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Lexicon 224 Product Manual

1. Host Application The plug in host application is the software DAW environment where audio recording playback mixing and other production functions are controlled UAD plug ins are accessed and operated from within the host software appli cation The host computer runs an operating system either Win dows or Mac OS that defines the OS platform of the sys tem UAD Powered Plug Ins is a cross platform product that is for all practical purposes functionally identical on Win dows and Mac computers except where otherwise noted Each host application has a unique feature set and different methods of oper ation including how to use plug ins However once UAD plug ins are loaded UAD plug in operation is the same in all host applications UAD Powered Plug Ins Manual 43 Chapter 3 UAD System Overview Plug In Formats Audio Interface 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 25 for complete details UAD Powered Plug Ins includes support for VST RTAS and Audio Units plug in formats These formats define the software protocols that the h
2. 2 2 Roland RE 201 Sync Chapter 9 UAD Delay Compensation cccccccscssccccccscces Latency amp Delay Compensation 000 c ccc ene n nee ee Host PDC Implementation UAD 1 Delay Compensator n on annuau cnet aaaeeeaeo DelayComp Examples 0 0 00sec cece nee een nent eee enn nee UAD 1 Track Advance 0 6 ccc ccc nett enn n eee een n nee TrackAdv Examples 0 0 2 0 000 c cece een eee eee nnn e eee nnn eee ee Compensating Upsampled Plug Ins 0 20 0 ccc ene eee eee een Upsampling Values Table 0 2 ene enn t eee enn nee Upsampled Compensation Examples 0 0 00 c cece eee n nee ee LVEF TOCESSING haaa Guan capeguies ae E cubs Gage cade ques E sass Chapter 10 UAD ExpressCard Products ccccccssssccccccccsces eH ence Rana een UAD 2 SOLO Laptop Details 0 0 cen nett enn n ee Important SOLO Laptop Notes 000 ccc cence een nett enn nee BABOY UAD Xpander Details e nent eee enn nee UAD Xpander Connections 00 nent een nent eee enn eee Xpander Operation 0 eee eee EEEE Important Xpander Notes n nanana nnan c eee eeeeeee en nee eee enn eens Chapter 11 UAD 2 Satellite 0 ccc cw www ww weer crn nnn cvne OVERVIEW sacn 5 nis ower by es on Geo a ee oe oe oo we ones enn ones UAD 2 Satellite Details 0 cece cnet ener nny UAD 2 Satellite Installation 0 0 0 0 ccc cece eee eee e ener n eee UAD 2 Satellite Operation o n a n
3. 00 00 cece eee eee cece eee ee ee eeteeneennennnes 407 Controls Overview 00 2 ccc eect net nett nett e bene eben eben bnnnnnan 407 Precision Limiter Controls 0 0000 c cece cece eect eee eben vee nnennnennes 407 Precision Limiter Meters Overview 2 0022 cc eee eee eee eee eee 408 Precision Limiter Latency 20 ccc eect eee teens 413 Chapter 42 Precision Maximizer 00 0 414 San aoa ceases nee Guess pease aon Gate nes eadks nee Gast ess ones eens 414 Precision Maximizer Screenshot 000 0 cece eee eee eee eee ee teen nennennnes 415 Precision Maximizer Controls o an cece cee eee eee eee eee ee teen nen nennnes 415 Operaling IS eor arae e Rer ET E E O E A E EERS 419 Precision Maximizer Latency anaana 419 WebZine Article nonon 420 Chapter 43 Precision Multiband o ooooccccocccocoooo 421 e a a 5 on 3 eee AA beans yates aeees en arnoues 421 Precision Multiband Screenshot nannu a 421 Precision Multiband Interface 0 02 422 Band Controls ccc eee eect beeen ebb eee e ene e ben eees 423 Band Parameters o a annuun cece cece eect ence eee e beet eee e tenet nnnees 424 KSE AA AA AA AA PAA 428 Frequency Controls cent enn net e nnn 430 Dynamics Meters 006 ccc teen te eee ete e eee 431 Global Controls 0 cence ene e ete beet eben bene nas 432 Precision Multiband Latency n a nananana nananana eannan ruraran 434 Chapter 44
4. 20 SC 100 Sk 10k 20k Figure 49 Parametric Type response When set to Type Il there is a Q Gain dependency on boost The bandwidth increases continuously as the gain is boosted but not when attenuated The Q knob position determines the maximum Q at full gain Filter bandwidth is broader at lower boost settings and narrower at higher boost settings This can produce a smoother more natural response when boosting filter gain UAD Powered Plug Ins Manual 152 Chapter 12 Cambridge EQ Type Ill Note that the Q value increases as gain is boosted but the knob position does not change The Q value is approached as gain increases and reaches the knob position at maximum gain See Figure 50 100 sgg z Sk 20 kan ok 2 Figure 50 Parametric Type Il response When set to Type Ill there is a Q Gain dependency on boost and attenua tion The bandwidth increases continuously as the gain is boosted and atten uated The Q knob position determines the maximum Q at full gain Filter bandwidth is broader at lower gain settings and narrower at higher gain settings This can produce a smoother more natural response when ad justing filter gain Note that the Q value increases as gain is increased but the knob position does not change The Q value is approached as gain increases and reaches the knob position at maximum gain See Figure 51 100 S00 c I i 5k 10k z0 kan 10 100 1 Sk 10k 20k Figure 51 Param
