UAD POWERED PLUG-INS USER MANUAL VERSION 5.1 MANUAL VERSION 080922 Universal Audio, Inc. 1700 Green Hills Road Scotts Valley, CA 95066-4926 Voice: +1-831-440-1176 Fax: +1-831-461-1550 www.uaudio.
NOTICES Disclaimer Servicing This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio UAD Powered Plug-Ins. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, or the product(s) it refers to, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc.
Universal Audio, Inc. End-User License Agreement IMPORTANT - PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING THIS SOFTWARE. This Universal Audio, Inc.
TABLE OF CONTENTS Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Welcome!. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The UAD System . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Demo Mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 UA Online Store . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46 Buying Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48 Transferring UAD cards and licenses. . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 8. Tempo Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Tempo Sync Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Available Note Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 12. LA-3A Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 LA-3A Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 LA-3A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 17. Neve 33609 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 Neve 33609 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 21. Precision Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Precision Equalizer Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 Precision Equalizer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 25. Neve 1081 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Neve 1081 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 Neve 1081 and 1081SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 31. DreamVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 Signal Flow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 Resonance (Equalization) Panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 36. SPL Transient Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 SPL Transient Designer Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 SPL Transient Designer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
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 5.
The UAD-2 also introduces version 5.0 of the UAD software, which includes major driver enhancements and an all-new unified UAD Meter & Control Panel for UAD-1 and UAD-2. Version 5.0 features multicore-aware drivers, LiveTrack™ for low-latency tracking and monitoring through UAD-2 plug-ins, and L.O.D.E.™ [Live Optimizing DSP Engine], which dynamically balances the load on the UAD-2.
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 • 1, 2 or 4 Analog Devices SHARC 21369 floating-point processors* • Averages 2.5X(Solo), 5X(Duo), 10X(Quad) the power of UAD-1 • Multi-card support for up to 4 UAD-2’s and 4 UAD-1’s in one computer • Cross-Platform for Mac OS X 10.4/10.5, Windows XP/x64, Vista32/64 • Supports VST, RTAS, and Audio Units plug-in formats • 44.1, 48, 88.
The UAD System The UAD Powered Plug-Ins package is a hardware-plus-software system that consists of one or more UAD DSP cards combined with the Powered Plug-Ins software. Multiple UAD package types are available in the product line to accommodate your particular hardware system, processing needs, and budget. The difference between each package are the UAD card type and the selection of plug-ins that are bundled with the card.
User Manual 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 documentation. It is on the software CD-ROM, and is also placed inside the Powered Plug-Ins Tools folder on the hard drive during software installation.
When the content of and function of the software represented in a screenshot is identical on both platforms, no differentiation is made in the screenshot title. If there is a significant difference between platforms, screenshots from both platforms are included.
Support Hours Our support specialists are available to assist you via email and telephone during our normal business hours, which are from 9am to 5pm, Monday through Friday, Pacific Standard Time. Email Support • Windows: pcsupport@uaudio.com • Macintosh: macsupport@uaudio.com • Online purchases & store support: onlinesupport@uaudio.
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 UAD-1 requires PCI slot, UAD-1e/UAD-2 works in all size PCIe slots. • UAD card registration Add your card to your my.uaudio.com Account. • UAD plug-in authorization Download and apply UAD authorization file. UAD vouchers can be redeemed and optional plug-in licenses can be purchased anytime.
System Requirements UAD Powered Plug-Ins require the following hardware and software: Windows: • Microsoft Windows XP (Home, Professional, or x64 Edition), or Windows Vista (x86 or x64) Macintosh • Mac OS X 10.4.x “Tiger” or 10.5.
For detailed technical information about using UAD Powered Plug-Ins with these supported hosts, please review the Host Application Notes pages on the UAD support website. Table 1.
UAD Software Installation Install Software First If you are installing UAD Powered Plug-Ins for the first time, install the software before installing the UAD card(s). This is particularly important on Windows systems. If you are updating the software or installing additional UAD cards, it is not necessary to remove the previous UAD software or hardware from the system, but you should still install the newer software before adding new cards.
• a) Select the “Install the software automatically (Recommended)” option, and click “Next.” • b) The UAD card driver will be installed, click “Finish” when it is complete. • c) (UAD-1 only) The New Hardware Wizard will run again to look for the second UAD-1 driver. Select the “Install the software automatically (Recommended)” option, and click “Next.” The second UAD-1 driver will be installed; click “Finish” when it’s complete. Software installation is now complete.
Windows • C:\Program Files\Universal Audio\Powered Plugins 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.
PCI/PCI-X: UAD-1 only PCI Express (PCIe): UAD-1e UAD-2 UAD-Xtenda Figure 1. PCI and PCIe connectors are incompatible PCIe x1 UAD-2, UAD-1e, and UAD-Xtenda are “x1” PCIe cards. Although these cards can be installed in any x1/x4/x8/x16 PCIe slot, putting a them in any PCIe slot faster than x1 will not improve performance. Installing the UAD Cards After installing the UAD Powered Plug-Ins software, install the UAD DSP card(s). Hardware installation is the same for all platforms.
7. Hold the card gently by the top edges, and line up its connector with the slot inside the computer. Figure 2. UAD-1 card installation in PCI slot. UAD-2 in PCIe is similar. 8. When the connector and slot are aligned, press the card into the slot with firm, even pressure. The card should “pop” into place. The top of the slot on the motherboard should be flush and parallel with the edge of the UAD card. 9. Secure the card with the previously removed screw. 10.
Note: The following procedure requires an internet connection on the UAD host computer. To authorize from a system that is not online, see Offline Authorization. Online Authorization To download and apply the UAD authorization file when connected to the internet: 1. Install UAD v5.0 (or higher) software and the UAD hardware using the procedures detailed in this chapter (the system must be operating properly). 2.
Load Authorization File Figure 3. Drag-and-drop to load the 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: 1. Install UAD v5.0 (or higher) software and the UAD hardware using the procedures detailed in this chapter (the system must be operating properly). 2.
•If you already have a my.uaudio.com account, login with your email address and password. If your password is lost, the store can email it to you. 6. Your card will be automatically registered and added to your “My Systems” Computer group, and your authorization file is generated. 7. The authorization file should begin downloading automatically. Click the “Download Authorization” link to download the auth file if not. 8. Transfer the authorization file to the UAD computer. 9.
Using Unlicensed Plug-Ins To run unlicensed UAD plug-ins after authorization, see “Demo Mode” on page 45. To redeem vouchers or coupons, or purchase additional UAD plugin licenses, see “UA Online Store” on page 46. Verifying Installation The UAD Meter & Control Panel displays the current resource loads of the UAD DSP hardware card in realtime. It also contains the System Information panel, where UAD software and hardware installation can be verified to ensure the system is working properly.
Learn More After installation, registration, and authorization, you’re ready to use UAD Powered Plug-Ins. The videos in the UAD Quickstart and Product Catalog DVD’s in the retail package are there to help you learn more about using the product, and available optional plug-ins. Just pop into any standard DVD player or computer and browse the available video selections. Software Removal To remove all UAD software from the computer: Windows 1.
CHAPTER 3 UAD System Overview The UAD Environment The complete UAD Powered Plug-Ins environment consists of many components. These components are: • One or more UAD DSP hardware cards • The UAD card drivers • The UAD plug-ins • The host computer system • The plug-in host application software • An audio I/O interface and its drivers All these components operate together simultaneously within one computer to form the complete audio processing system. The other UAD component is your account at my.uaudio.
Note: Multiple UAD hardware types can be used concurrently in the same computer. For details, see Chapter 5, “Using Multiple UAD Cards.” UAD-2 Family UAD-2 is our second-generation UAD DSP card that offers many improvements over the UAD-1, most notably significantly more DSP horsepower and lower latencies. All UAD-2 cards use the PCI-Express (PCIe) architecture. UAD-2’s are “x1” PCIe cards. Up to four UAD-2 cards can be run concurrently in one system.
UAD-1 Family The UAD-1 card family includes UAD-1, UAD-1e, and UAD-Xpander. All are functionally identical and have the same processing power. The UAD-1 family includes products for use with PCI/PCI-X, PCIe, and ExpressCard expansion slots. Up to four UAD-1 cards can be run concurrently in one system. UAD-1 The UAD-1 uses PCI connectivity. It can only be used in PCI or PCI-X slots. UAD-1e The UAD-1e uses PCI Express connectivity. It can only be used in PCIe slots. UAD-1e’s are “x1” PCIe cards.
The UAD Software The UAD Powered Plug-Ins software consists of the UAD installer, the UAD plug-ins, the UAD Meter & Control Panel application, the UAD card drivers, and the user documentation. Installer The UAD Powered Plug-Ins software installer contains all the UAD software components (plug-ins, drivers, and documentation) and copies them to disk during installation. There is one UAD software installer for each OS platform (Windows and Macintosh).
UAD Meter & Control Panel The UAD Meter & Control Panel (page 54) is a utility application that is used to monitor and configure UAD card resources. It has two main windows: the UAD Meter, and the UAD Control Panel. The UAD Meter window (Figure 7 on page 54) displays the current DSP, program, and memory status of the UAD hardware in realtime. The UAD Control Panel window (page 57) has multiple panels that display and modify various system, plug-in, and global configuration parameters.
The DAW Environment The digital audio workstation (“DAW”) environment is an overall system where audio production 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 entirely from within the DAW.
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. See “Supported Hosts” on page 21 for complete details.
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” between the host application and the I/O ports. The host application uses the driver to access the I/O for signal routings.
CHAPTER 4 My.uaudio.com My.uaudio.com is the Universal Audio online store where UAD cards are registered to your account and UAD plug-in authorizations are obtained. Bundled 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. Important: All UAD plug-ins must be authorized before they can be used.
Bundled Plug-Ins UAD plug-ins that are bundled with the UAD card are automatically licensed when the card is registered. This includes the “Mix Essentials” (plug-ins that come with all cards) as well as bundled optional plug-ins. After registration, the authorization file must be loaded. Note: UAD cards must be authorized to run bundled (included) plug-ins. See “Authorization Overview” on page 42 for details.
QuickStart Video The QuickStart DVD (page 18) contains a tutorial video on UAD authorization. The tutorial is also online at: • http://www.uaudio.com/support/uad Procedure This section is a detailed overview of the entire UAD authorization system. For the step-by-step authorization instructions, see “Authorize Plug-Ins Procedure” on page 27 in Chapter 2, “UAD Installation.
My Systems The UAD cards 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 cards are in which computer, and the authorization status of each UAD plug-in. My Systems is managed automatically by my.uaudio.com and the UAD software. When “Authorize Plug-Ins...” is clicked, cards in the host system are added to My Systems. When an authorization file is downloaded, it reflects the current state of My Systems.
• Optional plug-ins are contained within the UAD software installer, not the .uad authorization file. Download and install the latest UAD software version to ensure the optional plug-ins that you are authorizing are installed. • The .uad/.uad2 authorization file contains plug-in license keys for the specific UAD cards in each computer group at My Systems. The file will not authorize any other UAD cards. • An authorization file is not associated to the host computer or the UAD installer in any way.
2. Launch the UAD Meter & Control Panel application (page 55). 3. Select “Plug-Ins...” from the Control Panel Menu (page 57). The UAD Plug-Ins panel (Figure 11 on page 63) appears. 4. 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.
Registration Registration at my.uaudio.com is required for all UAD users to obtain UAD card authorizations, redeem vouchers, purchase optional UAD plug-in licenses, get software updates, and receive customer support. It is also an opportunity 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. Account A my.uaudio.
Buying Plug-Ins To obtain optional UAD plug-in licenses, simply visit my.uaudio.com, browse the complete line of plug-ins at our secure online store, and complete your purchase with several payment options or use the voucher credit that was applied during card registration. 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.
Transferring UAD cards and licenses Ownership of UAD cards and UAD plug-in licenses can be transferred from one my.uaudio.com account to another to accommodate the used equipment marketplace. Certain restrictions apply. Please visit the UAD transfer page for instructions, policies, and FAQ: • http://my.uaudio.com/support/transfer.html Transfer Video Our Demonstration Videos page has a video about UAD card transfers: • http://www.uaudio.com/support/uad/videos.
CHAPTER 5 Using Multiple UAD Cards Overview When multiple UAD cards are installed in the host computer, the DSP and memory load of the cards are automatically balanced dynamically as UAD plug-ins are loaded and unloaded. With multiple cards, there is no major difference in operating procedures, except that more Powered Plug-Ins can be loaded simultaneously in the session. Mixed UAD System The UAD drivers support up to four UAD-2 and four UAD-1 cards running in the same host computer system concurrently.
However, as an example, if you have four UAD cards but run a dual-card system in two separate computers, you are required to purchase separate licenses for the second system. Authorizing Multiple Cards When you buy an optional plug-in, your purchased license is valid for all the cards in the computer. The license is tied to the specific UAD cards in the System (see page 44) when the license was purchased.
Important: If insufficient power is available to the UAD cards, unpredictable behavior may result. Table 2. UAD Power Requirements by Card Type Windows UAD Card Type Maximum Power Draw UAD-1 15 Watts UAD-1e 9 Watts UAD-2 Solo 3.5 Watts UAD-2 Duo 5 Watts UAD-2 Quad 7 Watts The PCI specification provides for up to 25W per device, however some host systems don't provide (or require) this much power.
