Console Eq

    N-Roses. Artists ranging from Primus and Metallica to My Morning Jacket and The Red Hot Chili Peppers have also called on the distinct tone of the Neve 8068 and 31102 EQ in the studio. Universal Audio’s officially licensed and endorsed Neve 31102 EQ plug-in delivers the same sonic experience as its analog cousin with exacting detail.

  • Page 362: Neve 31102 And 31102Se Controls

    Neve 31102 and 31102SE Controls Input Gain The Input Gain control sets the level at the input of the plug- in, and doubles as a plug-in bypass control. The range is from –20 dB to +10 dB, and off. When the Input Gain knob “snaps” to the off position, plug-in processing is disabled and UAD DSP usage is re- duced.
  • Page 363 Midrange Band The midrange band is controlled by dual-concentric knobs, delivering smooth semi-parametric midrange equalization with a choice of two bandwidths. The inner knob controls the band gain, and the outer ring selects the frequency or band disable. Midrange Gain The equalization gain for the midrange band is selected with the inner knob of the dual-concentric control.
  • Page 364 Rotate the control clockwise to boost the selected low band frequency, or counter-clockwise to reduce the bass response. Low Frequency The low frequency is selected with the outer ring of the dual-concentric knob controls. The ring knob pointer can be dragged with the mouse, or click the shelving symbol above the knob to cycle through the available frequencies (shift+click to step back one frequency).

  • Page 365: Neve 31102Se

    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 31102, the audio is still slightly colored even when the EQL switch is in the Out position.

  • Page 366: Neve 31102 Latency

    Neve 31102 Latency The Neve 31102 (but not the 31102SE) uses an internal upsampling tech- nique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. The latency and its compen- sation is identical to that of the other UAD Neve EQ’s. See “Compensating Upsampled Plug-Ins”...

  • Page 367: Chapter 36. Neve 33609 Compressor

    CHAPTER 36 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).

  • Page 368: Neve 33609 Screenshot

    Neve 33609 Screenshot Figure 120. The Neve 33609 plug-in window Operation The UAD Neve 33609 is a two-channel device capable of running in stereo or dual-mono modes. The active mode is determined by the mono/stereo switch (see “Mono/Stereo” on page 372).

  • Page 369: Neve 33609 And 33609Se Controls

    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: • http://www.uaudio.com/webzine/2006/august/index2.html Neve 33609 and 33609SE Controls Limiter Controls in this section only function when the limiter is enabled with the “limit In”...

  • Page 370: Compressor

    Compressor Controls in this section only function when the compressor is enabled with the “compress In” switch (the Power switch must also be on). The compressor precedes the limiter (see “Signal Flow” on page 368). Note: Threshold determines how much compression will occur. When the input sig- Compressor Threshold nal exceeds the threshold level, the compressor engages.

  • Page 371: Other Controls

    Other Controls 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 Output Gain is an overall makeup gain stage at the output of the plug-in to compensate for reduced levels as a result of compression and/or limiting.
  • Page 372 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 & 2 controls are ganged together in link mode). When link is active, automation data is written and read for channel one only.
  • Page 373 • 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 higher ratio on the other channel. In this case, you will get a double knee, with the lower ratio being used between the knees, and the higher ratio above both knees.
  • Page 374 Headroom Switch The Headroom switch is provided to accommodate applications where high amounts of gain reduction are not desired. Headroom simply lowers the in- ternal operating level so that the plug-in is not “pushed” into gain reduction as much. Headroom can be set to 22 dB, 18 dB, or 14 dB. At 22 dB, signals will push the plug-in into gain reduction (and more non-linearity and “good”...
  • Page 375 Keep in mind there are no hard and fast rules. Use the above recom- Note: 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.

  • Page 376: Neve 33609Se

    Neve 33609SE Figure 122. The Neve 33609SE plug-in window Overview The UAD Neve 33609SE is derived from the UAD Neve 33609. Its algorithm has been revised in order to provide sonic characteristics very similar to the 33609 but with significantly less DSP usage. It is provided to allow 33609- like sound when DSP resources are limited.

  • Page 377: Chapter 37. Neve 88Rs Channel Strip

    CHAPTER 37 Neve 88RS Channel Strip Overview In 2001, Neve launched the 88 Series: A new, large-format analog console that represented the best of all Neve designs that came before it. Considered the ultimate console for modern features and reliability, it is also heralded as one of the best-sounding consoles ever made by veterans of both the audio and film communities.

  • Page 378: Neve 88Rs Screenshot

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

  • Page 379: Neve 88Rs Controls

    Neve 88RS Controls Overview The UAD Neve 88RS controls are divided into four main sections: dynamics, EQ, cut filters, and global. Each section and control is detailed below. In the UAD Neve 88RS plug-in, 0 dBFS is calibrated to +4 dBU plus 18 dB of headroom, so 0 dBFS is equivalent to 22 dBU.

  • Page 380: Gate/Expander

    Gate/Expander The gate/expander module operates in either gate or expansion mode. In gate mode, signals below the threshold are attenuated by the range (RGE) amount (see Figure 125 on page 380), and hysteresis is available (see Figure 126 on page 381).
  • Page 381 Gate/Exp The Hysteresis knob sets the difference in threshold for signals Hysteresis that are either rising or falling in level. Signals that are rising (HYST) in level are passed when the level reaches the threshold value plus the hysteresis value. Signals that are falling in level are not passed at the lower threshold level.
  • Page 382 The available range is –25 dB to +15 dB. A range of –25 dB to –65 dB is available when the –40 dB switch is engaged (see “Gate/Exp Threshold –40 dB” on page 382). In typical use it’s best to set the threshold value to just above the noise floor of the desired signal (so the noise doesn’t pass when the desired signal is not present), but below the desired signal level (so the signal passes when present).

  • Page 383: Limiter/Compressor

    Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. Fast release times are typically only suitable for certain types of percus- Note: sion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results.
  • Page 384 An example: When compressing a snare track with a standard compressor, if the snare hits are sparse, the compressor will release between each hit, so that each hit has a squashed sound. With the 88R compressor, distortion will be reduced, because the compressor will not come out of compression as much between the snare hits.
  • Page 385 As the Threshold control is increased and more processing occurs, out- Note: put level is typically reduced. Adjust the Gain control to modify the output of the module to compensate if desired. The –20 dB switch increases the sensitivity of the limiter/compres- L/C Threshold –20 dB sor by lowering the range of the available threshold values.
  • Page 386 Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. However, if the release is too long, compression for sections of audio with loud signals may extend to sections of audio with lower signals. Fast release times are typically only suitable for certain types of percus- Note: sion and other instruments with very fast decays.
  • Page 387 88RS EQ Band Layout EQ module enable switch High Frequency (HF) band controls High Midrange Frequency (HMF) band controls Low Midrange Frequency (LMF) band controls Low Frequency (LF) band controls Figure 127. Neve 88RS EQ Controls Layout This button activates the equalizer module. The module is ac- EQ Enable (EQ) tive when the button is gray and the green indicator illumi- nates.
  • Page 388 HF Freq This parameter determines the HF band center frequency to be boosted or attenuated by the band Gain setting. The available range is 1.5 kHz to 18 kHz. This control determines the amount by which the frequency set- HF Gain ting for the HF band is boosted or attenuated.