5. Four channels of processed audio selectable with the Front Rear Outputs switch are generated from this mono input in all modes with the exception of Echo which has mono output only The EMT 250 hardware unit has four discrete outputs Two outputs were de signed to be used as the main stereo left right outputs or the front left right outs in quadraphonic applications The other two outputs were used for the rear lett right signals in quad or other creative applications The UAD EMT 250 fully models the individual sonics of all four outputs The name of the Front Rear Outputs switch is derived from the original hardware design This control which is unique to the plug in enables access to the processed quadraphonic signal in pairs at either the front L R or rear L R outputs When a different sound is available at the front and rear outputs the yellow LED ring around the control is illuminated For program modes that do not offer quadraphonic processing e g Delay the switch is re pur posed to sum the processed outputs to mono In Echo mode it functions as an input mute UAD Powered Plug Ins Manual 215 Chapter 19 EMT 250 Electronic Reverberator Automation Modeled 1 0 EMT 250 Latency In some program modes the yellow LED ring around the control is illumi nated to indicate that changing the switch position will change the sound For program modes that do not offer quadraphonic processing
6. Preset Design Tips Here are some practical tips for creating useful reverbs with DreamVerb These are not rules of course but techniques that can be helpful in designing the perfect sonic environment ER Early Reflections Hf High frequency LF Late field Reverberation Lf Low frequency General Tips a tour e Start by setting a general timing on the ER and LF graphs to give a rough re verb size This timing ordinarily needs to be tweaked several times along the way e The materials and air density define the frequency decay of the LF and also the coloration of the ER if ER filtering is used the slider on the right of the Re tlections panel e Typically materials should be blended Try blending contrasting high fre quency roll off materials with high frequency reflecting materials or inverse materials This tends to add nice dimension to the LF tail Start with one use ful material and experiment with blending e Materials can have an extreme filtering effect if no air density is used Most presets sound better with an air blending If you don t want the additional coloration of air blend with Ideal Gas which performs no filtering e The room shapes define the ER pattern they do not effect the LF Solo the ER and choose a shape that works well for your source or environment e Blending shapes does not always yield desirable results Use shape blend ing with discretion or to define a more complex roo
7. Text Entry on page 91 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 Precision Limiter Controls Input Output The Input knob controls the signal level that is input into the limiter Increasing the input will result in more limiting as the input signal exceeds O dB The default value is O dB The available range is 6 dB to 24 dB The Output knob determines the maximum level at the output of the plug in This control does not affect the actual limiting The Precision Limiter always limits the signal to O dB internally and the actual output is set by attenuating this internal level Likewise the input control can drive the signal over O dB to get more limiting If the Precision Limiter is the last processor in the signal path when mixing down to disk bouncing the Output value will be the level of the highest peak in the resultant audio file The default value is 0 10 dB The available range is from 12 dB to O dB Non zero values are always negative therefore during text entry operations positive or negative values may be entered and the result will be negative UAD Powered Plug Ins Manual 407 Chapter 41 Precision Limiter Release Mode Power The Release knob sets the value of the limiter release time The default value is