Note: For optimum results, quit any applications using UAD plug-ins before disabling/enabling cards. If a UAD Powered Plug-In is loaded on a card then that card is subsequently disabled, an error message will be displayed. This occurs because a plug-in is assigned to a card when it is first instantiated. It stays assigned to the same card until it is de-instantiated (for example, removed from the insert slot).
CHAPTER 6 UAD Meter & Control Panel Overview The UAD Meter & Control Panel application is used to monitor UAD card 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, program, and memory status of the UAD hardware in realtime. Figure 7 shows how the UAD Meter appears on when a UAD-1 and UAD-2 are installed together in the same system.
Launching the UAD Meter & Control Panel Application Windows To launch the UAD Meter in Windows: 1. Double-click the UAD Meter & Control Panel shortcut that was placed on the Desktop during installation. OR, 2. Access the application from the Start Menu at Programs/UAD Powered Plug-Ins/UAD Meter & Control Panel. OR, 3. Double-click the executable file on the hard drive located at C:Program Files/Universal Audio/Powered Plug-Ins/UADPerfMon.exe. Macintosh To launch the UAD Meter in Mac OS X: 1.
UAD Meter Elements Refer to Figure 7 on page 54 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 window, and a drop-menu to access the Control Panel window functions. Disable Current The Disable Current button disables all UAD Powered Plug-Ins that are currently running.
DSP 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. Program This resource shows how much “program memory” is in use by the UAD-2. Program memory is an on-chip memory that is specific to the UAD-2 DSP processor(s) and is used for certain UAD plug-in resources.
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 9). Figure 9. The Control Panel window panel buttons System Information Panel The System Information panel (Figure 10 on page 59) displays detailed UAD software and hardware information and contains several useful buttons.
Figure 10. The UAD System Information panel Plug-In Latency Section UAD plug-in latency for each card type (UAD-2 and UAD-1) is displayed 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 resulting latency in samples and milliseconds. The buffering methods used by UAD-2 and UAD-1 drivers are different for the two card types, which is why the latency differs between the cards.
UAD-2 The displayed latency is the audio I/O interface buffer size when Extra Buffering (page 67) 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 samples produced by upsampled UAD plug-ins.
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 displayed 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). Save Detailed System Profile Clicking this button will generate a detailed system profile and prompt you for a location to save the file to disk.
Status Column The Status column reflects the current state of each UAD plug-in. The status depends on which card (UAD-2 or UAD-1) the plug-in is running on; the status may change if the “Run On” card is changed (page 64). After the authorization file is loaded (“Authorization Overview” on page 42), the status will show one of the following: Authorized for all cards The plug-in is fully licensed and authorized to run on all cards in the system.
Figure 11. The UAD Plug-Ins panel Run On Column The Run On column indicates which card (UAD-2 or UAD-1) the specified plug-in will load onto. When both UAD-2 and UAD-1 are installed, you can select between them with the Run On menu in order to better manage your DSP resources.
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. Run On Menu The Run On column contains a drop menu for each plug-in. Specify which card type (UAD-2 or UAD-1) the plug-in will load onto with the Run On drop menu. Click the disclosure triangle to see the menu, then drag and release on the desired card type.
Figure 12. The UAD Configuration panel DSP Load Limiting Overview Without UAD Powered Plug-Ins installed, overloading the host system with native (host based) plug-ins can cause dropouts and possibly system lockup. Steinberg hosts, for example, provide a switch that allows you to trade latency for stability when the system is overloaded. Similarly, the UAD DSP load cannot exceed 100% without unpredictable behavior.
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, parameter values, mono/stereo, automation, host system, etc). Although these variables are taken into account, the resulting measurement cannot be absolutely accurate.
UAD-2 DSP LoadLock DSP LoadLock (UAD-2 only) reserves the maximum UAD-2 DSP load required by each plug-in, even if certain 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.
AMD-8131 Compatible Mode is only required when the card is attached directly to an AMD-8131 PCI bus. If the UAD is in an external PCI expansion chassis, this mode should be disabled (unchecked). Important: Do not enable AMD-8131 Mode unless your computer uses this PCI controller chipset, or performance may be compromised. Macintosh G5 Systems The AMD-8131 chipset is used in most Macintosh G5 systems.
When Live Mode is active, UAD-1 latency is twice the hardware I/O buffer size. In Logic versions prior to 7.2.1 (and later versions when live mode is disabled), UAD-1 latency is determined by the larger of the hardware I/O buffer size and the Process Buffer Range setting within Logic.
Use Host Mode When Use Host Mode is checked, the control mode set within the host application preferences is used if this feature is supported by the host. This setting forces the host to override the control mode set in the UAD user interface settings. Note: When Use Host Mode is checked, the UAD Meter user interface settings have no effect unless control mode is NOT supported by the host.
“View User Manual” is the only button that doesn’t link to the internet. Instead, licking this button opens the UAD User Manual (the file you’re reading now). Figure 13.
CHAPTER 7 Using UAD Powered Plug-Ins Overview Once the UAD card(s) and Powered Plug-Ins have been properly installed, the UAD Powered Plug-Ins are accessed and used just like any host-based plugin. All UAD Powered Plug-Ins can run concurrently with each other and with host-based plug-ins simultaneously, in any combination. Most UAD Powered Plug-Ins support up to 32-bit, 192KHz operation (exceptions: Plate 140, Precision Multiband, Nigel, Roland RE-201, and Neve 1073SE/1081SE/33609 cannot run at 176.
Logic Pro Figure 15. 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 16. The graphical user interface (GUI) typically contains several control parameters, for modifying the behavior of the plug-in, and display elements such as meters, for visual feedback. The UAD Toolbar is also displayed.
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. Figure 17.
Settings Menu The Settings menu provides a convenient way to manage your UAD plug-in parameter settings. To select the functions, click the folder icon in the Toolbar, then select an action from the drop-menu that appears. The Settings load/save feature supports presets but not banks. To load and save banks, use the host’s bank management feature (if available).
Windows The default preset location is inside the Presets folder, which is created within the folder specified during software installation. For example, if the default location 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 location will be remembered as the default.
Increased Host Loading using LiveTrack When LiveTrack is active, host CPU loading increases. The host load is directly 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 67) or when upsampled UAD plug-ins (page 95) are used with LiveTrack, latency is increased.
Disabled When “DISABLED” is displayed in red, the plug-in will not process audio. This can occur in two ways. Either the demo period has expired (click the Buy button!), or the UAD DSP is overloaded and there is not enough card resources to run the plug-in. Status Blank When no text is displayed in the Status area, the plug-in is fully authorized (licensed) and operating normally. In this state, the Buy button is not displayed.
Text Entry Parameter values can be modified directly with text entry. To enter a parameter value using text entry, single-click the parameter value text. The text value will highlight, indicating it is ready to receive a new value. Type in a new value, then press Return, Enter, or Tab, or click outside of the text box. Press Esc if you want to revert to the prior setting without entering the new value. Values entered via text entry are rounded to the closest significant digit.
Table 3.
Multi-DSP UAD-2 systems use significantly enhanced load balancing routines. UAD-2 plug-ins are always allocated as efficiently as possible, which is not necessarily on the DSP with the lowest resource usage. More Loading Notes • UAD DSP usage is proportional to the host application sample rate and system PCI/PCIe bus speed. Therefore, more plug-ins can be used simultaneously in a 44.1K session than in a 96K session, and likewise a higher speed bus will use less DSP load than a slower bus.
External MIDI Control UAD Powered Plug-In parameters can be controlled by an external MIDI controller, if this feature is supported by the host application. Each host application 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.
CHAPTER 8 Tempo Sync Overview The time-based parameters of several UAD Powered Plug-Ins can be synchronized to the tempo of the host application using the Tempo Sync feature. When Tempo Sync is activated, the time-based parameters that are available for synchronization are changed to note duration values, and will sync to the tempo of the host application using the displayed note value. Figure 19. The Tempo Sync feature within UAD DM-1L Note: Not all host applications support Tempo Sync.
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. Available Note Values The note values that are available for selection are listed in Table 5 on page 84. The values are listed in musical notation as a division of measures. For example 1/4 = one quarter note, 1/1 = one whole note, 4/1 = four whole notes, and so forth.
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).
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 20). Figure 20.
Roland RE-201 Sync When the RE-201is in Tempo Sync mode, note values can be imprecise due to the fixed tape head relationships. 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; the other values are based on the fixed tape head relationship.
CHAPTER 9 UAD Delay Compensation Latency & Delay Compensation When UAD Powered Plug-Ins are used, audio data to be processed by a Powered Plug-In is sent by the host application to the UAD card. The audio is then processed by the UAD card and sent back to the host application. This backand-forth shuffling of audio data is called “buffering” and it produces a latency (delay) in the audio signal being processed. Latency is inherent in digital audio systems and it can be detected in certain situations.
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.
Host Application Settings For optimum results, the “Plug-in Delay Compensation” option setting should be enabled in the host application. This will provide automatic latency compensation when UAD plug-ins are used on track inserts (and sends/groups/buses if full compensation is supported), so the UAD DelayComp will not have to be used. This option is usually found in the audio or plug-in preferences window.
The UAD Delay Compensator acts as a dummy UAD Powered Plug-In, automatically introducing the necessary amount of latency for tracks which are NOT processed by UAD Powered Plug-Ins. It requires no DSP from the UAD card and allows you specify the number of UAD Powered Plug-Ins instances you wish to compensate. When to use DelayComp UAD DelayComp should be used whenever unprocessed audio tracks are played alongside audio tracks that are assigned to a send/group/bus that is using a UAD plug-in(s).
Grouping Tracks Requiring DelayComp The UAD DelayComp plug-in is generally used on track inserts. However, when many tracks require delay compensation, instead of placing individual 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 Delay Compensator on that bus or group.
UAD Track Advance Overview The previous discussions on delay compensation (see “Latency & Delay Compensation” on page 88) 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 plug-in on the audio track insert.
How to use TrackAdv UAD TrackAdv is designed to be used on audio track inserts of tracks that are assigned to a send/group/bus that has one or more UAD plug-ins applied. By first advancing the audio with TrackAdv on the track insert then processing the same track on a send/group/bus that has a UAD plug-in, the “net latency result” is zero and the audio will be perfectly aligned with the MIDI tracks.
Solution: Put a TrackAdv plug-in on the track insert of the audio tracks with a Plugs value of 1. If you had an 1176LN and a RealVerb Pro on the send return, the TrackAdv Plugs value would be 2. Keep the Sample value at zero. Group/Bus Situation: You have a song with 2 vocals on audio tracks, and a MIDI piano. You want a smoother vocal blend so you put both vocal tracks on a group/bus for compression with the infamous LA2A. Result: The vocal tracks play late in relation to the MIDI track.
• UAD Pultec-Pro only requires one compensation per instance. For example, if using both MEQ-5 and EQP-1A within a single Pultec-Pro, only one instance compensation is required. • Since the maximum Samples value in one DelayComp instance is 128, more than one DelayComp instance will be required (in series) if the compensation value from Table 7 exceeds 128. • Latency compensation techniques for upsampled plug-ins apply to UAD Track Advance (page 99) as well.
Upsampled Compensation Examples Group/Bus Example Situation: You have a session at 44.1kHz with bass, drums, guitar, and 2 vocal tracks. You want a fat, warm vocal blend so you put both vocal tracks on a group/bus and apply one instance of UAD Helios 69 to the vocal bus. Result: The vocal tracks play late in relation to the instrument tracks.
PMB Group/Bus Examples Situation: You have a session with bass, drums, piano, and 2 vocal tracks. The session is running at 44.1kHz and your I/O buffer is set to 512 samples. You want to tighten up the rhythm section so you put the bass, drum, and piano tracks on a group/bus and apply one instance of Precision Multiband to the rhythm section group/bus. Result: The rhythm section plays late in relation to the vocal tracks.
Live Processing The previous discussions of delay compensation applies primarily to playback 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” performance situation in the digital environment where some latency is unavoidable.
CHAPTER 10 UAD-Xpander & UAD-Xtenda Overview The UAD–Xpander is the world's first ExpressCard audio DSP expansion system for Mac OS X and Windows Vista notebook computers. Using an ultra-fast ExpressCard 34 connection (2.5Gbps differential serial link), ExpressCard is the new expansion standard in the latest notebooks, such as the MacBook Pro. The UAD–Xpander has identical DSP power as the best-selling UAD-1 & UAD-1e PCI/PCIe series of desktop products, and is fully compatible with all Powered Plug-Ins.
In this chapter you will find instructions specific to the UAD–Xpander hardware system only. Further information and instructions for the hardware and software are also available. To get the most from your UAD–Xpander, please review the following additional information: Critical Information Important user information is presented on a printed document within the UAD–Xpander retail package. It provides last-minute details not included in the manual. Please review this information carefully.
Xpander Installation Install Software First Software installation for UAD-Xpander is the exact same procedure as those for UAD cards. Please refer to “UAD Software Installation” on page 23 for detailed procedures. Software Updates The CD-ROM in the retail package may not contain the latest UAD software. The version is displayed on the CD. Check our website for software updates: • http://www.uaudio.com/support/software/UAD/downloads.