  • Page 389: Cut Filters

    LMF Freq This control determines the LMF band center frequency to be boosted or at- tenuated by the LMF Gain setting. The available range is 120 Hz to 2 kHz. This control determines the amount by which the frequency setting for the LMF LMF Gain band is boosted or attenuated.

  • Page 390: Global

    Cut Enable This button activates the cut filter. The cut filter is active when the button is gray and the red indicator illuminates. Cut Frequency This knob determines the cutoff frequency for the cut filter. The available range is 7.5 kHz to 18 kHz for the high cut fil- ter (lighter blue control), and 31.5 Hz to 315 Hz for the low cut filter (darker blue control).

  • Page 391: Webzine Article

    WebZine Article An article about the Neve 88RS console can be found in the “Analog Obses- sion” article of the Universal Audio May 2007 Webzine (Volume 5, Number 4), published on the internet at: • http://www.uaudio.com/webzine/2007/may/index4.html The Neve 88RS at Skywalker Sound in California All visual and aural references to the Neve®...

  • Page 392: Chapter 38. Nigel

    Introduction Nigel offers the latest generation of guitar processing technology integrated into a complete multi-effects plug-in 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.
  • Page 393 Nigel Screenshot Figure 128. The Nigel plug-in 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 plug-ins.

  • Page 394: Preflex Plug-In

    Preflex Plug-in 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.

  • Page 395: Gate/Comp Module

    Gate/Comp Module Figure 130. 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.
  • Page 396 Gate Fast Button 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 quickly. 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.
  • Page 397 Compressor Sets the amount of time that must elapse, once the input signal reaches the Attack Menu 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 (8ms), and Fast (400µs).

  • Page 398: Amp Module

    Amp Module 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 module.

  • Page 399: Amp Controls

    Knob Values Are Knob settings do not change to new values when an amp type is selected. This Offsets is because knob values are not absolute. Instead, they are an offset to the fac- tory programmed amp type value. For example, if Post-Lo EQ displays a value of 3.0, then 3 dB is added to the amp type internal (preset) value.
  • Page 400 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.
  • Page 401 Mesa, Matchless, Aiken, 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.

  • Page 402: Cabinet Module

    Amp-A Type Determines the amp type for the “A” section of the Amp. Selecting an Amp Menu Type reconfigures the amplifier characteristics and the function of the other Amp parameters. Determines the amp type for the “B” section of the Amp. Selecting an Amp Amp-B Type Menu Type reconfigures the amplifier characteristics and the function of the other...
  • Page 403 Shure, ADA, Utah and any other manufacturer, 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.

  • Page 404: Phasor Module

    Cabinet On/Off Enables or disables the Cabinet module within Preflex. The Cabinet is en- Button 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.
  • Page 405 Sweep Lo Knob Sets the lowest frequency of the Phasor. The available range is from 50 Hz to 6000 Hz. 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.
  • Page 406 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 29. Phasor LFO Types and Descriptions Pure sine wave.

  • Page 407: Mod Filter Module

    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 III and other popular filters. The filter cutoff frequency can be controlled by the signal level at the input to the module or a low frequency oscillator (LFO).
  • Page 408 Sens/Rate/ The function and label of the first knob in the Mod Filter is determined by the Wah Knob Mod Type setting (see Figure 134 on page 407). When the Mod Type is an envelope, the label changes to “Sens” and determines the gain sensitivity of the Mod Filter.
  • Page 409 Sweep Hi Knob Sets the highest frequency to be affected by the Mod Filter. The available range is from 50 Hz to 4000 Hz. 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.
  • Page 410 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 until the knob reaches is maximum value again at which time the effect is re-engaged.

  • Page 411: Tremmodecho Plug-In

    TremModEcho plug-in The TremModEcho is loaded as one plug-in but consists of three modules: Trem/Fade, Mod Delay, and Echo (Figure 135). Each of the module controls is described in the following pages. Figure 135. The TremModEcho plug-in contains three modules UAD Powered Plug-Ins Manual - 411 - Chapter 38: Nigel...

  • Page 412: Trem/Fade Module

    Trem/Fade Module Figure 136. 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).
  • Page 413 Fade In Knob 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.
  • Page 414 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 active and can be adjusted as desired.

  • Page 415: Mod Delay Module

    Mod Delay Module Figure 137. 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.
  • Page 416 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).
  • Page 417 Time Knob Sets the modulation delay time. The available range is from 0 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. The Time knob is only visible in Chorus and Vibrato modes.
  • Page 418 Mod Delay LFO Type Table Table 32. Mod Delay LFO Types and Descriptions Sin 0 In-phase sine wave Sin 90 Sine wave 90 degrees out of phase Sin 180 Sine wave 180 degrees out of phase Tri 0 In-phase triangle wave Tri 90 Sine wave 90 degrees out of phase Tri 180...

  • Page 419: Echo Module

    Echo Module Figure 138. 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 DM-L plug-in which has up to 2400 milliseconds available delay per stereo channel.
  • Page 420 Damping Knob This low pass filter reduces the amount of high frequencies in the processed signal. Higher values yield 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.

  • Page 421: Chapter 39. Precision Buss Compressor

    CHAPTER 39 Precision Buss Compressor Overview The Precision Buss Compressor is a dual-VCA-type dynamic processor that yields modern, transparent gain reduction characteristics. It is specifically designed to “glue” mix elements together for that cohesive and polished sound typical of master section console compressors. A flexible and intuitive tool, the Precision Buss Compressor is intended primarily for controlling the final output of your mix, but can be usefully applied to a variety of sources from drum busses or overheads to vocal groups, or even as a channel...

  • Page 422: Precision Buss Compressor Screenshot

    Precision Buss Compressor Screenshot Figure 139. The Precision Buss Compressor plug-in window Precision Buss Compressor Controls Control knobs for the Precision Buss Compressor behave the same way as with all UAD plug-ins. Parameters with text values can be modified with text entry.
  • Page 423 When Ratio is changed, the Threshold value is updated accordingly: When Ratio is set to 2:1, the Threshold range is –55 dB to 0 dB. When Ratio is set to 4:1, the Threshold range is –45 dB to +10 dB. When Ratio is set to 10:1, the Threshold range is –40 dB to +15 dB.
  • Page 424 Slower release times can smooth the transition that occurs when the signal dips below the threshold, especially useful for material with frequent peaks. However, if you set too large of a Release time, compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals.
  • Page 425 Toggling the Fade switch causes an already active fade to reverse direction, without a jump in output level. The Fade Set rate is constant even if an active fade is interrupted. For example: If the Fade Set value is 30 seconds and a fade out is initiated, then Fade is clicked again after 20 seconds, it will take 20 seconds to fade back in.

  • Page 426: Extra Presets

    Gain Reduction The Gain Reduction meter dis- Meter plays the amount of gain re- duction occurring within the compressor. More blue bars moving to the left indicate more gain reduction is occurring. The meter range is from –16 dB to 0 dB. Signal peaks are held for 3 seconds before resetting.

  • Page 427: Chapter 40. Precision De-Esser

    CHAPTER 40 Precision De-Esser Overview The Precision De-Esser seamlessly and accurately removes sibilance from in- dividual audio tracks or even composite mixes via its intuitive interface and sophisticated yet transparent filter processing. The Threshold knob dials in the amount of sibilance reduction, while the two- position “Speed”...