8. The Mode menu determines how the Echoes are processed The Echo Mode differences can only be heard when the module is applied to a signal on an insert buss group or return that has a stereo output path Table 27 Echo Mode Menu List Ping Pong 1 Slapback Enables or disables Echo You can use this switch to compare Echo settings to that of the original signal or bypass Echo to reduce UAD DSP load UAD Powered Plug Ins Manual 380 Chapter 35 Nigel CHAPTER 36 Precision Buss Compressor Overview The Precision Buss Compressor is a dual VCA type dynamic processor that yields modern transparent gain reduction characteristics It is specifically designed to glue mix elements together for that cohesive and polished sound typical of master section console compressors A flexible and intuitive tool the Precision Buss Compressor is intended primarily for controlling the final output of your mix but can be usefully applied to a variety of sources trom drum busses or overheads to vocal groups or even as a channel compressor on individual track inserts The Precision Buss Compressor s control set features Threshold Ratio Attack and Release with all parameters specifically tailored to buss compressor usage The Release control includes a multi stage Auto Release also designed for a wide variety of program material Input and Output Gain control is offered with metering for input output and gain reduction A high pass Filte
9. The UAD Xpander can be disconnected when the notebook computer is active or sleeping only if these two conditions are met 1 1 No host applications including UAD Meter amp Control Panel are running 2 2 The ExpressCard is properly powered down by the operating system To disconnect the UAD Xpander while the notebook is active 1 Quit all UAD host applications including the UAD Performance Meter This ensures that all UAD Powered Plug Ins are inactive UAD Powered Plug Ins Manual 124 Chapter 10 UAD ExpressCard Products Reconnect System Sleep Windows 2 Power down the ExpressCard using the following method as defined by the operating system e Windows In the Windows Task Bar click the Safely Remove Hardware icon and select Safely remove Universal Audio UAD 1 DSP card Figure 26 on page 125 e Mac In the Menu Bar click the ExpressCard status menu icon and select Power off Card Figure 27 on page 125 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 Safely remove Univers Safely remove PCI standard PCI t po maan Pi Figure 26 ExpressCard Power Down Windows IB 4 199 Thub 16 16PM e IM n Macintosh HDO Figure 27 ExpressCard Power Down Mac Once the UAD Xpander has been disconnected for any reason the computer mu
10. UAD Control Panel System Info Plug Ins Configuration Firewire HELP amp SUPPORT RESOURCES UAD Registration amp Authorization FAQ UAD Voucher amp Plug In Purchase FAQ View User Manual Check for Software Updates E Mail UA Support UA Support Home View Your my uaudio Account UA Webzine UA Customer Service amp Technical Support Customer Service Hours 9am 5pm PST Mon Fri Outside USA 1 831 466 3737 Figure 15 The UAD System Help amp Support panel UAD Powered Plug Ins Manual 83 Chapter 6 UAD Meter amp Control Panel CHAPTER 7 Using UAD Powered Plug Ins Overview Once the UAD device s and Powered Plug Ins have been properly installed the UAD Powered Plug Ins are accessed and used just like any host based plug in All UAD Powered Plug Ins can run concurrently with each other and with host based plug ins simultaneously in any combination Most UAD Powered Plug Ins support up to 32 bit 192 kHz operation excep tions EMT 140 Precision Multiband Nigel Roland RE 201 Neve 1073SE 1081SE 33609 and Moog Multimode Filter cannot run at 176 4 kHz and above on UAD 1 Resolution is limited only the by resolution of the host application Please note that Powered Plug Ins running at 96 kHz use twice as much UAD DSP resources than those used at 48kHz and so forth Launching a UAD Powered Plug In Each host application has its own particular methods for instantiating launch ing a plug in Consult the hos