Note: Do not bend sharp angles into or otherwise kink the UAD link cable. The cable has a ferrite core and multiple conductors that could be damaged by improper handling. 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 systems are completely powered down.
UAD–Xtenda The UAD–Xtenda is an optional package that enables the UAD–Xpander to be used in a desktop computer that has PCIe expansion slots. The UAD–Xpander/Xtenda system provides a convenient way to switch the same UAD–Xpander unit between desktop and notebook computers.
UAD–Xpander Pre-Flight Check 1. Ensure UAD Powered Plug-Ins v4.7.1 (or higher) is already installed (see “UAD Software Installation” on page 23). 2. Ensure both the host computer and UAD–Xpander are powered off. 3. Ensure the UAD–Xpander is properly connected (see “Xpander Connections” on page 103). UAD–Xpander Startup Sequence 1. Turn on the UAD–Xpander power switch on the rear of the unit. The UA logo glows red, indicating UAD–Xpander power is on but is not electrically connected to the computer.
• When power is on and there is an electrical connection to the computer, the UA logo glows blue (Figure 23). Figure 23. UAD–Xpander Power Indicator Note: The Power Indicator displays the state of the electrical connections only. It does not indicate when UAD driver communication is established (use the UAD Meter to check driver communication status). Hot Swapping Hot swapping is not supported.
3. Turn off the power switch on the back of the UAD-Xpander. 4. Remove the UAD ExpressCard from the expansion slot. UAD-Xpander disconnection is complete. Figure 24. ExpressCard Power Down (Windows) Figure 25. ExpressCard Power Down (Macintosh) Reconnect Once the UAD-Xpander has been disconnected for any reason, the computer must be rebooted with the UAD-Xpander connected. Follow the “Startup Sequence” on page 104 for reconnection instructions.
Macintosh System Sleep is supported under Mac OS X. If the machine is put to sleep with the transport running, the UAD plug-ins will typically be disabled several seconds before audio stops. Therefore, a change in the audio may be noticed. Similarly, when the system is awakened, it may take several seconds for the UAD plug-ins to be reinitialized. Important Xpander Notes • Do not remove the UAD Link Cable or the UAD ExpressCard, or power down the UAD-Xpander while the Xpander is connected to the computer.
CHAPTER 11 LA-2A and 1176LN Overview The LA-2A and 1176LN compressor/limiters long ago achieved classic status. 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 everything in between. With so many newer products on the market to choose from, it's worth looking at the reasons why these classics remain a necessary part of any professional studio's outboard equipment collection.
Figure 26 depicts the input and output characteristics of a compressor and perfect amplifier. When operated within its specified range, an amplifier provides a constant amount of gain regardless of the input signal level. In Figure 26, the signal level of a perfect amplifier is represented with a constant output gain of 10 dB. In this example, a signal with an input level of –30 dB results in an output level of –20 dB, which is an increase of 10 dB.
Compression region 10 dB of compression +10 2:1 compression ratio 0 Output Level (dB) –10 knee –20 –30 –30 –20 –10 0 +10 Input Level (dB) Figure 27. 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. In Figure 27, the input level is increased by 10 dB while the output level increases 5 dB.
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 characteristics. A unique electro-optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion – an accomplishment at the time, still appreciated today.
LA-2A Controls Figure 29. The LA-2A plug-in window. Limit/Compress Changes the characteristics of the compressor I/O curve. When set to Compress, 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). Make sure to adjust the Gain control after the desired amount of compression is achieved with the Peak Reduction control. The Gain control does not affect the amount of compression.
1176LN Solid-State Limiting Amplifier The 1176LN is known for bringing out the presence and color of audio signals, adding brightness and clarity to vocals, and “bite” to drums and guitar. 1176LN Signal Flow A functional block diagram of the 1176LN Limiting Amplifier is provided in Figure 30. Signal limiting and compression is performed by the Gain Reduction section. Before the signal is applied to the Gain Reduction section, the audio signal is attenuated by the Input stage.
1176LN Controls Figure 31. The 1176LN plug-in window Input Adjusts the amount of gain reduction as well as the relative threshold. An Input value of ∞ (turned fully counterclockwise) yields no compression (and no signal level). Rotate this control clockwise to increase the amount of compression. Output Adjusts the output level (by up to 45 dB). Make sure to adjust the Output control after the desired amount of compression is achieved with the Input and Attack controls.
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 attenuated the signal. That attack value remains at whatever the value is on the Attack control.
6SE “Special Edition” Figure 32. The 1176SE plug-in window Overview The 1176SE is derived from the 1176LN. Its algorithm has been revised in order to provide sonic characteristics similar to the 1176LN but with significantly less DSP usage. It is provided to allow “1176LN-like sound” when DSP resources are limited. The 1176SE behavior is practically identical to the 1176LN.
CHAPTER 12- 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 Leveling Amplifier, the solid-state LA-3A offered a new sound in optical gain reduction, with faster attack and release characteristics that were noticeably different from its predecessor. Immediately embraced as a studio workhorse, the LA-3A is still widely used today.
LA-3A Controls Background For detailed information about compressors, see “Compressor Basics” on page 109. Comp/Lim This switch changes the characteristics of the compressor I/O curve. When set to Compress, the curve is more gentle, and presents a low compression ratio. When set to Limit, a higher compression ratio is used. Gain The Gain knob adjusts the output level (by up to 50 dB).
CHAPTER 13 Fairchild 670 Overview In the annals of compressor history, the products produced by Fairchild are some of the best built and most highly prized on the vintage market. The most famous Fairchild products produced were the 660 and 670 compressor/limiters, which are famous for their fantastic sound quality.
Fairchild Screenshot Figure 34. 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 either the L/R or mono/stereo signals. The mode in which the compressors operate is determined by the combination of the AGC switch and the Sidechain Link switch. See “Fairchild Modes” on page 123 for detailed mode information.
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 (depends on active mode). These controls include Threshold, Time Constant, Bias Current Balance, and DC Bias. There are two sets of controls that always work on the left and right signals: input level and output level. In Lat/Vert mode, left is the mono input, and right is the stereo input.
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. Lateral – Vertical In Lat/Vert mode, the 670 acts on the lateral and vertical (the sum and difference) components of the two stereo channels.
Stereo, coupled mono/stereo This mode, like stereo couple left/right, causes the two compressors to be linked together so that they always compress the same amount. But here, the inputs to the two compressors are fed with the mono and stereo components of the signal. This means that in general a transient which occurs in both channels will cause a bit more compression than a transient which only appears on left or right.
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. If the AGC switch has been set to lat/vert, the GR shown will be for the mono or stereo channel. In GR mode, the upper labels show gain reduction in dB.
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 dependent response. The values published by Fairchild for each position are in Table 9 below. The actual measured times are a bit different, but the overall trend is the same. Table 9.
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” for factory specification. It would probably be more technically accurate to say that this control simply changes the knee width, since no matter where it’s set the ratio always approaches true limiting eventually.
CHAPTER 14 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 flexibility 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.
Precision Multiband Interface The Precision Multiband interface is designed to make this complex processor easier to use. Five separate frequency bands are available for processing. Each band is identified by a unique color, and all controls specific to the band have the same color. This helps to visually associate parameters to the band that they affect.
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 137). The Band Controls for each of the five bands are identical. Only one set of Band Controls is displayed at a time. The control set for any particular band is displayed by selecting the band (see “Band Select” on page 130). Band Select Selecting a band causes the controls for that band to be displayed in the Band Controls area.
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 select the LMF band. Band Parameters Because the Band Controls for each of the five bands are identical, they are only described once. All Button The ALL button provides a facility to link controls and copy parameter values to all bands when adjusting the current band. Each of the Band Controls has an ALL button.
Relative mode is not available for the Type parameter because the available Type values are discrete. Click and shift-click both activate Absolute mode for Type. Note: Absolute Link In Absolute mode, changes to a band control will force the same control in the other bands to snap to the same value as the current band. Shift-click the ALL button to enter Absolute mode; the button background changes to red.
COMPRESS When a band is set to Compress, the dynamic range of the band will be reduced (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 increased (dependent upon the band threshold and input level). GATE When a band is set to Gate, the band behaves as a gate. A gate stops the signal from passing when the signal level drops below the specified threshold value.
Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before processing is applied. The faster the Attack, the more rapidly processing is applied to signals above the threshold. The available range is 50 microseconds to 100 milliseconds. Release Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level.
EQ Display In the EQ Display, the entire audio spectrum from 20Hz to 20KHz is displayed along the horizontal axis. Gain and attenuation of the five band frequencies (up to ±12dB) are displayed along the vertical axis. Figure 36. Precision Multiband EQ Display Band Curves The Band Curves show the relative frequency and gain settings of the bands. The sides of the colored curves are a representation of each band’s frequency settings, and the top of each curve represents the band’s gain setting.
Adjusting Gain The gain of a band can be adjusted by click-dragging 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. Adjusting Gain and cF If the cursor is moved slightly lower than the above example, the gain and center frequency can be adjusted simultaneously, without adjusting the bandwidth.
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 135). The frequencies for each band can be modified by entering the values directly and by manipulating the colored band curves. Frequency Values All band frequency values are always displayed. Values can be input directly using text entry (see “Text Entry” on page 79).
Dynamics Meters Realtime display of Precision Multiband dynamics processing is shown in the Dynamics Meters. This area also contains the band enable 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. Dynamics processing for each band is indicated by light blue “LED-style” metering. Zero dB is at the center of the meter, and the range is ±15dB.
The band is soloed when its Solo button is red. Click the button to toggle the solo state of the band. Soloing bands does not reduce UAD CPU usage. Solo Display When a band is in Solo mode, its curve in the EQ Display is highlighted. In addition to the Solo buttons, you can also control-click a band in the EQ Display to put any band (or bands) into Solo mode. Note: Global Controls Input Level Meter The stereo peak/hold Input Meter displays the signal level at the input of the plug-in.
Output Level Meter The stereo peak/hold Output Meter displays the signal level at the output of the plug-in. Signal peaks are held for 3 seconds before resetting. Output Level Knob The Output Level knob controls the signal level that is output from the plug-in. The default value is 0dB. The available range is ±20dB. EQ Display Switch The EQ Display mode can be static or dynamic. The EQ Display switch determines the active mode. Click the switch to toggle the mode.
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. When the plug-in is bypassed with this switch (but not by the host bypass), the I/O meters and the Input Level knob remain active. Precision Multiband Latency The Precision Multiband requires a large processing buffer to perform its sonic wonders.
CHAPTER 15 Precision Limiter Overview The Universal Audio Precision Limiter™ is a single-band, look-ahead, brickwall limiter designed primarily for mastering with program material. The easyto-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.
Precision Limiter Screenshot Figure 37. The Precision Limiter plug-in window Controls Overview Control knobs for the Precision Limiter behave the same way as all UAD plugins. Input, Output, and Release values can be modified with text entry. See “Text Entry” on page 79 for more information. The Precision Limiter introduced a new control style for UAD plug-ins. For the Mode, Meter, Scale, and Clear parameters, click the parameter label, the value text, or the LED to toggle between available values.
Release The Release knob sets the value of the limiter release time. The default value is Auto. The available range is from 1 second to 0.01 milliseconds. Auto Mode When the Release knob is fully clockwise, Automatic mode is active. In Auto mode, release time is program-dependent. Isolated peaks will have a fast release time, while program material will have a slower release. Note: You can type “A” or “a” to enter Auto mode during text entry. Mode The Mode switch affects the attack shape of the limiter.
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 0dB point is always tied to the same calibrated monitor SPL. The Precision Limiter provides several meter ranges for various types of program material (see “Type” on page 145).
K-20 K-20 mode displays 0dB at –20dB below full scale. K-20 is intended for material with very wide dynamic range, such as symphonic music and mixing for film for theatre. K-14 K-14 mode displays 0dB at –14dB below full scale. K-14 is intended for the vast majority of moderately-compressed material destined for home listening, such as rock, pop, and folk music. K-12 K-12 mode displays 0dB at –12dB below full scale. K-12 is recommended for material intended for broadcast.
Meter The Meter switch specifies the signal source for the main stereo meter, either input or output. Input When the Meter switch is in Input mode, the main level meters display the signal level at the input of the plug-in (and is not affected by the Input knob). Output When the Meter switch is in Output mode, the main level meters display the level at the output of the plug-in. When the Limiter is enabled, the Output and Input knobs will affect this display.
K-20 In Normal mode, the meter range is –40dB to 20dB with a linear response of 0.5dB per segment. In Zoom mode, the range is –8dB to 20dB with two different linear responses: 0.2dB per segment from –8 to 15dB, and 0.1dB per segment from 15dB to 20dB. K-14 In Normal mode, the meter range is –46dB to 14dB with a linear response of 0.5dB per segment. In Zoom mode, the range is –10dB to 14dB, with linear response of 0.2dB per segment.
CHAPTER 16 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.
Precision Buss Compressor Screenshot Figure 40. 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. See “Text Entry” on page 79 for more information. Filter Filter regulates the cutoff frequency of the filter on the compressor's control signal sidechain.