  • Page 428: Precision De-Esser Controls

    Precision De-Esser Controls Control knobs for the Precision De-Esser behave the same way as all UAD plug-ins. Threshold, Frequency, and Width values can be modified with text entry. See “Text Entry” on page 92 for more information. Threshold controls the amount of de-essing by defining Threshold the signal level at which the processor is activated.
  • Page 429 When Solo is active, changes to the Threshold and Split controls cannot Note: be heard. Width controls the bandwidth of the de-essing Width sidechain when in bandpass mode. Bandpass mode is active when the control is in any position except fully clockwise.

  • Page 430: Operating Tips

    Gain Reduction The Gain Reduction meter provides a visual indica- tion of how much attenuation (compression) is oc- curing. Signal peaks are held for 3 seconds before resetting. When Split is on, the amount of sidechain attenuation is displayed. When Split is off, it displays the attenuation of the entire signal.

  • Page 431: Chapter 41. Precision Enhancer Hz

    These harmonics stimulate a psychoa- coustic bass-enhancing effect in the listener, giving even the smallest speakers greater translation of low frequency sources. Universal Audio’s unique ap- proach to this common problem combines a simple control set that yields ex- acting results with minimal adjustment and allows the widest range of tonality available in its class, from subtle to decidedly audible.

  • Page 432: Precision Enhancer Hz Controls

    Precision Enhancer Hz Controls Control knobs for the Precision Enhancer Hz behave the same way as with all UAD plug-ins. Effect, Hz Frequency, and Output values can be modified with text entry. See “Text Entry” on page 92 for more information. The Effect Knob controls the amount of pro- Effect Knob cessing that occurs in the plug-in.
  • Page 433 Mode B (Bass 2) Mode B is primarily for electric and DI bass with balanced mid range harmonics to help the bass stick out of the mix. Mode C (Synth) Mode C is tuned specifically for synth bass and other full-range material. It produces a wider range of harmonics than the Bass modes A and B.
  • Page 434 Hz Frequency Through filter isolation of the original bass content, the Hz Frequency parameter defines the cutoff fre- quency for the enhancement process. Frequencies be- low this value are enhanced by the processor. The available range is 16 Hz to 320 Hz. Hz Solo isolates the original bass signal and can be combined with Ef- Hz Solo fect Solo.

  • Page 435: Precision Enhancer Hz Usage Notes

    Precision Enhancer Hz Usage Notes • The Precision Enhancer Hz effect can serve multiple purposes. When the fre- quency control is set low, the effect extends into the audible low end. Lower frequencies work well for adding a low end thump or beefing up percussive bass/kicks, but be careful not to overdo it.

  • Page 436: Chapter 42. Precision Enhancer Khz

    CHAPTER 42 Precision Enhancer kHz Overview The Precision Enhancer kHz is a sophisticated tool with a simple control set, primarily designed to bring dull or poorly recorded tracks to life. However, with five distinct Enhancement “Modes”, the Precision Enhancer kHz will find uses on virtually any source.

  • Page 437: Precision Enhancer Khz Screenshot

    Precision Enhancer kHz Screenshot Figure 142. The Precision Enhancer kHz plug-in window Precision Enhancer kHz Controls Control knobs for the Precision Enhancer kHz behave the same way as with all UAD plug-ins. Effect, kHz Frequency, and Output values can be modified with text entry.
  • Page 438 Mode C Mode C dynamically enhances the high frequency content. The enhancement amount is increased as the input signal level increases. Mode D Mode D dynamically enhances both high and low frequency content. The en- hancement amount is increased as the input signal level increases. The kHz Frequency parameter is disabled in this mode.
  • Page 439 Generally speaking, adjust the Output control after the desired amount of pro- cessing is achieved with the Effect and kHz Frequency controls. Output does not affect the amount of enhancement processing, nor does it have any effect when the plug-in is disabled. Output Meter The Output Meter displays the signal level at the output of the plug-in.

  • Page 440: Chapter 43. Precision Equalizer

    CHAPTER 43 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.

  • Page 441: Precision Equalizer Controls

    Precision Equalizer Controls The easy to use Precision Equalizer features stepped controls throughout for easy recall. Both the left and right channels feature four bands of EQ, grouped in two overlapping pairs. There are two bands for low frequencies (L1 and L2), and two for highs (H1 and H2). There is also a shelving or peak/notch filter available for each band, along with five peak/notch (Q) re- sponses per band.
  • Page 442 Dual Mode 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.

  • Page 443: Band Controls

    Power Switch The Power Switch determines whether the plug-in is active. This is useful for comparing the processed settings to the original signal, or to bypass the plug-in to reduce the UAD DSP load (load is not reduced if “UAD-2 DSP LoadLock” on page 74 is enabled).
  • Page 444 Frequency Knob 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.

  • Page 445: Precision Equalizer Latency

    Precision Equalizer Latency The Precision Equalizer uses an internal sample rate of 192 kHz to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. See “Compensating Upsampled Plug-Ins” on page 108 for more information. Compensating for Precision Equalizer is not required if the host appli- Note: cation supports full plug-in delay compensation throughout the signal path, or...

  • Page 446: Chapter 44. Precision Limiter

    CHAPTER 44 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 aliasing.

  • Page 447: Precision Limiter Screenshot

    Precision Limiter Screenshot Figure 144. The Precision Limiter plug-in window Controls Overview Control knobs for the Precision Limiter behave the same way as all UAD plug- ins. Input, Output, and Release values can be modified with text entry. See “Text Entry” on page 92 for more information.

  • Page 448: Precision Limiter Meters Overview

    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.
  • Page 449 with 20-20 kHz pink noise on an SPL meter set to C-weighted slow (i.e. aver- age) response. It is this calibrated meter/monitor relationship that establishes a consistent average “perceived loudness” with reference to 0 dB on the meter. Sliding Meter Scale With the K-System, programs with different amounts of dynamic range and headroom can be produced by using a loudness meter with a sliding scale, because the moveable 0 dB point is always tied to the same calibrated mon-...
  • Page 450 Each of these modes displays the The RMS and instantaneous peak levels, “Meter Response” on which follow the signal, and the peak-hold level (see page 451). PK-RMS K-20 K-14 K-12 Figure 145. Precision Limiter Meter Types K-20 K-20 mode displays 0 dB at –20 dB below full scale. K-20 is intended for ma- terial with very wide dynamic range, such as symphonic music and mixing for film for theatre.
  • Page 451 Note: When the meters are in the K-modes, the displayed RMS level is 3.01 dB higher when compared to the same signal level in the Peak-RMS mode. This is done to conform to the AES-17 specification, so that peak and average measurements are referenced to the same decibel value with sine waves.
  • Page 452 Figure 146. 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.

  • Page 453: Precision Limiter Latency

    Hold The meter Hold Time switch determines how much time will pass before the peak values for the main meter and the gain reduction meter are reset. It af- fects both the peak LED’s and the peak text display. Values of 3 seconds, 10 seconds, or Infinite (indicated by the lazy-8 symbol) can be selected.

  • Page 454: Chapter 45. Precision Maximizer

    CHAPTER 45 Precision Maximizer Overview The Precision Maximizer is a dynamic impact processor that uniquely en- hances the apparent loudness, warmth, and presence of individual tracks or program material without appreciably reducing dynamic range or peak level control. Significant audio improvements can be achieved without the fatigu- ing artifacts typically associated with traditional dynamic processors.