11. 3 When the UAD device is displayed in the Hardware area and its status is OK then the UAD driver is communicating with the UAD device and the system is operating properly Done UAD 2 LED The UAD 2 has an LED indicator This LED provides certain indications about the operational state of the UAD 2 The location of the LED depends on the UAD 2 product On UAD 2 PCle cards the LED is on the mounting bracket of the card On the SOLO Laptop the LED is next to the UA logo on the black housing On UAD 2 Satellite the LED is on the rear panel Alternating red and green When the LED alternates between solid red and solid green the device is powered up properly but the UAD driver is not yet loaded or communicating with the device This is the expected state if the device is installed but the soft ware is not yet installed or when booting the system and the UAD driver is not yet loaded Solid green When the LED is solid green the UAD driver is loaded and properly commu nicating with the device This is the normal state when using UAD Powered Plug Ins Solid red or other blinking patterns When the LED is producing any pattern other than the two conditions above there is a problem with communication between the driver and the device Try a cold reboot complete power down and or reinstalling the UAD software before contacting customer support UAD Powered Plug Ins Manual 35 Chapter 2 UAD Installation Learn More After
12. Amp Bent Knob Amp Output Knob Pre EQ Mid Knob Modifies the middle frequency response of the signal before the Amp The fre quency that this knob controls is determined by the Color knob see Color knob description for more details Pre EQ Hi Knob Modifies the high frequency response of the signal before the Amp This knob behaves differently than the Lo and Mid knob Rather than boosting or cutting the gain of a certain frequency the Hi knob increases the amplifier s sensitiv ity to high frequencies The Hi control is VERY interactive with the Bent control The Post EQ group modifies the tone of the signal after it passes through the Amp but before it goes to the Cabinet Note that the EQ knob values are off sets relative to the preset amp type value they do not display absolute values Post EQ LO Knob Modifies the low frequency response of the signal after the Amp This control is a set to a fixed frequency but the frequency changes with the amp type Post EQ Mid Knob Modifies the middle frequencies response of the signal after the Amp The fre quency that this knob controls is determined by the Color knob see Color knob description for more details Post EQ Hi Knob Modifies the high frequency response of the signal after the Amp This control is a set to a fixed frequency but the frequency changes with the amp type The Color knob is like a super tone control It controls several amplifier char acteristics
13. Boost shifts the Drive gain range up a full 20 dB while simultaneously shift ing the Output range down 20 dB This mimics the behavior of the external input on the Minimoog Note This control is not available on the SE version Power disables the plug in altogether and disables DSP processing When off the background will dim much in the same way the Voyager s panel does when powered off UAD Powered Plug Ins Manual 306 Chapter 29 Moog Multimode Filter Moog Filter SE Overview Moog Filter SE Controls The UAD Moog Filter SE is derived from the UAD Moog Filter Its algorithm has been revised primarily the elimination of the Drive circuit in order to pro vide sonic characteristics very similar to the Moog Filter but with significantly less DSP usage It is provided to allow Moog Filter benefits when DSP resources are limited The UAD Moog Filter SE sounds great even without Drive and is very usable in many situations The Moog Filter SE interface can be differentiated from the full Moog Filter by color and the module name The Moog Filter SE is uses the Luna back ground and maple sides borrowed from the Voyager Select Series The full 1 u version uses the Voyager s electric blue backlighting and mahogany sides GAIN CUTOFF RESONANCE 4 6 200 750 4 6 H r k Li 4 Li Mag a PN a n E po 3 p4 85O o 3K 1 p4 8 MULTIMODE FILTER Pa nG NP a AA f
14. Introduction Unveiled by EMT at the AES convention in 1976 and inducted into the TEC Hall of Fame in 2007 the EMT 250 was the first digital reverberation device to create ambience through a purely electronic system With its single reverb program and iconic lever driven control surface the EMT 250 is still an indis pensable tool within the record making elite and is widely considered one of the best sounding reverbs ever made Although only around 250 were built the EMT 250 has made an immeasurable impact on record making history in the hands of studio legends like George Massenburg Bruce Swedien Allen Sides and many others Captured from Allen Sides unit at Ocean Way Re cording endorsed by EMT Studiotechnik GmbH in Germany and re engi neered for plug in use by EMT 250 creator Dr Barry Blesser from his original documentation the UAD version of the EMT 250 goes beyond emulation and is the very same algorithm found in the original units for a fraction of its orig inal 25 000 price Besides the coveted reverb program the EMT 250 for UAD provides the five additional effects Delay Phasing Chorus Echo and Space also included in the original unit Lighted pushbuttons select the desired program while four click stop levers provide the primary reverb parameters of delay time prede lay and high and low Filtering LED ladders provide additional visual rein forcement of program selection and parameter positioning Like the hard