When Ratio is changed, the Threshold value is updated accordingly: When Ratio is set to 2:1, the Threshold range is -55dB to 0dB. When Ratio is set to 4:1, the Threshold range is -45dB to +10dB. When Ratio is set to 10:1, the Threshold range is -40dB to +15dB. When Ratio is changed, Threshold numerical values are updated but the Threshold knob position does not move. Note: As the Threshold control is decreased and more compression occurs, output level is typically reduced.
Slower release times can smooth the transition that occurs when the signal dips below the threshold, especially useful for material with frequent peaks. However, if you set too large of a Release time, compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals. Fade The Precision Buss Compressor provides a Fade function that, upon activation, automatically reduces the plug-in output to minimum within a specified time period.
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. Note: Shift+click the Fade button to instantly return the level back to 0dB (this feature cannot be automated).
Gain Reduction Meter The Gain Reduction meter displays the amount of gain reduction occurring within the compressor. More blue bars moving to the left indicate more gain reduction is occurring. The meter range is from -16dB to 0dB. Signal peaks are held for 3 seconds before resetting. Power The Power switch determines whether the plug-in is active. Click the toggle button or the UA logo to change the state.
CHAPTER 17 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).
Neve 33609 Screenshot Figure 41. 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 160). When the 33609 is used in a mono-in/mono-out configuration, the channel 2 controls are disabled. Each channel consists of a compressor and a limiter. Each of these functions has its own separate group of controls.
Technical Article The article “Ask the Doctors: Modeling of the Neve 33609 compressor/limiter” 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 Controls Each feature of the UAD Neve 33609 interface is detailed below. Limiter Controls in this section only function when the limiter is enabled with the “limit In” switch (the Power switch must also be on).
Attack Attack determines how fast limiting will engage when the signal exceeds the limiter threshold. The Fast setting is 2 milliseconds, and the Slow setting is 4 milliseconds. Compressor Controls in this section only function when the compressor is enabled with the “compress In” switch (the Power switch must also be on). Note: The compressor precedes the limiter (see “Signal Flow” on page 156). Compressor Threshold Threshold determines how much compression will occur.
Ratio This control determines the compressor ratio. The available values are 1.5:1, 2:1, 3:1, 4:1, and 6:1, selectable in discrete increments. Compressor In This toggle switch enables the compressor portion of the plug-in. The compressor has no effect unless this switch is in the “In” (down) position. Other Controls The interface elements that are not directly contained within the compressor or limiter are detailed below.
Unlink When set to unlink (up position), the controls for channels one and two are completely independent. Unlink is generally used in mono mode. When unlinked, automation data is written and read by each channel separately. When unlink is switched to link, channel 1 controls are copied to channel 2. Control offsets between channels are lost in this case.
In stereo operation the controls for channels 1 and 2 are independent and can be set separately. Generally, the channel with the “most processing occurring” controls the processing for the other channel. For example, if the same signal is fed to both channels in stereo mode and channel 1 has a lower threshold setting than channel 2, the channel 1 threshold value is used for both channels.
This complete pallet of sonic nuance, including the dynamic input response, is captured in the UAD Neve 33609 model. The plug-in is calibrated internally so that 0dBFS at its input is equivalent to an input level of approximately +26dBu on the 33609 hardware, where the coloring is more prominent. The result is that a typical signal within a DAW will drive the UAD Neve 33609 into these “virtual” higher levels, resulting in fairly high amounts gain reduction.
14dB Typical starting point for mastering where minimal gain reduction is desired. This setting is equivalent to having a real hardware 33609 connected to a +4 interface with +14dB headroom. Keep in mind there are no hard and fast rules. Use the above recommendations as guidelines and feel free to experiment with the various positions of the headroom switch regardless of the audio source. If it sounds good, use it! Note: Factory Presets The UAD Neve 33609/33609SE includes a bank of factory presets.
Neve 33609SE Figure 43. 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 33609like sound when DSP resources are limited. Nobody with “golden ears” will claim it sounds exactly like the 33609, but it still sounds great and is very usable in most situations.
CHAPTER 18 VCA VU Overview The VCA VU Compressor/Limiter is a faithful emulation of the first commercially available VCA (Voltage-Controlled Amplifier) compressor, the dbx 160. Originally designed and sold by David Blackmer in 1971, this solidstate design set the standard for performance and affordability. “VU” is the common nickname for this widely regarded studio staple, famous for its simple control set and firm compression characteristics.
VCA VU Controls The minimal controls on the UAD VCA VU 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 Threshold are unaffected. The available range is from -55dB to 0dB. The numbers on the graphical interface indicate volts, as on the original hardware.
Output Gain Output Gain controls the signal level that is output from the plug-in. The available range is ±20dB. Generally speaking, adjust the Output control after the desired amount of compression is achieved with the Threshold and Compression controls. Output does not affect the amount of compression. Meter Buttons The Meter buttons define the mode of the VU Meter. The buttons do not change the sound of the signal processor.
CHAPTER 19 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.
Neve 88RS Screenshot Figure 45.
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, 0dBFS is calibrated to +4dBU plus 18dB of headroom, so 0dBFS is equivalent to 22dBU. Signal Flow The output of the cut filters is fed to the input of the dynamics or EQ section (dependent upon the Pre-Dyn switch).
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 47 on page 171), and hysteresis is available (see Figure 48 on page 172). Expansion mode is enabled by rotating the hysteresis (HYST) control fully counter-clockwise (or clicking the EXP label).
Gate/Exp Hysteresis (HYST) The Hysteresis knob sets the difference in threshold for signals that are either rising or falling in level. Signals that are rising in level are passed when the level reaches the threshold value plus the hysteresis value. Signals that are falling in level are not passed at the lower threshold level. Up to 25dB of hysteresis is available. See Figure 48 on page 172.
The available range is –25dB to +15dB. A range of –25dB to –65dB is available when the –40dB switch is engaged (see “Gate/Exp Threshold –40dB” on page 173). 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).
Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results. Note: Gate/Exp Meter This meter displays the amount of gain attenuation (downward expansion) occurring in the gate/expander module.
An example: When compressing a snare track with a standard compressor, if the snare hits are sparse, the compressor will release between each hit, so that each hit has a squashed sound. With the 88R compressor, distortion will be reduced, because the compressor will not come out of compression as much between the snare hits. The compressor will still release somewhat during the snare hits, however. Note: For additional information, see “Compressor Basics” on page 109.
As the Threshold control is increased and more processing occurs, output level is typically reduced. Adjust the Gain control to modify the output of the module to compensate if desired. Note: L/C Threshold –20dB The –20dB switch increases the sensitivity of the limiter/compressor by lowering the range of the available threshold values. When –20dB mode is active, the threshold range is 0dB to –30dB. When –20 is inactive, the threshold range is +20dB to –10dB.
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 percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results.
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 49. Neve 88RS EQ Controls Layout EQ Enable (EQ) This button activates the equalizer module. The module is active when the button is gray and the green indicator illuminates. You can use this button to compare the equalized signal to the original signal or bypass the EQ altogether.
HF Freq This parameter determines the HF band center frequency to be boosted or attenuated by the band Gain setting. The available range is 1.5kHz to 18kHz. HF Gain This control determines the amount by which the frequency setting for the HF band is boosted or attenuated. The available range is ±20 dB. HF Hi-Q Enable The filter slope of the HF band can be changed with this control. When Hi-Q is off, the Q is 0.7. When Hi-Q is active, the Q is 2.
LMF Freq This control determines the LMF band center frequency to be boosted or attenuated by the LMF Gain setting. The available range is 120Hz to 2kHz. LMF Gain This control determines the amount by which the frequency setting for the LMF band is boosted or attenuated. The available range is ±20dB. LMF Q The Q (bandwidth) control defines the proportion of frequencies surrounding the LMF band center frequency to be affected by the band gain control.
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 7.5kHz to 18kHz for the high cut filter (lighter blue control), and 31.5Hz to 315Hz for the low cut filter (darker blue control). Global Sidechain EQ (SC-EQ) This control enables the UAD Neve 88RS sidechain function.
Output The Output knob controls the signal level that is output from the plug-in. The default value is 0dB. The available range is ±20dB. Power The Power switch determines whether the plug-in is active. This is useful for comparing the processed settings to the original signal or bypassing the plug-in to reduce the UAD DSP load. Toggle the switch to change the Power state; the switch is illuminated in red when the plug-in is active.
CHAPTER 20 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. Individual effects in the CS-1 Channel Strip can be bypassed when not in use to preserve UAD CPU use. The CS-1 effects can also be accessed individually by using the individual plug-ins.
EX-1 Equalizer and Compressor Figure 51. 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. Similarly, the last two bands can be enabled to function as either a high-shelf or low-pass filter.
Gain (G) Knob The Gain control determines the amount by which the frequency setting is boosted or attenuated. The available range is ±18 dB. Frequency (fc) Knob Determines the center frequency to be boosted or attenuated by the Gain setting. The available range is 20 Hertz to 20 kiloHertz. When operating at sample rates less than 44.1kHz, the maximum frequency will be limited. Bandwidth (Q) Knob Sets the proportion of frequencies surrounding the center frequency to be affected.
Ratio Knob Determines the amount of gain reduction used by the compression. For example, 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 compression. Values beyond 10 yield a limiting effect. The range is 1 to Infinity. Threshold Knob Sets the threshold level for the compression. Any signals that exceed this level are compressed. Signals below the level are unaffected.
DM-1 Delay Modulator Figure 52. 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. L-Delay Knob Sets the delay time between the original signal and the delayed signal for the left channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec.
Mode Pop-up Menu Determines the DM-1 effect mode. The available modes are: Chorus, Chorus180, QuadChorus, Flanger1, Flanger2, Dual Delay, and Ping Pong Delay. In addition to reconfiguring the DM-1’s settings, the Mode also determines the available parameter ranges for L/R Delay and Depth. In Chorus mode, both oscillators (or modulating signals) are in phase. In Chorus 180 mode, both oscillators (the modulating signals) are180 degrees out of phase.
The RECIR units are expressed as a percentage in all Modes except Dual Delay and Ping Pong. In these modes, RECIR values are expressed as T60 time, or the time before the signal drops 60 decibels. Damping Knob This low pass filter reduces the amount of high frequencies in the signal. Turn down this control to reduce the brightness. Higher values yield a brighter signal. Damping also mimics air absorption, or high frequency rolloff inherent in tape-based delay systems.
Link Button This button links the left and right delay knobs so that when you move one delay knob, the other follows. The ratio between the two knobs is maintained. Figure 53. The DM-1L includes a Link button RS-1 Reflection Engine Figure 54. The RS-1 Reflection Engine plug-in window Overview The RS-1 Reflection Engine simulates a wide range of room shapes, and sizes, to drastically alter the pattern of reflections.
RS-1 Controls Sync Button This button puts the plug-in into Tempo Sync mode. See Chapter 8, “Tempo Sync” for more information. Shape Pop-up Menu Determines the shape of the reverberant space, and the resulting reflective patterns. Table 10.
Recirculation allows both positive and negative values. The polarity refers to the phase of the delays as compared to the original signal. If Recirculation displays a positive value, all the delays will be in phase with the source. If it displays a negative value, then the phase of the delays flips back and forth between in phase and out of phase. Damping Knob This low pass filter reduces the amount of high frequencies in the signal. Turn down this control to reduce the brightness.
CHAPTER 21 Precision Equalizer Overview The Universal Audio Precision Equalizer™ is a stereo or dual-mono four band EQ and high-pass filter designed primarily for mastering program material. The Precision Equalizer may also be used in recording and mixing where the utmost in EQ quality is required. The Precision Equalizer is based on industry standard analog mastering filters, and uses the classic parametric controls arrangement.
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) responses per band.
Dual Mode In Dual mode (dual-mono mode), the left and right parameters can be independently adjusted so that each side of the stereo signal can have different EQ settings. Note that this mode is infrequently used during mastering because phase, imaging, and level inconsistencies may be induced in the resulting stereo signal.
Power Switch The Power Switch determines whether the plug-in is active. This is useful for comparing the processed settings to that of the original signal, or to bypass the plug-in to reduce the UAD DSP load. Click the rocker switch to change the Power state. Alternately, you can click the blue UA logo to toggle the Power state. Band Controls Each control set (L and R) has four EQ bands.
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.
Precision Equalizer Latency The Precision Equalizer uses an internal sample rate of 192kHz to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating Upsampled PlugIns” on page 95 for more information.
CHAPTER 22 Cambridge EQ Overview The UAD Cambridge EQ plug-in is a mastering-quality, no-compromise equalizer 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 handling of higher frequencies, resulting in a much smoother and more satisfying high-end response than is found in most digital filters.
Cambridge EQ Controls Each feature of the Cambridge EQ interface is detailed below. Response Curve Display The Response Curve Display plots the frequency response of the current Cambridge EQ settings. It provides instant visual feedback of how audio is being processed by the equalizer. Figure 57. Cambridge EQ Response Curve display The entire audio spectrum from 20Hz to 20KHz is displayed along the horizontal axis.
Zoom Buttons The vertical scale of the Curve Display can be increased or reduced with the Zoom buttons. This function allows the resolution of the Curve Display to be changed for enhanced visual feedback when very small or very large amounts of boost or cut are applied. Four vertical ranges can be selected with the Zoom buttons: +/- 5, 10, 20, and 40dB. Figure 58.