  • Page 455: Precision Maximizer Screenshot

    Precision Maximizer Screenshot Figure 147. The Precision Maximizer plug-in window Precision Maximizer Controls Control knobs for the Precision Maximizer behave the same way as all UAD plug-ins. Input, Shape, Mix, and Output values can be modified with text en- try. See “Text Entry”...
  • Page 456 Shape The Shape knob is the primary saturation control for the Maximizer effect. It contours the harmonic content and ap- parent dynamic range of the processor by changing the small-signal gain of the saturator. The available range is 0–100%. At lower settings, apparent loudness is not as dramatic but harmonic processing still occurs, producing a richer sound with minimal reduction of dynamic range.
  • Page 457 The crossover frequencies in three-band mode are 200 Hz and 2.45 kHz. Click the Bands button to change the mode. Alternately, you can click+hold the LED area and drag like a slider to change the value. UAD DSP usage is increased when three-band mode is active (unless Note: “UAD-2 DSP LoadLock”...
  • Page 458 Output The Output knob controls the signal level that is output from the plug-in. The available range is –12 dB to 0 dB. Note that when Limit is not engaged, it is possible for the output level to exceed 0 dB. In this case, Output can be lowered to eliminate any associated clipping.

  • Page 459: Operating Tips

    Operating Tips • As a starting point for general loudness enhancement, set Precision Maxi- mizer to one-band mode with Limit engaged, with Mix at 100% and Shape at 50%. Then set Input so signals peak at around 0 dB on the Input Meters. These settings offer good results under most conditions, producing more presence with a warmer sound and enhanced detail (especially with lower frequencies), while retaining the apparent dynamic range of the original...

  • Page 460: Webzine Article

    101. WebZine Article An interesting article about sonic enhancers can be found in the “Ask The Doctors” article of the Universal Audio May 2007 Webzine (Volume 5, Num- ber 4), published on the internet at: • http://www.uaudio.com/webzine/2007/may/index2.html UAD Powered Plug-Ins Manual...

  • Page 461: Chapter 46. Precision Multiband

    CHAPTER 46 Precision Multiband Overview The Precision Multiband is a specialized mastering tool that provides five spectral bands of dynamic range control. Compression, expansion or gate can be chosen separately for each of the five bands. The unparalleled flexi- bility and easy to follow graphical design of the Precision Multiband make it the ideal tool for the novice as well as the seasoned mastering engineer.

  • Page 462: Precision Multiband Interface

    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.

  • Page 463: Band Controls

    Band Controls The Band Controls contain the parameters that are used to specify all the settings for each band (except the frequencies; see “Frequency Controls” on page 470). The Band Controls for each of the five bands are identical. Only one set of Band Controls is displayed at a time.

  • Page 464: Band Parameters

    EQ Display Selection A band can also be selected by clicking within the area of the band in the EQ Display. For example, clicking within 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.
  • Page 465 Relative mode is not available for the Type parameter because the Note: 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.
  • Page 466 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 (dependent upon the band threshold and input level).
  • Page 467 Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before processing is applied. The faster the Attack, the more rapidly processing is applied to signals above the threshold. The available range is 50 microseconds to 100 milliseconds. Release sets the amount of time it takes for processing to cease once the input Release signal drops below the threshold level.

  • Page 468: Eq Display

    EQ Display In the EQ Display, the entire audio spectrum from 20 Hz to 20 kHz is dis- played along the horizontal axis. Gain and attenuation of the five band fre- quencies (up to ±12 dB) are displayed along the vertical axis. Figure 149.
  • Page 469 Adjusting Gain The gain of a band can be adjusted by click-drag- ging the top of its colored line. In this case the cursor changes to an up/down arrow when hovered over the hot spot to indicate the direction available for dragging.

  • Page 470: Frequency Controls

    Frequency Controls 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 468). The frequencies for each band can be modified by entering the values directly and by manipulating the colored band curves.

  • Page 471: Dynamics Meters

    Dynamics Meters Realtime display of Precision Multiband dy- namics processing is shown in the Dynamics Meters. This area also contains the band en- able and band solo controls. There is one vertical dynamics meter for each band. They are color coded to match the bands, and represent (from left to right) the LF, LMF, MF, HMF, and HF bands respectively.

  • Page 472: Global Controls

    The band is soloed when its Solo button is red. Click the button to toggle the solo state of the band. Soloing bands does not reduce UAD CPU usage. When a band is in Solo mode, its curve Solo Display in the EQ Display is highlighted.
  • Page 473 Output Level The stereo Meter peak/hold Out- put Meter dis- plays the signal level at the output of the plug-in. Signal peaks are held for 3 seconds before resetting. Output Level The Output Level knob controls the signal level that is output from the plug-in. Knob The default value is 0 dB.

  • Page 474: Precision Multiband Latency

    Power Switch The Power Switch determines whether the plug-in is active. Click the toggle button or the UA logo to change the state. When the Power switch is in the Off position, plug-in processing is disabled and UAD DSP usage is reduced (unless “UAD-2 DSP LoadLock”...

  • Page 475: Chapter 47. Pultec And Pultec-Pro

    CHAPTER 47 Pultec and Pultec-Pro Overview The Pultec EQP-1A Program Equalizer and Pultec MEQ-5 plug-ins 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 plug-in is the EQP-1A Program Equalizer that was introduced in version 2.2 to much acclaim.

  • Page 476: Pultec Latency

    Pultec Latency The Pultec and Pultec-Pro plug-ins introduce an additional 13 samples of de- lay due to upsampling when the session sample rate is below 100 kHz. This additional latency does not occur at sample rates above 100 kHz. You may enter a value of 13 in the “Samples”...

  • Page 477: Low Frequency Controls

    Figure 151. Control grouping within the Pultec EQP-1A In/Out Toggle This is a signal bypass control. It allows you to compare the processed and un- Switch 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.

  • Page 478: High Frequency Controls

    In the documentation supplied with hardware version of the EQP-1A, it Note: 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.

  • Page 479: Pultec Meq-5 Screenshot

    Pultec MEQ-5 Screenshot Figure 152. The Pultec-Pro MEQ-5 Midrange Equalizer plug-in window Pultec MEQ-5 Controls 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.

  • Page 480: Low Peak Controls

    In the hardware MEQ-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 plug- in emulates the hardware in every regard, the signal will be slightly processed when this switch is in the In position and the peak/dip controls are at zero.
  • Page 481 Low Peak Response Figure 154. Pultec MEQ-5 Low Peak Response UAD Powered Plug-Ins Manual - 481 - Chapter 47: Pultec and Pultec-Pro...
  • Page 482 Dip Response Figure 155. Pultec MEQ-5 Dip Response UAD Powered Plug-Ins Manual - 482 - Chapter 47: Pultec and Pultec-Pro...
  • Page 483 High Peak Response Figure 156. Pultec MEQ-5 High Peak Response UAD Powered Plug-Ins Manual - 483 - Chapter 47: Pultec and Pultec-Pro...

  • Page 484: Chapter 48. Realverb Pro

    CHAPTER 48 RealVerb Pro Overview 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.