15. N without using the interim step of creating a preset GA aa Pei file To copy paste settings between UAD plug ins select Copy Settings from the drop menu of the source plug in then select Paste Settings from the drop menu of the destination plug in Note If the menu displays Cannot Paste Settings then settings were not copied first or the paste destination is an incompatible plug in ab LiveTrack Mode reduces latency on an active UAD 2 plug in to the lowest possible amount This feature is highly useful for monitoring processed audio when recording live performances Note Due to differing architectures LiveTrack mode is not available with UAD 1 UAD le or UAD 2 Satellite Reduced latency in LiveTrack Mode is accomplished by circumventing the standard buffering processes Normally UAD 2 signal data is buffered at the audio interface O sample buffer size such as 128 512 or 1024 samples which results in a processing delay In LiveTrack Mode UAD 2 signal data is transferred and processed immedi ately instead of being buffered resulting in reduced latency UAD Powered Plug Ins Manual 88 Chapter 7 Using UAD Powered Plug Ins LiveTrack Activation Status Indicator Increased Host Loading using LiveTrack When LiveTrack is active host CPU loading increases The host load is di rectly proportional to the DSP load of the UAD plug in s in LiveTrack mode however host CPU is never used for Powered Pl
16. P8 Constant Density Plate A P9 Chorus A MIMO Program Outputs In naturally occurring reverb new reflections are continuously added to the decaying sound over time This sonic build up increases density and colora tion in the reverb tail P8 Constant Density Plate A has high initial density and coloration giving a plate type of sound however the density does not in crease over time and remains inherently constant This can result in less swoosh in the reverb tail and provides another creative option Decay Op timization and true stereo input are unavailable in this program inputs are al ways summed to mono even in stereo in stereo out configurations The Chorus A program is an eight voice chorus with four voices on each ste reo channel Each voice has a time delay which varies randomly and inde pendently resulting in a thick rich sound When Chorus is active each of the first four sliders controls the gain level for a stereo pair of voices The sliders are linear faders not log faders so the de fault positions of all four sliders about 1 2 way up correspond to gains 6 dB below maximum The first two voice pairs have overlapping delay ranges Phasing flanging ef fects can be achieved by setting their gains to similar levels Phasing flanging can also be achieved with a mono or centered input when the left and right channels are mixed together such as when used in a mono in mono out con figuration T
17. Phasor On Off Enables or disables the Phasor module You can use this switch to compare the Button Phasor settings to that of the original signal or bypass the Phasor to reduce UAD DSP load UAD Powered Plug Ins Manual 366 Chapter 35 Nigel Mod Filter Module The Mod Filter is an advanced filter plug in that is capable of fixed wah auto wah envelope follower sample hold driven filter and other modulated filter effects It has been modeled after the Mutron Ill and other popular filters The filter cutoff frequency can be controlled by the signal level at the input to the module or a low frequency oscillator LFO This realtime dynamic response is what gives the Mod Filter its unique sound ag MA PIL T Py PATE LO SWEEP HI RES r a BF Orr MODTYPE KAT FILTER v Lowpass aa MOP FILTER WAH LO SWEEP HI RES a Sf ee KA ar MODTYDE RRS FILTER Se Figure 128 The Mod Filter plug in window The label and function of the first knob depends upon the Mod Type menu selection This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync Button Sync for more information UAD Powered Plug Ins Manual 367 Chapter 35 Nigel Sens Rate Wah Knob Sweep Knobs The function and label of the first knob in the Mod Filter is determined by the Mod Type setting see Figure 128 on page 367 When the Mod Type is an envelope the label changes to Sens and determines the gain sensitivity