Master Level Knob This control adjusts the signal output level of Cambridge EQ. This may be necessary if the signal is dramatically boosted or reduced by the EQ settings. The available range is +/- 20dB. A/B Selector Button The A/B Selector switches between two separate sets of Cambridge EQ plug-in values. This feature enables easy switching between two completely independent EQ curves which can be useful for comparison purposes or for automating radical timbre changes.
Low Cut / High Cut Filters The Low Cut and High Cut filters are offered in addition to the five parametric/shelf bands. A wide range of filter types is provided to facilitate tonal creativity. Many filters that are available are represented. Three controls are offered: Cut Type, Enable, and Frequency. Each control is detailed below. Cut Type Menu The Cut Type menu determines the sound of the low and high cut filters. To view the Cut Type menu, click and hold the green cut type button.
EQ Bands All five of the EQ bands can be used in parametric or shelf mode. Each band has identical controls, the only difference is the frequency range values. The function of the controls is similar in both parametric and shelf modes. The two modes are described separately (see “Parametric EQ” on page 205 and “Shelf EQ” on page 208). Figure 60. The EQ Band controls Enable Button Each band can be individually engaged with the Enable button. The button is green when the band is enabled.
Gain Knob This parameter determines the amount by which the frequency setting for the band is boosted or attenuated. The available range is ±20 dB. Q (Bandwidth) Knob The behavior of the Q parameter varies depending on the band mode and the gain. For this reason Q is detailed separately in the parametric and shelf mode sections (see “Parametric Q” on page 205 and “Shelf Q” on page 208). Parametric EQ A band is in parametric mode when shelf mode is disabled (see “Shelf Enable Button” on page 208).
Type I When set to Type I, the bandwidth remains at a fixed Q regardless of the gain setting for the band; there is no Q/Gain interdependency. In addition, there is a finer resolution of the Q knob in the middle of its range. This makes it easier to achieve subtle bandwidth changes. Note that the Q value and knob positions do not change as the gain is modified. See Figure 61. Figure 61. Parametric Type I response Type II When set to Type II, there is a Q/Gain dependency on boost.
Type III When set to Type III, there is a Q/Gain dependency on boost and attenuation. The bandwidth increases continuously as the gain is boosted and attenuated. The Q knob position determines the maximum Q at full gain. Filter bandwidth is broader at lower gain settings and narrower at higher gain settings. This can produce a smoother, more natural response when adjusting filter gain.
Shelf EQ Shelf Enable Button Each band can be switched from parametric mode to shelf mode by clicking the shelf enable button. The button is off by default. To enable shelving on any band, click the shelf button. The button is green when shelving is enabled. Additionally, the control bat associated with the band has a horizontal shelf indicator line in the response curve display (see Figure 65 on page 209) when shelf mode is active.
Figure 64. Shelf Type A Shelf Mode Indicator Line Figure 65. Shelf Type B Figure 66.
CHAPTER 23 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. UAD Pultec-Pro was introduced in version 3.
Pultec Latency The Pultec and Pultec-Pro plug-ins introduce an additional 13 samples of delay due to upsampling when the session sample rate is below 100kHz. This additional latency does not occur at sample rates above 100kHz. You may enter a value of 13 in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating Upsampled Plug-Ins” on page 95 for more information.
Figure 68. Control grouping within the Pultec EQP-1A In/Out Toggle Switch This is a signal bypass control. It allows you to compare the processed and unprocessed signal. It does NOT reduce UAD DSP load. In the hardware EQP-1A, the audio is still slightly colored even when the switch is in the Out position. This is due to the fact that the signal is still passing through its circuitry.
Note: In the documentation supplied with hardware version of the EQP-1A, it is recommended that both Boost and Attenuation not be applied simultaneously because in theory, they would cancel each other out. In actual use however, the Boost control has slightly higher gain than the Attenuation has cut, and the frequencies they affect are slightly different too. The EQ curve that results when boost and attenuation are simultaneously applied to the low shelf is an additional feature.
Pultec MEQ-5 Screenshot Figure 69. 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: frequency select and boost. The second group controls the mid frequencies and has two controls: frequency select and attenuation. The third group controls high-mids and has two controls: frequency select and boost.
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 plugin 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. If a true bypass is desired, use the host disable switch.
Low Peak Response Figure 71.
Dip Response Figure 72.
High Peak Response Figure 73.
CHAPTER 24 Neve 1073 Equalizer Overview Designed by the Rupert Neve company in 1970, perhaps no other studio tool is as ubiquitous or desirable as the Neve 1073 channel module. Without exaggeration, Neve consoles such as the 8014 (where the 1073 originated) have been used on a majority of popular recordings of the late 20th century, and the 1073 easily tops the short-list of audio design masterpieces.
Neve 1073 and 1073SE Controls Each feature of the UAD Neve 1073 and 1073SE interfaces are detailed below. Input Gain The Input Gain control sets the level at the input of the plug-in. The range is from –20dB to +10dB. When the Input Gain knob “snaps” to the OFF position, plug-in processing is disabled and UAD DSP usage is reduced. Clicking the OFF screen label toggles between OFF and the previously set Input Gain value. You can also click the Neve logo to toggle between OFF and the previous state.
You can also click the midrange symbol above the knob to cycle through the available values, or shift + click to step back one frequency. Note: The available midrange center frequencies are 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, and OFF. When OFF is specified, the band is disabled. UAD CPU usage is not reduced when the band is OFF. Low Band The low frequency band is controlled by dual-concentric knobs, delivering smooth shelving equalization.
You can also click the low cut symbol above the knob to cycle through the available values, or shift + click to step back one frequency. Note: Phase The Phase switch reverses (inverts) the signal by adding a 180° phase shift. When the switch is in the “In” (darker) position, the phase is reversed. Leave the switch “Out” (lighter) position for normal phase. EQL 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) position.
Neve 1073SE Controls The Neve 1073SE controls are exactly the same as the Neve 1073. Please refer to the Neve 1073 section for Neve 1073SE control descriptions (see “Neve 1073 and 1073SE Controls” on page 220). Neve 1073 Latency The Neve 1073 (but not the 1073SE) uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate.
CHAPTER 25 Neve 1081 Equalizer Overview The Neve 1081 channel module was first produced in 1972 by Neve, and was used to provide the mic/line amp and EQ sections in consoles such as the Neve 8048. Vintage 8048 consoles, with 1081 modules, are still in wide use today at classic facilities such as The Village in Los Angeles, and have been chosen by artists ranging from The Rolling Stones to The Red Hot Chili Peppers.
Neve 1081 and 1081SE Controls Overview The Neve 1081 channel module is a four-band EQ with high and low cut filters. The 1081 features two parametric midrange bands, with “Hi-Q” selections for tighter boosts or cuts. Both the high and low shelf filters have selectable frequencies and may be switched to bell filters. Other features include a –20 to +10 db input gain control, phase reverse, and EQ bypass. The bands are arranged and grouped as in Figure 77 below. The bands feature dual-concentric controls.
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. Rotate the control clockwise to add the famous high-end Neve sheen, or counter-clockwise to reduce the treble response. The available range is approximately ±18dB.
High-Mid Frequency The high-midrange band frequency is selected with the outer ring of the dualconcentric 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. You can also click the midrange symbol below the knob to cycle through the available values, or shift + click to step back one frequency. Note: The available high-mid band center frequencies are 1.5kHz, 1.8kHz, 2.2kHz, 2.7kHz, 3.3kHz, 3.9kHz, 4.7kHz, 5.
The available low-mid band center frequencies are 220Hz, 270Hz, 330Hz, 390Hz, 470Hz, 560Hz, 680Hz, 820Hz, 1000Hz,1200Hz, and OFF. When OFF is specified, the band is disabled. UAD CPU usage is not reduced when the band is OFF. Low-Mid Q Select The High Q button switches the response of the low-mid band from “normal” to a narrower bandwidth for a sharper EQ curve. The band is in normal mode by default; it’s in high Q mode when the button is “down” (darker).
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 77 on page 225). The controls specify the fixed frequency of the cut filter. The cut filters have an 18dB per octave slope. Click+drag the control to change the value, or click the “silkscreen” frequency values. Note: You can also click the high cut/low cut symbols below the knob to cycle through the available values, or shift + click to step back one frequency.
Neve 1081SE Figure 78. 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. Nobody with “golden ears” will say it sounds exactly like the 1081, but it still sounds great and is very usable in most situations.
CHAPTER 26 Helios Type 69 Equalizer Overview Helios consoles were used to record and mix some of the finest rock, pop and reggae classics ever produced. The Beatles, Led Zeppelin, The Rolling Stones, The Who, Roxy Music, Queen, Jimi Hendrix and Bob Marley are just a few that recorded with these amazing wrap-around consoles. Moreover, many great musicians of the era purchased Helios consoles for their personal use.
Helios Type 69 Controls Overview The simple yet powerful Helios Type 69 Passive EQ adds a unique sonic texture to the music that passes through it. It can be pushed to its most extreme boost settings while retaining openness and clarity. The Type 69 Passive EQ replicates all the controls of the original hardware. The Treble band is a fixed 10 kHz shelf EQ, while the Bass band functions as a stepped 50 Hz shelf filter (-3,-6,-9,-12,-15 dB) or frequency selectable Peak EQ (60, 100, 200, 300 Hz).
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 (60Hz, 100Hz, 200Hz, or 300Hz) the low band is in peak mode. In this mode, the amount of gain (“bass boost”) applied to the specified frequency is determined by the Bass Gain knob.
Whether gain or attenuation is applied is determined by the Mid Type control. Note: Mid Type Mid Type specifies whether the midrange band is in Peak or Trough mode. When switched to Peak, the Mid Gain control will boost the midrange. When switched to Trough, Mid Gain will cut the midrange. Note: When using Trough, a 1 dB loss occurs on the overall output of the plug- in. This is normal; the behavior is the same in the original hardware.
Line The Line switch determines whether the plug-in is active. This is useful for comparing the processed settings to that of the original signal, or to bypass the plug-in to reduce the UAD DSP load. Click the switch to toggle the state; the switch is illuminated in green when the plug-in is active. Helios 69 Latency The Helios 69 uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins.
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 - 236 - Chapter 26: Helios Type 69 Equalizer
CHAPTER 27 Roland CE-1 Overview The Roland CE-1 Chorus Ensemble is another classic effect faithfully reproduced by our ace modeling engineers. The CE-1 is considered by many to the definitive chorus effect, renowned for its rich and unique timbres. Even for the mix engineer, stomp boxes can provide “secret weapon effects” not found any other way. In 1976, BOSS originated the chorus effect pedal, and nobody has come close to matching the CE-1’s captivating chorus sound since then.
Roland CE-1 Controls The Roland 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. Clip LED The red Clip LED illuminates when signal peaks in the plug-in occur. Normal/Effect Switch This is an effect bypass switch. Click to enable/disable the chorus or vibrato effect. The effect that will be heard is determined by the Vibrato/Chorus switch. The active state is black text. The inactive state has gray text.
Stereo Mode Switch The Stereo Mode switch determines the operating mode of CE-1 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). We’ve adapted the model for the modern era, enabling a true stereo input.
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 effect. Rate Knob The rate knob controls the rate of the vibrato LFO. The rate is indicated by the the Rate LED indicator. Note: When in chorus mode, the vibrato controls have no affect. Power Switch This switch determines whether the plug-in is active.
CHAPTER 28 Roland Dimension D Overview The Roland SDD-320 Dimension D is another classic effect faithfully reproduced by our ace modeling engineers. The Dimension D is a one of a kind studio gem that adheres to the principle of doing one thing, and doing it extremely well. Its one and only function: some of the best sounding stereo chorus ever made. However, the Dimension D is more than a chorus, it is really a unique sound enhancer for adding spatial effects to mono or stereo sources.
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. Dimension Mode The Dimension Mode determines the effect intensity. Four different modes are available. Mode 1 is the most subtle effect, and Mode 4 is maximum intensity. Multiple Buttons True to the original hardware, multiple Dimension Mode buttons can be engaged simultaneously for subtle sonic variations of the four main modes.
CHAPTER 29 Roland RE-201 Overview In 1973, Roland created the Space Echo system that utilized multiple play heads to create warm, highly adjustable echo effects, which added wonderful tape character and chaos to performances and recordings. The Space Echo can be heard on numerous recordings, from 70’s space rock like Pink Floyd and David Bowie, to countless Reggae and Dub albums, to more recent bands like Portishead and Radiohead.
Roland RE-201 Screenshot Figure 83. The Roland RE-201 plug-in window Roland RE-201 Interface The RE-201 interface is true to the original hardware, with a few customizations to bring it into the digital era. The original mic and instrument volume controls have been replaced with echo/reverb pan controls and an input control. We’ve also added a “Tape Age” switch to emulate new and older tape, a Wet Solo control for use as a bus/send effect, and an output volume control for utility.
Note: The Peak lamp and VU meter measure signal just after the input volume control. However, like the original hardware, echo intensity (feedback) is applied just before the level detection circuit. For this reason, the Intensity control will affect the level readings. Echo Pan Echo Pan determines the placement of the echo signal in the stereo panorama when the plug-in is used in mono-in/stereo-out and stereo-in/stereo-out configurations.