  • Page 485: Realverb Pro Background

    RealVerb Pro Background Direct Path Source Wet/Dry Input Early Delay Reflections Gain Output Gain & Pans & Mute Distance Late- Field Delay Reverb Figure 157. RealVerb Pro signal flow Figure 157 illustrates the signal flow for RealVerb Pro. The input signal is equalized and applied to the early reflection generator and the late-field re- verberation unit.

  • Page 486: Spectral Characteristics

    Figure 158). Re- The RealVerb Pro user interface is similarly organized (see flected energy equalization is controlled with the Resonance panel. The pat- tern of early reflections (their relative timing and amplitudes) is determined by the room shapes and sizes in the Shape panel; early reflection predelay and overall energy is specified at the top of the Timing panel.
  • Page 487 To configure the room shape and size: 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. Select a room shape from the second (right) pop-up menu. The selected shape appears in the right side of the Shape circle.
  • Page 488 Second material First material Blending bar First material Second material selector pop- selector pop-up up menu menu First material Thickness Second material control Thickness control Figure 160. 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 Figure 162 on page 493).
  • Page 489 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.
  • Page 490 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).

  • Page 491: Resonance (Equalization)

    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.

  • Page 492: Timing

    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.
  • Page 493 Early Amplitude Reflections control display Predelay control Late-Field Amplitude Reverbera- Control tions display Predelay control Diffusion control Decay Time control Figure 162. RealVerb Pro Timing panel To adjust the timing of the early reflections: Drag the Amplitude control for the early reflections up or down (from –80 dB to 0 dB) to affect the energy of the reflections.

  • Page 494: Positioning

    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 De- cay Time is indicated in the text field at the bottom of the Timing panel. 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.

  • Page 495: Levels

    Set the positioning for the early reflection or late-field reverberation with any of the following methods: 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.

  • Page 496: Morphing

    Morphing All RealVerb Pro controls vary continuously using proprietary technology to smoothly transition between selected values. This capability enables RealVerb Pro to morph among presets by transitioning between their parameter sets. This approach is in contrast to the traditional method of morphing by cross- fading between the output of two static reverberators.
  • Page 497 Figure 166. RealVerb Pro in Morphing mode UAD Powered Plug-Ins Manual - 497 - Chapter 48: RealVerb Pro...

  • Page 498: Realverb Pro Preset Management

    RealVerb Pro Preset Management Factory Presets 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”...

  • Page 499: Chapter 49. Boss Ce-1 Chorus Ensemble

    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.

  • Page 500: Boss Ce-1 Controls

    Boss CE-1 Controls The Boss CE-1 has two operating modes, chorus and vibrato. Only one mode can be active at a time. The operating mode is set using the Vibrato/Chorus switch. The red Clip LED illuminates when signal peaks in the plug-in occur. Clip LED This is an effect bypass switch.
  • Page 501 Stereo Mode The Stereo Mode switch determines the operating mode of CE-1 Switch when the plug-in is used in a configuration with stereo input, such as a stereo audio track insert or stereo effects bus. The hardware CE-1 has only a monophonic input. Its output can be mono (wet and dry signal mixed at one output jack) or stereo (dry signal in one output jack, wet signal in other output jack).
  • Page 502 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.

  • Page 503: Chapter 50. Roland Dimension D

    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.

  • Page 504: Roland Dimension D Controls

    Roland Dimension D Controls 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- Dimension Mode sity. Four different modes are available. Mode 1 is the most subtle effect, and Mode 4 is maximum intensity.

  • Page 505: Chapter 51. Roland Re-201 Space Echo

    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.

  • Page 506: Roland Re-201 Screenshot

    Roland RE-201 Screenshot Figure 169. The Roland RE-201 plug-in window Roland RE-201 Interface The RE-201 interface is true to the original hardware, with a few customiza- tions to bring it into the digital era. The original mic and instrument volume controls have been replaced with echo/reverb pan controls and an input control.
  • Page 507 The VU is essentially an input meter, therefore it doesn’t react when the Echo/Normal switch is switched from Echo to Normal. The Peak lamp and VU meter measure signal just after the input volume Note: control. However, like the original hardware, echo intensity (feedback) is ap- plied just before the level detection circuit.
  • Page 508 The affect of each knob position is detailed in Table 41 on page 508. Table 41. RE-201 Mode Selector Positions Mode REPEAT REVERB + ECHO REVERB Knob (echo only) ONLY Position Reverb Active • • • • • Tape • •...
  • Page 509 Repeat Rate 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 •...
  • Page 510 Echo Volume has no affect when the Mode Selector is in the “Reverb Note: Only” position. This switch determines whether the plug-in is active. This is use- Power Switch ful for comparing the processed settings to the original signal, or to bypass the plug-in to reduce the UAD DSP load. Toggle the switch to change the Power state.
  • Page 511 Splice Normally, the splice on the tape loop comes around at regular in- tervals. This interval varies, and is determined by the selected Re- peat Rate. Depending on what Tape Quality is selected, the splice can be subtle or obvious, and can work as a catalyst for chaos es- pecially when the RE-201 is in a state of self-oscillation.

  • Page 512: Chapter 52. Spl Transient Designer

    CHAPTER 52 SPL Transient Designer Overview Universal Audio has partnered with German company Sound Performance Lab (SPL) to bring you the Transient Designer, with its unique and compelling Differential Envelope Technology for shaping the dynamic response of a sound. Only two simple audio controls are required to allow you to effortlessly reshape the attack and sustain characteristics.

  • Page 513: Spl Transient Designer Controls

    SPL Transient Designer Controls Containing only two primary controls, the UAD SPL Transient Designer is ex- tremely simple to operate. The technology behind the processor isn't as im- portant as how it sounds. However, for those who desire a deeper under- standing of the process, a deeper explanation of the underlying technology is presented at the end of this chapter (see “Technology”...

  • Page 514: Webzine Article

    Signal This 4-stage “LED” indicates the presence of audio signals at the input of the plug-in. When the input signal is below –25 dB, the indicator is off. At –25 dB to –19 dB, the indicator glows slightly. At –18 dB to –10 dB, it lights with medium intensity. At –9 dB to 0 dB, it shines brightly.

  • Page 515: Acknowledgement

    In addition to creating an amazing piece of hardware, Sound Performance Lab also wrote an extensive user manual for the Transient Designer. Because Universal Audio has full license to make use of the Transient Designer technol- ogy, SPL has graciously authorized us to use their documentation as well.
  • Page 516 • Shorten the sustain period of a snare or a reverb tail in a very musical way to obtain more transparency in the mix. • When recording a live drum set, shorten the toms or overheads without physically damping them. Usual efforts to damp and mike are reduced re- markably.
  • Page 517 Guitars Use the Transient Designer on guitars to soften the sound by lowering the AT- TACK. Increase ATTACK for in-the-face sounds, which is very useful and works particularly well for picking guitars. Or blow life and juice into quietly played guitar parts. Distorted guitars usually are very compressed, thus not very dynamic.
  • Page 518 channels of the reverb return through two separate Transient Designer in- stances. Turn the ATTACK fully right on one instance and reduce SUSTAIN slightly (about –1.5 dB). On the other instance turn the ATTACK fully left and the SUSTAIN to the 3-o‘clock position (about +12 dB). These settings preserve the original complexity of the reflections in the reverb but the maximum intensity of the effect will move from the left to the right in the mix while the reverb will maintain it‘s presence in both channels.