18. Save Bank is used in the host They are also saved in the session file for each instance of the plug in Editing the name modifies the current preset s name The new name will ap pear in all preset selection lists and will be saved with the session bank or effect Spatial Characteristics Size Pre Delay The apparent size of a reverberant space is dependent on many factors Most reverbs on the market have a size parameter which usually modifies sev eral facets of the reverb algorithm at once You may notice DreamVerb does not have a size parameter Instead the elements that control the reverber ant space are available to the user In DreamVerb room size is determined by the interaction between all the pa rameters in the Reflections and Reverberation panels To get a larger sound ing space increase the T60 reverberation time use proportionally more air increase the pre delays and slightly shift the Resonance transition frequencies to lower values Intimacy and remoteness are largely controlled by the pre delays Generally speaking use shorter pre delays for more intimate spaces Clear spaces have most of their energy in the first eighty milliseconds or so muddy spaces have a lot of late arriving energy UAD Powered Plug Ins Manual 190 Chapter 16 DreamVerb Space In some sense Shape determines the spatial characteristics of the reverbera tor whereas Materials effects the spectral characteristics
19. The Frequency knob determines the center frequency of the filter band to be boosted or attenuated by the band Gain setting This knob is stepped with 41 values for easy reproducibility during mastering To double the resolution of the available knob values for fine control press the shift key on the computer keyboard while adjusting the knob This in creased 2x frequency resolution within the available range can also be specified using text entry parameter automation or controls mode The available values for each of the four bands is the same in both parametric and shelf modes and are listed in Table 28 below Note Not all host applications support automation and or controls mode Table 28 Precision Equalizer Band Frequency Ranges Low Frequencies L1 and L2 19 572 Hertz High Frequencies H1 and H2 617 27k Hertz The Gain knob determines the amount by which the frequency setting for the band is boosted or attenuated The available Gain values are listed in Table 29 below Table 29 Precision Equalizer band gain values The high pass filter is useful for reducing low frequency 20 ng ASST content It is a global filter it always affects both left and i i ELU right channels regardless of the active mode See J Table 30 below for available settings liza g7 40 Table 30 Precision Equalizer high pass filter frequencies Of disabled UAD Powered Plug Ins Manual 404 Chapter 40 Precision Equal
20. a 497 Chapter 51 SSL G Bus Compressor cccccccssscccccccssseess 498 Large Format Console Dynamics 2 498 SSL G Bus Compressor Screenshot ccc cece een arara 498 SSL G Bus Compressor Controls 0 0 000 c cece eee nrar 499 General Usage Notes 2 501 WebZine Article 2 22 a 502 Chapter 52 Studer A800 000000000 000000ooooooooooooooo 503 Multichannel Tape Recorder 0 0 0 0 cc cece eee ee eee nnn e eee ene 503 Studer A800 Screenshot n on nanana nnan nunnana e nde eee een nnnes 504 Operational Overview 2 504 Piumaiy COMMS 2 naaa neu duane mens E 507 Secondary Controls a 510 Studer A800 Latency a 516 Chapter 53 Trident A Range EQ 000000000000 0ooooooosoooo 518 Oa EEEE nehem peas need bea nehes Gea ayant E en Seas needs 518 Trident A Range EQ Screenshot 1 0 0 0 0c ccc een eee nnn eee eens 518 Operational Overview 2 HA 519 Trident A Range EQ Controls cece e nnn nas 520 Trident A Range Latency 00 n ene e nnn eee eens 522 WebZine Article 0 0 0 0 n ne eearri 522 Chapter 54 History 646 pem ss 00044 644064408460 Ge hwa 524 Bill Putnam Sr o oo nananana aes cade oon DAN ENABNKAN IT een anne maes canes Bee aes 524 Classic Compressors 2 a 528 Pros lk Wis AA 531 TG VOU sen apace snes Gaon AA EE 535 UAD Powered Plug Ins Manual 16 Table of Contents CHAPTER 1 Welcome Congra