Table 15. RE-201 Mode Selector Positions Mode Knob Position Active Tape Heads 1 2 3 REPEAT (echo only) 1 2 3 REVERB + ECHO 4 • 5 6 7 • • • • Active Reverb 8 • • • • • • 9 • • • REVERB ONLY 10 11 • • • Reverb • • • • • • • • Bass This knob controls the low frequency response in the tape echo portion of the signal. It does not affect the dry signal or the reverb signal. This is a cut/boost control; it has no effect when in the 12 o’clock (straight up) position.
Repeat Rate This knob controls the time interval of the echo effect. Rotating the control clockwise will decrease the delay time, and counterclockwise rotation will increase the delay time. The available delay times are as follows: • Head 1: 69ms – 177ms • Head 2: 131ms – 337ms • Head 3: 189ms – 489ms The head times available with this control are dependent upon the “Mode Selector” on page 245.
Echo Volume has no affect when the Mode Selector is in the “Reverb Only” position. Note: Power Switch This switch determines whether the plug-in is active. This is useful for comparing the processed settings to that of the original signal, or to bypass the plug-in to reduce the UAD DSP load. Toggle the switch to change the Power state. Toggling the power switch will also clear the tape echo. This can be useful if the RE-201 is self-oscillating and restarting the feedback loop is desired.
Splice Normally, the splice on the tape loop comes around at regular intervals. This interval varies, and is determined by the selected Repeat Rate. Depending on what Tape Quality is selected, the splice can be subtle or obvious, and can work as a catalyst for chaos especially when the RE-201 is in a state of self-oscillation. This switch resets the location of the tape “splice” when the switch is actuated.
CHAPTER 30 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. Room Shape and Material RealVerb Pro provides two graphic menus each with preset Room Shapes and Materials. You blend the shapes and material composition and adjust the room size according to the demands of your mix.
RealVerb Pro Background Pan Direct Path Source Input Wet/Dry Mix EQ Delay Early Reflections Gain & Mute Pans & Distance Gain Output LateField Reverb Delay Figure 84. RealVerb Pro signal flow Figure 84 illustrates the signal flow for RealVerb Pro. The input signal is equalized and applied to the early reflection generator and the late-field reverberation unit. The resulting direct path, early reflection, and late-field reverberation are then independently positioned in the soundfield. Figure 85.
The RealVerb Pro user interface is similarly organized (see Figure 85). 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 and sizes in the Shape panel; early reflection predelay and overall energy is specified at the top of the Timing panel. The Material panel is used to select relative late-field decay rates as a function of frequency.
To configure the room shape and size: 1. Select a room shape from the first (left) pop-up menu. The selected shape appears in the left side of the Shape circle. Adjust the room size with the top horizontal slider. 2. Select a room shape from the second (right) pop-up menu. The selected shape appears in the right side of the Shape circle. Adjust the room size with the bottom horizontal slider. 3. Blend the early reflection patterns of the two rooms by dragging the Blending bar.
Second material First material Blending bar First material selector popup menu Second material selector pop-up menu First material Thickness control Second material Thickness control Figure 87. RealVerb Pro Material panel Note: While materials are used to control decay rates as a function of frequency, the overall decay rate of the late-field reverberation is controlled from the Timing panel (see Figure 89 on page 259). To configure the room material and thickness: 1.
4. Blend the absorption properties of the two materials by dragging the Blend- ing bar. The relative amount of each material, expressed as a percentage, appears above their respective pop-up menu. Drag the Blending bar to the right to emphasize the first material, and drag it to the left to emphasize the second material. To use only one room material, drag the Blending bar so the material is set to 100%.
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 lowfrequency to high-frequency decay times is 10:1. This means that the high frequencies will decay 10 times faster than the low frequencies. At 200% thickness, this is multiplied by two (high frequencies decay at 20x the rate of the low frequencies).
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 equalizer can be configured as shelf or parametric EQs, as well as hybrids between the two. Amplitude control, third band Amplitude controls, first and second bands Band Edge control, second band Band Edge control, third band Figure 88.
3. Adjust the Band-edge controls for the second and third bands so they are adjacent to each other. To raise the frequency for the high-shelf, drag to the right with the Band-edge control for the second band. To lower the frequency for the high-shelf, drag to the left with the Band-edge control for the third band. 4. To attenuate the frequencies above the shelf frequency, drag the Amplitude controls for the first and second bands up or down.
Early Reflections display Amplitude control Predelay control Late-Field Reverberations display Amplitude Control Predelay control Decay Time control Diffusion control Figure 89. RealVerb Pro Timing panel To adjust the timing of the early reflections: 1. Drag the Amplitude control for the early reflections up or down (from –80 dB to 0 db) to affect the energy of the reflections. The Amplitude value is indicated in the text field at the bottom of the Timing panel. 2.
3. Drag the Decay Time control for the late-field reverberations left or right (from 0.10–96.00 seconds) to affect the length of the reverb tail. The Decay Time is indicated in the text field at the bottom of the Timing panel. 4. To affect how quickly the late-field reverberations become more dense, adjust the Diffusion control at the right of Late Reflection display in the Timing panel. The higher the Diffusion value (near the top of the display), the more rapidly a dense reverb tail evolves.
Set the positioning for the early reflection or late-field reverberation with any of the following methods: 1. Drag the left and right slider handles to adjust the stereo width. The length of the blue slider is adjusted. For a full stereo signal, drag the left handle all the way to left, and right handle all the way to the right. 2. Drag the blue center of the slider left or right to set the positioning of the sig- nal. If you drag all the way to the left or right, the stereo width is adjusted.
Levels The Levels panel lets you adjust the Input Gain and Output Gain for RealVerb Pro. These levels are adjusted by dragging the sliders to the desired values. You can mute the input signal by clicking the Mute button. Figure 91. RealVerb Pro Levels panel 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.
When in Morphing mode, non user-adjustable controls will change their ap pearance and will no longer be accessible. When inserted on a Send effect, the ‘W’ button automatically turns on (to keep the mix at 100% wet). On an insert effect, the Mix will change back and forth between the two mix values of each preset. Figure 93.
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” at the bottom of the presets menu. Edits to any and all presets in the list are maintained separately within each instance of a plug-in in a session.
CHAPTER 31 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.
Screenshot Figure 94. The DreamVerb plug-in window Signal Flow Figure 95 illustrates the signal flow for DreamVerb. The input signal is equalized then delay lines are applied to the early reflection and late field generators. The resulting direct path, early reflection, and late-field reverberation are then independently positioned in the soundfield. Pan Direct Path Source Input Wet/Dry Mix EQ Delay Early Reflections Gain & Mute Pans & Distance Delay Gain Output LateField Reverb Figure 95.
The DreamVerb user interface (Figure 94 on page 266) is similarly organized. Reflected energy equalization is controlled with the Resonance panel. The pattern of early reflections (their relative timing and amplitudes) is determined by the room shapes in the Shape panel (Figure 98 on page 269). Early reflection pre-delay, slope, timing, and amplitude are specified in the Reflections panel (Figure 100 on page 274).
Bypass switch Band Amplitude control bats Band 1 (low shelving) control Band 2, 3, and 4 Edge control bats Band 5 (high shelving) control Figure 96. DreamVerb Resonance panel Bypass The equalizer can be disabled with this switch. When the switch is off (black instead of grey), the other resonance controls have no effect. This switch has no effect on the direct signal path. Band Amplitude Each of the five bands has its own amplitude (gain) control. The amplitude range of each band is -30dB to +20dB.
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 rightmost horizontal line (the ones without control bats) up or down, which boosts or cuts the energy at these frequencies. Drag these control handles up or down for shelving EQ. Figure 97.
Shape Menus DreamVerb lets you specify two room shapes that can be blended to create a hybrid of early reflection patterns. The first and second shape each have their own menu. The available shapes are the same for each of the two shape menus. The first shape is displayed in the upper area of the Shape panel, and the second shape is displayed in the lower area. To select a first or second shape, click its shape pop-up selector menu to view the available shapes, then drag to the desired shape and release.
Materials Panel The parameters in the Materials panel, in conjunction with the Shape panel (Figure 98 on page 269) and Reverberation panel (Figure 101 on page 275) effect the spatial characteristics of the reverb. The material composition of an acoustical space effects how different frequency components decay over time. Materials are characterized by their absorption rates as a function of frequency—the more the material absorbs a certain frequency, the faster that frequency decays.
Materials Menus DreamVerb lets you specify two room materials, which can be blended to create a hybrid of absorption and reflection 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.
Materials Blending Bars The Materials Blending Bars (see Figure 99 on page 271) are used to blend the three materials together at any ratio. The materials are not just mixed together with the bars; the reverberation algorithm itself is modified by blending. Materials Blending Blend the two materials by dragging the vertical Blending Bar horizontally. Drag the bar to the right to emphasize the first material; drag to the left to emphasize the second material.
ER End control bat (time & amplitude) Bypass switch Materials Filtering control bat ER Start control bat (predelay & amplitude) Late-field relative timing display Figure 100. 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. This switch has no effect on the direct signal path. Reflections Start This bat controls two early reflections start parameters.
Late-Field Relative Timing To highlight the relative timing relationship between the early reflections and late-field reverberation components, the shape and timing of the late-field is represented as an outline in the Reflections panel. The shape of this outline is modified by parameters in the Reverberations panel, not the Reflections panel. Reverberation Panel The Reverberation panel (Figure 101) contains the parameters that control the late-field (LF) reverb tail for DreamVerb.
Late-Field Start This parameter defines when the late-field reverb tail begins (the delay between the dry signal and the onset of the LF) in relation to the dry signal. Amplitude & Slope This bat controls two late-field parameters. Dragging the bat vertically controls the maximum amplitude of the LF reverb energy. Dragging it horizontally controls the LF slope (fade-in) time. Decay Time This control effects the length of the reverb tail.
Figure 102. 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. A value of <0> places the signal in the center of the stereo field. Note: If the DreamVerb “Mix” parameter (page 278) is set to 100% wet or the Wet button is active, these sliders have no effect.
Distance DreamVerb allows you to control the distance of the perceived source with this slider. In reverberant environments, sounds originating close to the listener have a different mix of direct and reflected energy than those originating further from the listener. Larger percentages yield a source that is farther away from the listener. A value of 0% places the source as close as possible to the listener.
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. Mix The wet and dry mix of DreamVerb is controlled with this slider. The two buttons above this slider labeled “D” and “W” represent Dry and Wet; clicking either will create a 100% dry or 100% wet mix.
Windows On Windows systems, the default preset location is inside the Presets directory, which is created within the directory selected during software installation. 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.
Space In some sense, Shape determines the spatial characteristics of the reverberator, 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.
• Try different diffusion settings for your preset (the slider on the right of the Reverberation panel). Diffusion radically alters the reverberation sound and is source dependent. Higher diffusion values yield a fuller sound, good for percussive sounds; lower diffusion values yield a less dense sound, good for vocals, synths, etcetera. • When monitoring your preset, try switching from Dry solo, Wet solo, and a useful mix. Solo the reflections and reverberation, and disable/enable EQ.
CHAPTER 32 Plate 140 Overview Universal Audio “steps up to the plate”, rendering yet another classic tool for the DAW that no mixer should be without: Introducing the Plate 140 Plug-In. German company EMT made a breakthrough in 1957 with the release of the EMT 140, which utilized a resonating metal plate to create ambience. Nothing is quite like the wonderfully smooth sound of plate reverb that still endures as part of the fabric of modern music.
Plate 140 Controls The Plate 140 interface is an amalgam of controls found at the plate amplifier itself and the remote damper controls, plus a few DAW-friendly controls that we added for your convenience. The GUI incorporates the original look and feel of those controls, and utilizes that look for the DAW-only controls. Note: When adjusting parameters, keyboard shortcuts are available for fine, coarse, and other control methods. See “Shortcuts” on page 79.
Reverb Time Meters The Reverb Time Meters display the reverb time of plates A, B, and C in seconds. The meter for the active plate model (as specified by the Plate Select switch) is illuminated. The meter value can be changed by dragging its “needle” in addition to its corresponding Damper controls. Note: Damper Controls (Reverb Time) The Damper Controls change the reverb time for each plate. The range is from 0.5 to 5.5 seconds, in intervals of 0.1 sec.
Low Frequency Knob This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low band Gain setting. The range is 20Hz to 2kHz. Because this is a shelving EQ, all frequencies below this setting will be affected by the low band Gain value. Low Gain Knob This parameter determines the amount by which the transition frequency setting for the low band is boosted or attenuated. The available range is ±12dB, in increments of 0.5dB (fine control) or 1.
Mix Knob The Mix control determines the balance between the original and the processed signal. The range is from Dry (0%, unprocessed) to Wet (100%, processed signal only). This control uses a logarithmic scale to provide increased resolution when selecting lower values. When the knob is in the 12 o’clock position, the value is 15%. Note: If Wet Solo is active, adjusting this knob will have no affect. Wet Solo Button The Wet Solo button puts Plate 140 into “100% Wet” mode.
Hidden Controls Several controls exist that are not available within the Graphical User Interface. They can only be viewed or modified in automation mode or “controls” mode. Figure 105. Plate 140 in Controls mode Note: Accessing Not all host applications support automation and/or controls mode. Each host application has its own particular operating methods. Consult the host application documentation for specific instructions on accessing automation parameters and controls mode.