  • Page 519: Technology

    Technology Of course you don‘t have to know how the Transient Designer works in order to use it. However, since it offers a completely novel signal processing, noth- ing shall be concealed from the more curious users. SPL’s DET is capable of level-independent envelope processing and thus Differential Envelope makes any threshold settings unnecessary.
  • Page 520 Figure 172 on page 520 shows the difference between Env 1 and Env 2 that defines the control voltage of the VCA. The shaded area marks the difference between Env 1 and Env 2 that controls the control voltage of the VCA. The am- plitude of the attack is increased if positive ATTACK values are set.
  • Page 521 The SUSTAIN The SUSTAIN control circuitry also plays host to two envelope generators. The Control Circuitry envelope tracker Env 3 again follows the original waveform. The envelope generator Env 4 maintains the level of the sustain on the peak-level over a longer period of time.
  • Page 522 Figure 176 on page 522 displays the processed waveforms with maximum and minimal sustain to compare against the original waveform in diagram 4. Figure 176. SPL Transient Designer Processed Sustain SPL Sound Performance Lab® and Transient Designer® are registered trademarks of SPL Elec- tronics, GmbH Germany and are used under license.

  • Page 523: Chapter 53. Ssl E Channel Strip

    CHAPTER 53 SSL E Channel Strip Large Format Mix Module The SSL 4000 is famous as the console employed on more Platinum-selling records than any other. With its wide range of VCA compression character- istics and intuitive EQ — rich with colorful band interdependencies — it’s easy to hear why.

  • Page 524: Ssl E Channel Strip Screenshot

    SSL E Channel Strip Screenshot Figure 177. The UAD SSL E and 4K Channel Strip plug-in windows SSL E Channel Strip Controls The SSL E Channel Strip controls are divided into four main sections: filters, dynamics, EQ, and global. Note: Knob settings, when compared to the graphical user interface silk- screen numbers, may not match the actual parameter values.

  • Page 525: Filters

    Filters In addition to the four-band EQ, UAD SSL E Channel Strip offers individual high and low pass filters. When the Filter control is at minimum value (fully counter-clockwise), the filter is disabled. The control ranges and sonics of these filters can be changed between “Black”...

  • Page 526: Dynamics

    Dynamics Separate “soft-knee” compressor/limiter and expansion/gate modules are available in the dynamics section. Each module has their own set of controls. Important: Dynamics are not processed unless enabled by the Dynamics selector buttons (“Dynamics In (DYN IN)” on page 529). Compressor/Limiter When UAD SSL E Channel Strip is used in a stereo-in/stereo-out Link...

  • Page 527: Gate/Expander

    This compressor has an automatic make-up gain function. As Threshold is low- ered and compression increases (as knob is rotated clockwise), output gain from the module is increased automatically to compensate. Release sets the amount of time it takes for gain reduction to Compress Release cease once the input signal drops below the threshold level.
  • Page 528 Gate 1 (G1) In Gate 1 mode, signals below the Expand Threshold are attenuated by the Expand Range amount. Gate 1 is authentic to the gate mode on earlier hard- ware consoles. Gate 2 (G2) Gate 2 mode operates the same way as Gate 1, but has a different “no-chat- ter”...
  • Page 529 Expand Attack Attack defines the duration between the input signal reaching the thresh- old and processing being applied by the expander/gate. Attack time is normally auto-sensing and program dependent. When Fast Attack is en- abled, attack time is 1ms. Fast Attack is active when the “F.ATT” LED is illuminated. To toggle Fast At- tack, click the LED or its label text.
  • Page 530 The UAD SSL E Channel Strip EQ module is divided into four frequency bands: High Frequency (HF, blue knobs), High Midrange Frequency (HMF, green knobs), Low Midrange Frequency (LMF, yellow knobs), and Low Fre- quency (LF, orange knobs). The high and low bands can be switched from shelving mode into bell (peak/dip) mode.
  • Page 531 High Frequency HF Gain (HF) Band This control determines the amount by which the frequency value for the band is boosted or at- tenuated. The available range is ±15 dB in both Black and Brown modes. Tip: Click the “0” to return the Gain knob to its center position.
  • Page 532 HMF Q The Q (bandwidth) control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control. The filter slopes get steeper (narrower bandwidth) as the control is rotated counter-clockwise. The available range is 0.5 to 2.5 in both Black and Brown modes.
  • Page 533 LF Frequency This control determines the band center frequency to be boosted or attenuated by the band Gain setting. The available range is 30 Hz to 450 Hz in both Black and Brown modes. LF Bell The Bell button switches the LF band from shelf mode to peak/dip mode. In normal (shelf) mode, only frequencies below the frequency value are boosted or attenuated.

  • Page 534: Global

    Pre-Dynamics (PRE DYN) During “normal” operation (PRE DYN disengaged) the audio signal is output from the dynamics module into the EQ module. Activating PRE DYN reverses this routing, so the EQ is ahead of the dynamics module instead. Pre-dynam- ics is active when the red LED below the button is illuminated. Global I/O Meters The vertical LED-style metering provides a visual indication of the...

  • Page 535: Usage Notes

    Power The Power button determines whether the plug-in is active. Click the Power button to disable the processor. Power is useful for comparing the processed sound to that of the original sig- nal. Usage Notes The SSL E Series channel has been used to mix more hit records than any other in history.

  • Page 536: Webzine Article

    “Ask The Doctors” section of the Universal Audio April 2009 Webzine: • http://www.uaudio.com/webzine/2009/april/doctors.html UAD, UAD-1, UAD-2 and UAD 4K are trademarks of Universal Audio, Inc. All other names are trademarks of Solid State Logic, which are in no way associated or affiliated with Universal Audio, Inc.

  • Page 537: Chapter 54. Ssl G Bus Compressor

    SSL 4000 G console’s bus compressor. The undeniable drive and punch of this G Series master compressor — modeled to exacting detail by Universal Audio and fully authenticated by Solid State Logic® — helped make the original 4000 G Series the world's most success- ful studio production console.

  • Page 538: Ssl G Bus Compressor Controls

    SSL G Bus Compressor Controls Threshold Threshold defines the signal level at which the onset of compression oc- curs. Incoming signals that exceed this level are compressed. Signals below the level are unaffected. The control range is ±15 dB. As the Threshold control is de- creased and more compression oc- curs, output level is typically re- duced.
  • Page 539 Available Release times are discrete values of 100ms, 300ms, 600ms, 1.2s, and Auto. The Auto release characteristic for SSL G Bus Compressor has a unique quality that is optimized for program material. Ratio defines the amount of gain re- Ratio duction to be processed by the compressor.

  • Page 540: General Usage Notes

    Fade Rate Fade Rate determines the amount of time that will pass between the Fade but- ton being activated and the plug-in output level being reduced to minimum (or being raised to 0 dB in the case of a fade in). The available range is from 1.0 second to 60 seconds.

  • Page 541: Webzine Article

    “Ask The Doctors” section of the Universal Audio April 2009 Webzine: • http://www.uaudio.com/webzine/2009/april/doctors.html UAD, UAD-1, UAD-2 and UAD 4K are trademarks of Universal Audio, Inc. All other names are trademarks of Solid State Logic, which are in no way associated or affiliated with Universal Audio, Inc.