Cut Filter The Cut Filter is an equalizer that is used to reduce low frequency content in the reverb. On hardware plate systems, the cut filter setting is rarely modified because it is found at the plate amplifier unit itself and is not easily accessed from the control room. There is one Cut Filter per plug-in instance. Each plate model (A, B, C) within a preset cannot have a unique Cut Filter value.
CHAPTER 33 Precision Maximizer Overview The Precision Maximizer is a dynamic impact processor that uniquely enhances 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 fatiguing artifacts typically associated with traditional dynamic processors.
Precision Maximizer Screenshot Figure 106. 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 entry. See “Text Entry” on page 79 for more information. Input Meter The stereo peak Input Meter displays the signal level at the input of the processor, after the Input control. 0dB represents digital full scale (0dBFS).
Shape The Shape knob is the primary saturation control for the Maximizer effect. It contours the harmonic content and apparent 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.
The crossover frequencies in three-band mode are 200Hz and 2.45kHz. Click the Bands button to change the mode. Alternately, you can click+hold the LED area and drag like a slider to change the value. Note: UAD DSP usage is increased when three-band mode is active. Limit The Limit function provides a second stage of soft-saturation just before the output control for the plug-in. It prevents digital “overs” by protecting the plug-in output from exceeding 0dBFS.
Output The Output knob controls the signal level that is output from the plug-in. The available range is –12dB to 0dB. Note that when Limit is not engaged, it is possible for the output level to exceed 0dB. In this case, Output can be lowered to eliminate any associated clipping. When Precision Maximizer is used for CD mastering and it is the last processor in the signal chain, the recommended Output value is –0.
Operating Tips • As a starting point for general loudness enhancement, set Precision Maximizer to one-band mode with Limit engaged, with Mix at 100% and Shape at 50%. Then set Input so signals peak at around 0dB on the Input Meters. These settings offer good results under most conditions, producing more presence with a warmer sound and enhanced detail (especially with lower frequencies), while retaining the apparent dynamic range of the original signal.
Precision Maximizer Latency The Precision Maximizer uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating Upsampled Plug-Ins” on page 95 for more information.
CHAPTER 34 Precision De-Esser Overview The Precision De-Esser seamlessly and accurately removes sibilance from individual 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 twoposition “Speed” button gives control over the envelope (attack and release) of the detector.
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 79 for more information. Threshold Threshold controls the amount of de-essing by defining the signal level at which the processor is activated. Rotate Threshold counter-clockwise for more de-essing.
Note: When Solo is active, changes to the Threshold and Split controls cannot be heard. Width Width controls the bandwidth of the de-essing sidechain when in bandpass mode. Bandpass mode is active when the control is in any position except fully clockwise. Smaller values have a narrower bandwidth, causing a tighter, more focused de-essing effect. Higher values have wider bandwidth, for de-essing when undesirable frequency ranges are broader.
Gain Reduction The Gain Reduction meter provides a visual indication of how much attenuation (compression) is occuring. 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. Power The Power switch determines whether the plug-in is active. This is useful for comparing the processed settings to the original signal or bypassing the plug-in to reduce the UAD DSP load.
CHAPTER 35 Precision Enhancer kHz Overview The Precision Enhancer kHz is a sophisticated tool with a simple control set, primarily designed to bring dull or poorly recorded tracks to life. However, with five distinct enhancement modes, the Precision Enhancer kHz will find uses on virtually any source. It can be used to minimally massage the middle and upper frequencies of a mix, or drastically alter the presence or dynamics of individual tracks or groups.
Precision Enhancer kHz Screenshot Figure 108. 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. Threshold, Frequency, and Output values can be modified with text entry. See “Text Entry” on page 79 for more information. Sensitivity Knob The Sensitivity Knob controls the amount of processing that occurs in the plug-in. The available range is from 0.00 to 100.0%.
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 enhancement amount is increased as the input signal level increases. The Frequency parameter is disabled in this mode. All Mode All Mode is similar to Mode D in that it dynamically enhances both high and low frequency content, but the effected frequency spectrums are even broader.
Generally speaking, adjust the Output control after the desired amount of processing is achieved with the Sensitivity and Frequency controls. Output does not affect the amount of enhancement processing, nor does it have any effect when the plug-in is disabled. Output Meter The Output Meter displays the signal level at the output of the plug-in. When the plug-in is disabled with the plug-in Power switch (but not the host plug-in enable switch), the output meters still function.
CHAPTER 36 SPL Transient Designer Overview Universal Audio has partnered with German company Sound Performance Lab (SPL) to bring you the Transient Designer, with its unique and compelling Differential Envelope Technology for shaping the dynamic response of a sound. Only two simple audio controls are required to allow you to effortlessly reshape the attack and sustain characteristics.
SPL Transient Designer Controls Containing only two primary controls, the UAD SPL Transient Designer is extremely simple to operate. The technology behind the processor isn't as important as how it sounds. However, for those who desire a deeper understanding of the process, a deeper explanation of the underlying technology is presented at the end of this chapter (see “Technology” on page 312). Attack Attack enables amplification or attenuation of the attack of a signal by up to ±15dB.
Signal This 4-stage “LED” indicates the presence of audio signals at the input of the plug-in. When the input signal is below -25dB, the indicator is off. At -25dB to -19dB, the indicator glows slightly. At 18dB to -10dB, it lights with medium intensity. At -9dB to 0dB, it shines brightly. Overload The Overload “LED” illuminates when the signal level at the output of the plug-in reaches 0dBFS. The indicator matches the behavior of the original hardware unit.
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 technology, SPL has graciously authorized us to use their documentation as well. The remainder of this chapter is excerpted from the SPL Transient Designer (RackPack) User Manual, and is used with kind permission from SPL. All copyrights are retained by SPL.
• 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 remarkably. Since muffling of any drum also changes the dynamic response, the Transient Designer opens up a whole new soundscape.
Guitars Use the Transient Designer on guitars to soften the sound by lowering the ATTACK. Increase ATTACK for in-the-face sounds, which is very useful and works particularly well for picking guitars. Or blow life and juice into quietly played guitar parts. Distorted guitars usually are very compressed, thus not very dynamic. Simply increase the ATTACK to get a clearer sound with more precision and better intonation despite any distortion. Heavy distortion also leads to very long sustain.
channels of the reverb return through two separate Transient Designer instances. 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.
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, nothing shall be concealed from the more curious users. Differential Envelope Technology (DET) SPL’s DET is capable of level-independent envelope processing and thus makes any threshold settings unnecessary. Two envelopes are generated and then compared. From the difference of both envelopes the VCA control voltage is derived.
Figure 111 on page 313 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 amplitude of the attack is increased if positive ATTACK values are set. Negative ATTACK values reduce the level of the attack transient. Figure 111.
The SUSTAIN Control Circuitry The SUSTAIN control circuitry also plays host to two envelope generators. The envelope tracker Env 3 again follows the original waveform. The envelope generator Env 4 maintains the level of the sustain on the peak-level over a longer period of time. The control voltage of the VCA is again derived from the difference between the two voltages. Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings.
Figure 115 on page 315 displays the processed waveforms with maximum and minimal sustain to compare against the original waveform in diagram 4. Figure 115. SPL Transient Designer Processed Sustain SPL Sound Performance Lab® and Transient Designer® are registered trademarks of SPL Electronics, GmbH Germany and are used under license. Portions of this SPL Transient Designer manual section is ©copyright SPL Electronics GmbH Germany and are used under license with kind permission from SPL.
CHAPTER 37 Nigel Introducing Nigel Nigel offers the latest generation of guitar processing technology integrated into a complete multi-effects plug-in solution. Utilizing Universal Audio’s exclusive component modeling technology, along with some very creative digital design, Nigel delivers a complete palette of guitar tones along with most every effect a guitar player might need, all with minimal latency and no load on your host computer’s CPU.
Nigel Screenshot Figure 116. 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.
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.
Gate/Comp Module Figure 118. 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 input of the Amp module within Preflex. A gate stops the input signal from passing when the signal level drops below a specified threshold value.
Gate Fast Button The Fast control reduces the release time of the gate. It has no effect on the attack 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. Fast mode is engaged when the button indicator is bright red. The time values are 50ms when engaged and 170ms when off. Gate Threshold Knob Sets the threshold level for the gate.
Compressor Attack Menu Sets the amount of time that must elapse, once the input signal reaches the Threshold level, before compression will occur. The faster the Attack, the more rapidly compression is applied to signals above the Threshold. Three Attack values are available: Slow (50ms), Medium (8ms), and Fast (400µs). Compressor Release Menu Sets the amount of time it takes for compression to cease once the input signal drops below the Threshold level.
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 module is received from the Compressor output. The Amp output is passed to the input of the Cabinet module. Figure 119. The Amp module within Preflex Amp Type and Variable Knob Functions The function of the amp knobs vary depending on the amp type. When an amp type is selected, Preflex is internally reconfigured.
Knob Values Are Offsets Knob settings do not change to new values when an amp type is selected. This is because knob values are not absolute. Instead, they are an offset to the factory programmed amp type value. For example, if Post-Lo EQ displays a value of 3.0, then 3dB is added to the amp type internal (preset) value. Of course, knob settings do change when user settings are loaded.
Pre-EQ Mid Knob Modifies the middle frequency response of the signal before the Amp. The frequency that this knob controls is determined by the Color knob (see Color knob description for more details). Pre-EQ Hi Knob Modifies the high frequency response of the signal before the Amp. This knob behaves differently than the Lo and Mid knob. Rather than boosting or cutting the gain of a certain frequency, the Hi knob increases the amplifier's sensitivity to high frequencies.
Bright Button Increases the brightness of the Amp model. Bright is on when the button glows bright red. Amp On/Off Button Enables or disables the Amp module within Preflex. The Amp is engaged when the button indicator is bright red. You can use this switch to compare the Amp settings to that of the original signal or bypass the entire Amp section to reduce UAD DSP load.
Amp-A Type Menu Determines the amp type for the “A” section of the Amp. Selecting an Amp Type reconfigures the amplifier characteristics and the function of the other Amp parameters. Amp-B Type Menu Determines the amp type for the “B” section of the Amp. Selecting an Amp Type reconfigures the amplifier characteristics and the function of the other Amp parameters. Amp Morph Slider The Morph control is used to smoothly transform one amp type into another, creating new sounds never before possible.
For the following descriptions of the Cabinet models and other references that you may find throughout this manual, please be aware that Celestion, Greenback, Oxford Blue, Marshall, Fender, Line 6, Pod, SansAmp, 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.
Cabinet On/Off Button Enables or disables the Cabinet module within Preflex. The Cabinet is engaged when the button indicator is bright red. You can use this switch to compare the Cabinet settings to that of the original signal or bypass the entire Cabinet section to reduce UAD DSP load. Output Level Meter This LED-style VU meter displays the level of the signal at the output of the Cabinet. Just before the red ‘LED’ is illuminated, the signal is at 0dB.
Sweep Lo Knob Sets the lowest frequency of the Phasor. The available range is from 50Hz to 6000Hz. Because the Sweep Lo frequency cannot be set higher than the Sweep Hi frequency, if the Lo value is increased beyond the Hi value the Hi value will increase to match the Lo value. Sweep Hi Knob Sets the highest frequency of the Phasor. The available range is from 50Hz to 6000Hz.
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 22. Phasor LFO Types and Descriptions Sin Pure sine wave. Sin 2 Modified sine wave that stays high longer. Sin 3 Modified sine wave that stays low longer. Square Square wave. Square 2 Modified square wave that stays high longer. Square 3 Modified square wave that stays low longer.
Mod Filter Module The Mod Filter is an advanced filter plug-in that is capable of fixed-wah, autowah, 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). This realtime dynamic response is what gives the Mod Filter its unique sound. Figure 122.
Sens/Rate/ Wah Knob The function and label of the first knob in the Mod Filter is determined by the Mod Type setting (see Figure 122 on page 331). When the Mod Type is an envelope, the label changes to “Sens” and determines the gain sensitivity of the Mod Filter. When the Mod Type is an LFO, the label changes to “Rate” and determines the rate of the LFO. When the Mod Type is set to Wah, the label changes to “Wah” and adjusts the wah pedal position.
Sweep Hi Knob Sets the highest frequency to be affected by the Mod Filter. The available range is from 50Hz to 4000Hz. Because the Sweep Hi frequency cannot be set lower than the Sweep Lo frequency, if the Hi value is decreased below the Lo value the Lo value will decrease to match the Hi value. Resonance (Res) Knob Sets the amount of filter intensity for the Mod Filter. A higher value will deliver a sharper, more pronounced effect. Output Knob Adjusts the signal output level of the Mod Filter.
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 maximum value the effect is bypassed until the knob reaches is maximum value again at which time the effect is re-engaged. Wah Pedal mode is ideally suited to emulating a real Wah pedal by using a MIDI foot pedal controller. Mod Menu Table Table 23. Mod Filter: Mod Types and Descriptions Filter Type Menu Sin LFO mode with Sine waveshape.
TremModEcho plug-in The TremModEcho is loaded as one plug-in but consists of three modules: Trem/Fade, Mod Delay, and Echo (Figure 123). Each of the module controls is described in the following pages. Figure 123.