  • Page 542: Chapter 55. Studer A800

    CHAPTER 55 Studer A800 Multichannel Tape Recorder For more than 30 years, artists and engineers alike have been drawn to the warm sound, solid “punchy” low-end, and overall presence of the Studer® A800 Multichannel Tape Recorder. The sheer number of albums recorded on this legendary 2”...

  • Page 543: Studer A800 Screenshot

    Studer A800 Screenshot Figure 179. The Studer A800 plug-in window Operational Overview The Studer A800 for UAD-2 provides all of the original unit’s desirable ana- log sweetness; like magnetic tape, users can dial in a clean sound, or just the right amount of harmonic saturation using the Input and Output controls.
  • Page 544 +6dB, +7.5dB, or +9dB calibration levels, which can be used at their recom- mended settings, or tweaked for additional tonal options. Input, Sync and Re- pro paths, plus Thru (bypass) are available for authenticity, providing all available circuit options of the A800. A huge time saver, the Studer A800 plug-in features an innovative Gang Controls setting, allowing for instant glo- bal adjustment of any parameters for all Studer A800 instances in your ses- sion.
  • Page 545 Primary & The primary controls (those that are typically most Secondary used) are on the main panel at the bottom portion Controls of the interface. Additional (typically less used) controls are available on the secondary panel. The secondary panel (see Figure 180) is ac- cessed by clicking the Studer A800 label or the...

  • Page 546: Primary Controls

    The UAD Studer A800 implements a control ganging feature that allows easy Ganged Operation simultaneous parameter modification for all instances of the plug-in. The fea- ture enables the DAW to emulate the multitrack tape deck scenario more ac- curately, where a single change to some multitrack machine parameters (such as tape speed, formula, and calibration settings) would affect all tape chan- nels.
  • Page 547 Repro Repro mode models the sound of recording through the record head and playback through the reproduction head, plus all corresponding electronics. Tape Type selects the active tape stock formulation. Four of Tape Type the most popular 2” magnetic tape formulas are modeled in the A800 plug-in: 250, 456, 900, and GP9.
  • Page 548 • 250: +3 Calibration (251 nWb/m) • 456: +6 Calibration (355 nWb/m) • 900: +9 Calibration (502 nWb/m) • GP9: +9 Calibration (502 nWb/m) Note: The noise floor is affected by Cal Level when Noise Enable (page 550) is active. Tip: The UAD Studer A800 default bank offers a variety of preset Tape Type, Tape Speed, CAL level, and EQ configurations that are commonly used for...

  • Page 549: Secondary Controls

    Just like real magnetic tape, lower Input levels will have a cleaner sound, while higher levels result in more harmonic saturation and coloration. Higher Input levels will also increase the output level from the plug-in. The Out- put control can be lowered to compensate. Tip: Click the “0”...
  • Page 550 Equaliser The Equaliser buttons determine the active Emphasis EQ val- (Emphasis EQ) ues and the frequency of the hum noise. Click the equaliser buttons to alternate between the two different types. NAB or CCIR curves can be selected when the Tape Speed is 7.5 or 15 IPS.
  • Page 551 While noise is historically considered a negative, and was the attribute that pushed the technical envelope for better machines and formulas, noise is still an ever-present component of the sound of using tape and tape machines. The Studer A800 has individual parameters for Bias, HF Auto Cal Record EQ, and Sync/Repro EQ.
  • Page 552 • Gang Controls is a static control without the ability to make relative offsets. Disable Gang Controls if offsets between the same control within different instantiations is desired. • If Gang Controls is enabled when Auto Cal is enabled, any adjustments made to Tape Type, Tape Speed or Emphasis EQ causes the Calibration Controls...
  • Page 553 Figure 181. The calibration controls for Studer A800 HF Record EQ HF (High Frequency) Record EQ is provided to make up for common residual HF loss due to Bias optimization and system filtering. It is used to tune HF con- tent into the incoming signal prior to the tape non-linearity.
  • Page 554 With the hardware machine, these controls enable compensation for any tape frequency loss or head wear. Under hardware use, the Sync and Repro playback heads are calibrated to normal operating standards and are nearly identical when set correctly. However, they may be tuned incorrectly to achieve a desired sound.

  • Page 555: Studer A800 Latency

    Hum Noise The Hum Noise frequency is dependent on the setting of the Equaliser (Em- phasis EQ) control (page 550). The frequency is 60 Hz when set to NAB (US) and 50 Hz when set to CCIR (European). Note: When IPS (Tape Speed) is set to 30 IPS, the yellow Equaliser (Empha-...
  • Page 556 The Studer A800 Professional Multichannel Magnetic Tape Recorder All visual and aural references to Studer products and all use of Studer trademarks are being made with written permission from Harman International Industries, Inc. Any references to third party tape formulations are used solely for identification and do not imply any endorsement by, or affiliation with, any tape manufacturer.

  • Page 557: Chapter 56. Trident A-Range Eq

    CHAPTER 56 Trident A-Range EQ Overview The original Trident A-Range desk holds near-mythic status in the professional recording industry, and is arguably the best loved of the classic Trident con- sole designs. Particularly noted for its fantastic preamps and the unique band interactions of its colorful EQ section, the Malcolm Toft / Trident-designed A-Range console has made an indelible impact on the sound of record mak- ing.

  • Page 558: Operational Overview

    Operational Overview Unique Band Interactions & Distinct Cut-Filter Combinations The unique inductor-based EQ section of the board is what the Trident A-Range sound is all about. A series of three high pass filters and three low pass filters are arranged at the ends of the EQ section (see Figure 183).

  • Page 559: Trident A-Range Eq Controls

    Trident A-Range EQ Controls Phase The Phase (Ø) button inverts the polarity of the signal. The signal is in- verted when the button is engaged (darker). Leave the button inactive (lighter) for normal phase. Phase is independent of the EQ IN setting. Three low pass filters are available, and they can be used simul- Low Pass Filters taneously in any combination.
  • Page 560 Low-Mid Band The low-mid EQ offers peak/dip “bell” equalization for the middle-to- low fre- quencies. Low-Mid Frequency The center frequency of the low-mid filter is specified by this knob. Four center frequencies are available: 2 kHz, 1 kHz, 500 Hz, and 250 Hz. Low-Mid Gain The gain for the low-mid filter is specified by the horizontal slider control.

  • Page 561: Trident A-Range Latency

    101. WebZine Article An interesting article about the Trident A-Range console and its revered EQ can be found in the “Analog Obsession” article of the Universal Audio Sep- tember 2009 Webzine at: • http://www.uaudio.com/webzine/2009/september/analog.html UAD Powered Plug-Ins Manual - 561 -...
  • Page 562 The Trident A-Range Console, featuring the Trident A-Range EQ The Trident A-Range Console, featuring the Trident A-Range EQ All visual and aural references to the TRIDENT A-RANGE EQ are trademarks being made with written permission from PMI AUDIO. UAD Powered Plug-Ins Manual - 562 - Chapter 56: Trident A-Range EQ...