Trem/Fade Module Figure 124. The Trem/Fade module Trem/Fade is a sophisticated envelope-controlled modulation processor that can produce classic tremolo, fade, and other gain modulation effects. Tremolo is achieved by modulating the amplitude (volume) of a signal with a low frequency oscillator (LFO). Trem/Fade includes some new modes such as Shimmer and VariTrem that enable the production of new volume effects. Sync Button This button puts the plug-in into Tempo Sync mode.
Fade In Knob Determines the signal fade in time. Fade In is typically used to create automatic 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. Onset Knob Determines the time for the Tremolo effect to reach the specified depth. Onset behaves as an intensity ramp for the Tremolo effect. The range is from None to 4000 milliseconds.
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. However, the Fade In and Onset controls are still active and can be adjusted as desired. Two Tremolo modes are available. Each has different settings but the controls behave exactly the same in both modes. If the Depth value is zero and/or the Threshold value is set too high in Tremolo mode, you will not hear the tremolo effect.
Mod Delay Module Figure 125. 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 oscillator. 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 modulations can be achieved.
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). Depth & Time/ Sweep Knobs The function and label of the second and third controls in the Mod Delay module are determined by the Mode pull-down menu.
Time Knob Sets the modulation delay time. The available range is from 0 to 125 milliseconds. In Vibrato mode, this setting will appear to have no effect if the Recirculation value is zero because the signal is “100% wet” in Vibrato mode. Note: Recirculation (Recir) Knob The Time knob is only visible in Chorus and Vibrato modes. Sets the amount of processed signal fed back into its input. Higher values increase the intensity of the processed signal. Recirculation allows both positive and negative values.
Mod Delay LFO Type Table Mode Menu Table 25. Mod Delay LFO Types and Descriptions Sin 0 In-phase sine wave Sin 90 Sine wave 90 degrees out of phase Sin 180 Sine wave 180 degrees out of phase Tri 0 In-phase triangle wave Tri 90 Sine wave 90 degrees out of phase Tri 180 Sine wave 180 degrees out of phase Trem Up The Trem/Fade module is used as the LFO source. On a stereo signal, both channels ascend in pitch in synchronization with the Trem/Fade amplitude ramp.
Echo Module Figure 126. 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. Sync Button This button puts the plug-in into Tempo Sync mode. See “A chart showing expected plug-in counts can be found on our website: http://www.uaudio.
Recirculation allows both positive and negative values. The polarity refers to the phase of the delays as compared to the original signal. If Recirculation displays a positive value, all the delays will be in phase with the source. If it displays a negative value, then the phase of the delays flips back and forth between in phase and out of phase. Damping Knob This low pass filter reduces the amount of high frequencies in the processed signal. Higher values yield a brighter signal.
CHAPTER 38 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. The Moog Multimode Filter is a ‘digital-only’ tabletop filter set that combines the best of Bob Moog’s classic designs with select features from his final Voyager instrument.
Moog Filter Screenshot Figure 127. The UAD Moog Filter plug-in window Moog Filter Controls The Moog Filter is true stereo, with separate filters for the left and right channels. The dual filters share the same controls. The only time the left and right filters diverge is when Filter Spacing or LFO Offset are not zero. Drive Drive controls the amount of saturation gain before the filter. Drive is where much of the sonic “juice” in the UAD Moog Filter originates.
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! Drive/Gain LED Envelope The Drive/Gain multicolor LED indicates the plug-in signal level 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. The Envelope controls (Envelope knob, Smooth/Fast switch) closely mimic the controls of the MF-101 Moogerfooger.
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 20Hz to 12kHz on the MF-101 Moogerfooger to the broader available range of 12Hz to 12 kHz on the Moog Mulitmode Filter. In lowpass mode, frequencies above the cutoff are attenuated. In highpass mode, frequencies below the cutoff are attenuated.
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 cutoff rapidly with the knob or automation. Step mode can be desirable when sudden cutoff changes are automated and other creative purposes. Smoothing is on in the Track position, and off in the Step position. Note: When set to Track, the plug-in does not “track” the input signal frequency like a synthesizer filter.
LFO The LFO (low frequency oscillator) modulates the filter cutoff frequency. Several waveform shapes are available. The LFO can be synchronized to the tempo of the host (see Free/Sync below). Amount Amount controls the depth of the LFO filter cutoff modulation. A higher value will have a broader filter sweep. Rate Rate controls the speed of the LFO. The available range is from 0.03Hz to 25Hz in Free mode, or 16/1 to 1/64 to in Sync mode.
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 Mix varies the amount of filtering that is occurring. It is not a true dry/wet control; it mimics the mix function on the MF-101 Moogerfooger. When Mix is at zero, the Drive/Gain control (and Boost on non-SE version) are still active and audible. Setting Mix at zero is the same as setting the Effect/Bypass switch to Bypass.
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 provide sonic characteristics very similar to the Moog Filter but with significantly less DSP usage. It is provided to allow Moog Filter benefits when DSP resources are limited. The UAD Moog Filter SE sounds great even without Drive, and is very usable in many situations.
Moog Filter Latency The Moog Filter (but not the Moog Filter SE) uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plug-ins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating Upsampled Plug-Ins” on page 95 for more information. The Moog Filter SE does not require additional latency compensation because it is not upsampled.
CHAPTER 39 History Bill Putnam Sr. The name M.T. "Bill" Putnam retains a unique status in the audio industry hall of fame- it's legendary even among those who are considered to be legends themselves. Called the "father of moderd recording" by no less a luminary than Bruce Swedien, and a "visionary, responsible for motivating new thinking," by respeced studio engineer Tom Hidley, Putnam was a true renaissance man in the world of sound and music.
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 artificial 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.
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 recording facility in the country attracting top producers like Nelson Riddle, Mitch Miller and Quincy Jones. It was also at that time that Bruce Swedien went to work for the studio. "It's absolutely true," he states. "Bill Putnam was the father of recording as we know it today.
well as Sinatra's "It Was A Very Good Year," and The Mamas and The Papas' "California Dreamin'". The United Western studios, still in existence today as both Cello Studios and Allen 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.
he started recording everything with feeds to two control rooms, one for a stereo mix, one for a mono mix. In late '58, '59 and '60 everything Bill did was recorded in both stereo and mono. "When stereo hit big around '61, none of the record companies had any catalog. But Bill did — he had two and one half years worth. It was a lot of material — understand at that period of time he was doing about $200,000 a month in the United Western Complex — which is like a million dollars a month now.
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.
After several unsuccessful attempts at using F.E.T.s in gain reduction circuits, Putnam settled upon the straightforward approach of using the F.E.T. as the bottom leg in a voltage divider circuit, which is placed ahead of a preamp stage. The output stage of the 1176 is a carefully crafted class A line level amplifier, designed to work with the (then) standard load of 600 ohms. The heart of this stage is the output transformer, whose design and performance is critical.
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. They're especially good for vocals, which is also what I primarily use the LA-2 for. Most anything else I can do without, but I can't be without at least a pair of 1176s and an LA-2A.
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. We were recording drums and I used them on the left/right overheads as effects limiters.
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. Pepper--you know, 10 o'clock, 2 o'clock, and it does everything I need. "I always use them on vocals.
"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." Mike Clink Producer/Engineer Mike Clink (Guns N' Roses, Sammy Hagar, Pushmonkey) also comes from the Record Plant school of recording.
Thank You We would like to thank you again for becoming a Universal Audio customer. We urge you to fill out your registration card and send it back to us as soon as possible so we can keep you informed about new UAD Powered Plug-In products that we will be releasing in the months to come. We always like to hear from our customers and welcome your comments and suggestions. If you have any questions you can email us at: • info@uaudio.
INDEX Symbols .
INDEX C Cabinet 326 Cabinet On/Off Button 328 Cabinet Type Menu 326 Cambridge EQ Controls 200 Cambridge EQ Screenshot 199 Cambridge Equaliser 199 Card Enabled 60 Card Info Display 52 Card Status 60 CE-1 237 CE-1 Chorus Intensity Knob 239 CE-1 Clip LED 238 CE-1 Controls 238 CE-1 Depth Knob 240 CE-1 Normal/Effect Switch 238 CE-1 Output Level Knob 239 CE-1 Power Switch 242 CE-1 Rate Knob 240 CE-1 Rate LED 238 CE-1 Stereo Mode Switch 239 CE-1 Vibrato Controls 240 CE-1 Vibrato/Chorus Switch 238 Channel Input Gai
INDEX Disabling Cards 52 Disconnect 106 Distance 278 DM-1 Controls 187 DM-1 Delay Modulator 187 DM-1L 187 DM-1L Overview 189 Documentation Overview 16 DreamVerb 265 Dry 279 DSP 57 DSP Load 61 DSP Load Limiting Overview 65 DSP Loading Information 80 DSP LoadLock 67 DSP Settings 71 Dual Mode 195, 239 Dynamics 170 Dynamics Meters 138 EX-1 Equalizer and Compressor 184 EX-1 Equalizer Controls 184 EX-1M Overview 186 External MIDI Control 82 Extra Buffering 67 F Factory Presets 279 Fade In Knob 337 Fade Mode 337
INDEX Helios 69 Latency 235 Helios Type 69 Band Layout 232 Helios Type 69 Controls 232 Helios Type 69 Equalizer 231 Helios Type 69 Screenshot 231 Help & Support Panel 70 Help Menu 64, 78 Hi Knob 329, 333, 340 Hidden Controls 288 High Attenuation Controls 213, 215 High Frequency Controls 213 High Frequency Knob 286 High Gain Knob 286 High Resolution 81 High-Pass Filter 197 History 354 Host Application 38, 280 Host Application Settings 90 Host Computer 38 Host CPU 53 Host CPU Loads 81 Host PDC Implementation
INDEX Logic Audio 73 Low Cut / High Cut Filters 203 Low Frequency Controls 212, 215 Low Frequency Knob 286 Low Gain Knob 286 L-Pan Knob 189, 192 M Mac OS 17 Mackie UAD-1 35 Manual Conventions 17, 19 Master 202 Master Level Knob 202 Materials Blending 273 Materials Blending Bars 273 Materials Menus 272 Materials Panel 271 Materials panel 267 Memory 57 MEQ-5 210 Meter 116 Meter Elements 56 Meter On/Off Button 57 Meter Pop-up Menu 186 MIDI Control 82 MIN 67 MIN_GNT 67 Misc Settings 70 Mix 279, 293 Mix Knob 28
INDEX Nigel Modules 213, 215, 317 Positioning panel 267, Note Values 84 Post-EQ Hi Knob 324 Nuendo 72 Post-EQ LO Knob 324 276 Post-EQ Mid Knob 324 O Power 240 Offline Authorization 29 Power Down! 103 On/Off Button 342, Power Lamp 287 344 On/Off Rotary Switch 212 Power Requirement 51 Online Documentation 18 Power Switch 196, Onset Knob 337 Optional Plug-Ins 36, 41 Order Menu 330 Precision Buss Compressor 149, 165 Precision Buss Compressor Controls 150, Output 115, 278 Output Knob 1
INDEX Preflex Features 318 Preflex Module 318 Preflex Overview 318 Pre-Flight Check 105 Preset Design Tips 281 Preset Management 279 Preset/Settings Compatibility 75 Program 57 Pultec EQP-1A Program Equalizer 210 Pultec Latency 211 Pultec MEQ-5 210 Pultec-Pro 210 Purchase Procedure 48 Purchasing Plug-Ins 48 Q Q (Bandwidth) Knob 205 QuickStart DVD 18 QuickStart Video 43 R Rate 332 Rate Knob 188, 328, 332, 339 Rate knob 337 Ratio 115 Ratio Knob 186 R-Delay Knob 187 ReadMe 16 RealVerb Pro 250 RealVerb Pro
INDEX Settings Menu 75 Support Website 18 Shape 292 Supported Hosts 21 Shape Blending Bar 270 Sweep Hi Knob 329, 333, 340 Sweep Knobs 328, 332, 340 Sweep Lo Knob 329, 332, 340 Sync Button 187, 191 System 44 System Information Panel 58 System Overview 33 System Requirements 21, 22, 101 Shape Menus 270 Shape Panel 269 Shape panel 267 Shape Pop-up Menu 191 Shelf Enable Button 208 Shelf EQ 208 Shelf Type Button 208 Shimmer Mode 337 T Shortcuts 79 Sidechain Link 126 Tempo Sync 83 Signal Flow 266 Temp
INDEX U VCA VU 165 UA Online Store 46 VCA VU Controls 166 UAD Control Panel 57 VCA VU Screenshot 165 UAD Drivers 37 Verifying Installation 31 UAD Environment 33 UAD Hardware 26, 33, 104 UAD Meter & Control Panel 37, 54 UAD Nomenclature 17 UAD Plug-In Window 73 UAD Software 36 UAD Software Installation 23 UAD Toolbar 74 UAD-1 Family 35 UAD-1 Hardware 26, 104 UAD-1 Host Compatibility 68 UAD-1 PCI 67 UAD-2 DSP 66 UAD-2 Family 34 UAD-2 LED 31 UAD-Xpander 35, 100 UAD-Xtenda 35 UAD–Xtenda 104 UAD–Xtenda
INDEX UAD Powered Plug-Ins Manual - 375 - :