  • Page 563: Chapter 57. History

    He also developed the first multi- band equalizers, and with his company Universal Audio, was responsible for the development of classic equipment like the 1176LN and UREI® Time Align monitors. He was involved in the early development of stereophonic recording, and founded studios in Chicago, Hollywood and San Francisco whose legacy still lives on today.
  • Page 564 Universal Audio. It wasn't long before the company relocated to Chicago, and it was there, in 1947, that Putnam recorded what is generally accepted to be the first “pop” record to use ar- tificial reverberation. The founder of the group The Harmonicats, Jerry Murad, wanted to record using an echo chamber like he'd heard on effects in spooky radio mysteries.
  • Page 565 With all this success, Universal Recording went through several incarnations, with the dream version completed in 1955. At that time it was the most advanced and largest independent re- cording facility in the country attracting top producers like Nelson Riddle, Mitch Miller and Quincy Jones.
  • Page 566 Sides' Ocean Way Recording, are still considered to be some of the best sounding rooms ever built. Universal Audio and UREI Meanwhile, upstairs in the 6050 Sunset building Universal Audio was thriving, and changing names. Now called UREI®, the company had acquired the patent rights to the LA-2A leveling amplifier, and also to National Intertel, which became the Teletronix division of UREI®.

  • Page 567: Classic Compressors

    he started recording everything with feeds to two con- trol rooms, one for a stereo mix, one for a mono mix. In late '58, '59 and '60 everything Bill did was re- corded in both stereo and mono. “When stereo hit big around '61, none of the record companies had any catalog.
  • Page 568 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 predetermined ratio that acts in response to the input signal level. A compressor/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.
  • Page 569 – the first true peak limiter with all transistor circuitry offering superior perfor- mance 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.

  • Page 570: Pros Talk Ua

    Pros Talk UA Both the 1176 and the LA-2A remain in daily use. Busy engineers and producers’ comments about both the 1176 and the LA-2A demonstrate their impact on the industry: Mike Shipley: Mike Shipley (Def Leppard, Shania Twain, Blondie): “I grew up using 1176s – in England they were the compressor of choice.
  • Page 571 and string dates. Among his recent credits are work with the Goo Goo Dolls, Alanis Morissette and Green Day. Sides brings his different perspectives into play when he talks about using the 1176. “The 1176 is standard equipment for my sessions. I just used them last night, as a matter of fact, on a project for singer Lisa Bonet that Rob Cavallo was producing at Ocean Way.
  • Page 572 Jim Scott Jim Scott shared a Grammy for Best Engineered Album for Tom Petty's Wildflowers. He's also known for his work with Red Hot Chili Peppers, Natalie Merchant and Wilco. “I use 1176s real conservatively and they still do amazing things,” he comments. “I'm always on the four to one button, and the Dr.
  • Page 573 “My big mentors were Andy Johns and Lee DeCarlo and Ron Nevision because they were all Record Plant guys. I learned how to make a rock and roll record from them. Although over the years it's become my own thing, my style still tends to be that Record Plant style, U87s, 1176s, LA-2As, 47 F.E.T.s...it's what I like.”...

  • Page 574: Thank You

    Thank You We would like to thank you again for becoming a Universal Audio customer. We urge you sub- scribe to our email lists so we can keep you informed about UA product developments and pro- motions. Email preferences are set in your registration profile (see “My Profile”...
  • Page 575 INDEX Numerics Ampex ATR-102 Parameter Dependencies Ampex ATR-102 Primary Controls 1176LN 281, 568 Ampex ATR-102 Screenshots 1176LN Controls Ampex ATR-102 Secondary Controls 1176SE “Special Edition” Amplitude & Slope 1176SE Controls Attack 4K Buss Compressor Attack Knob Attenuation Knob 477, 478, 480 Attenuation Selector Switch A/B Selector 176, 375, 443, 502, 504, 510...
  • Page 576 INDEX Boss CE-1 Controls Control Bats Boss CE-1 Screenshot Control Grouping Bright Button Control Panel Buy Button Controls Link 71, 91 Buying Plug-Ins Controls View Bypass Cooper Time Cube 212, 213 Cooper Time Cube Controls Cooper Time Cube Screenshot Cabinet Copy/Paste Settings Cabinet On/Off Button Coupons...
  • Page 577 INDEX Depth Knob 195, 413 EMT 250 Functional Overview Desktop EMT 250 Program Mode Controls Detailed System Profile EMT 250 Screenshot Diffusion EMT 250 Webzine Article Dimension D Enable Button Dimension D Controls Enable/Bypass Switch 192, 193, 196, 199 Dimension D Screenshot energy Dimension Mode Envelope Mode...
  • Page 578 INDEX Features Helios Type 69 Equalizer Feedback Helios Type 69 Screenshot Filter Type Menu Help & Support Panel Filtering Help Menu 71, 91 FIrewire Bandwidth Hi Knob 405, 409, 416 Firewire Bandwidth vs. UAD DSP Hidden Controls Firewire Basics High Attenuation Controls 478, 480 Firewire Bus Power High Frequency Controls...
  • Page 579 INDEX Little Labs Voice Of God Live Processing LA-2A 281, 567 LiveTrack Mode LA-3A Compressor Lo Knob 405, 408, 416 LA-3A Controls Load Authorization File LA-3A Screenshot Load/Save Preset Late Logic Audio Late-Field Relative Timing Low Cut / High Cut Filters Late-Field Start Low Frequency Controls 477, 480...
  • Page 580 INDEX 217, 457 Neve 1081 Band Layout Mix Knob 239, 405, 420 Neve 1081 Controls 276, 291, 355, 379, 428, 437 Mixed UAD System Neve 1081 Equalizer Mod Delay On/Off Button Neve 1081 Latency Mod Delay Overview Neve 1081 Screenshot 275, 290, 354, 378 Mod Depth Neve 1081SE...
  • Page 581 INDEX Overview 190, 200, 275, 290, 349, 354, 361, 367, Precision Enhancer Hz Usage Notes 377, 421, 427, 431, 436, 454, 461, 505, 512 Precision Enhancer kHz Precision Enhancer kHz Controls Precision Enhancer kHz Screenshot Package Contents 21, 116, 129 Precision Equalizer parameter Precision Equalizer Controls...
  • Page 582 INDEX Purchasing Plug-Ins Roland CE-1 Overview Roland Dimension D Roland Dimension D Controls Q (Bandwidth) Knob Roland Dimension D Overview Roland Dimension D Screenshot Roland RE-201 Rate Roland RE-201 Controls Rate Knob 195, 404, 408, 415 Roland RE-201 Interface Rate knob Roland RE-201 Screenshot Ratio Room Shape and Material...
  • Page 583 INDEX Size Knob System Information Panel System Overview Slope System Requirements Software Installation 26, 27, 116, 121, 130 Software Instructions Software Removal Target Link Speed Software Updates Tempo Sync Solo Tempo Sync Modes Solo Display Tempo Sync Plugins Space Text Entry Spatial Characteristics Thank You Spectral Characteristics...
  • Page 584 INDEX Using the Meter 116, 129 UAD Bandwidth Allocation Using the UAD Meter UAD Control Panel Using UAD Powered Plug-Ins UAD Drivers Using UAD–Xpander UAD Environment UAD ExpressCard Products VariTrem Mode UAD Hardware 31, 38, 120 Verifying Installation UAD Meter & Control Panel 43, 61 Video Documentation UAD Nomenclature...
  • Page 585 INDEX Xpander Connections Xpander Notes Xpander Operation Xpander System Sleep 126, 135 Zoom Buttons UAD Powered Plug-Ins Manual - 585 - Index...

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