21. architecture whic EXPRESS offers plenty of data bandwidth for even the most demanding audio processing requirements such as four UAD 2 Quads 16 DSPs in the same system The UAD 2 SOLO Laptop is a self contained UAD 2 Solo device housed entirely within an Express Card 34 expansion card for use with notebook sys tems No external cables or power is required for the ultimate in mobile DSP capability UAD 2 SOLO Lap top has special instructions for installation connectiv ity and use See Chapter 10 UAD ExpressCard Products for complete de tails UAD Powered Plug Ins Manual 38 Chapter 3 UAD System Overview UAD 2 Satellite UAD 2 Bundles UAD 1 Family UAD 1 UAD le The UAD 2 SOLO Laptop device and UAD Xpander can be used with an optional 3rd party PCle to ExpressCard adapter card which enables the UAD ExpressCard to be used in desktop computers that have PCle expansion slots This system provides a convenient way to switch the UAD 2 SOLO Laptop be tween desktop and notebook computers The UAD 2 Satellite is available in Duo and Quad versions and is enclosed in an attractive housing that uses an external power supply It DB D connects via Firewire enabling Powered ii i Plug Ins on Mac systems that don t have PCle or ExpressCard slots See Chapter 11 UAD 2 Satellite for complete details Each UAD 2 device type is available in three different retail packages to best accommodate your
22. up menu mu Dog menu First material Thickness control Second material Thickness control Figure 154 RealVerb Pro Material panel Note While materials are used to control decay rates as a function of fre quency the overall decay rate of the late field reverberation is controlled from the Timing panel see Figure 156 on page 453 To configure the room material and thickness 1 Select a room material from the first left pop up menu The selected mate rial appears in the left side of the Material circle 2 Adjust the thickness for the first material with the top horizontal slider e A default thickness of 100 yields normal real world decays for the ma terial e Thicknesses beyond the default up to 200 exaggerate how the frequen cies are absorbed and reflected e Negative thicknesses invert the response of the material If the material nor mally absorbs high frequencies causing them to decay quickly and reflects low frequencies causing them to decay slowly a negative thickness will in stead absorb low frequencies causing them to decay quickly and reflect high frequencies causing them to decay slowly e A thickness of 0 yields decay rates that are not affected by the material 3 Select a material from the second right pop up menu The selected mate rial appears in the right side of the Material circle Adjust the material thick ness with the bottom horizontal slider UAD Powered Plug In
23. value when in Tempo Sync mode The Rate param eter has an Off setting which corresponds to a normal value of O Hz UAD Powered Plug Ins Manual 98 Chapter 8 Tempo Sync Roland RE 201 Sync When the RE 201is in Tempo Sync mode note values can be imprecise J due to the fixed tape head relation men 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 Note that when a parameter note value is out of range of the current tempo note value the note value flashes instead of in pa rentheses on a red background as in Figure 22 UAD Powered Plug Ins Manual 99 Chapter 8 Tempo Sync CHAPTER 9 UAD Delay Compensation Latency amp Delay Compensation When UAD Powered Plug Ins are used audio data to be processed by a Pow ered Plug In is sent by the host application to the UAD device The audio is then processed by the UAD device and sent back to the host application This back and forth shuffling of audio data is called buffering 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 Latency time in a DAW is usually determined by the sample rate and audio I O interface device driver buffer size settings I
24. All of the unique features of the original Pultec EQ s are included in the plug ins including the separate boost and attenuation controls the smooth sweet top end and the ability to dial in seemingly dangerous amounts of boost with out getting into trouble All front panel controls are included and all of the knob tapers are accurately modeled The Pultec has long been a choice of re cording and mastering engineers for its ability to bring out individual fre quency ranges without significantly altering other frequencies In addition the Pultec is one of those magical pieces of gear that makes audio program sound better just by passing through it The sophisticated modeling technol ogy used in the Pultec plug ins captures both of these key attributes Note The Pultec and Pultec Pro plug ins always operates at a high internal sample rate for maximum accuracy Therefore the UAD DSP load does not in crease even when processing audio at the highest sample rates UAD Powered Plug Ins Manual 435 Chapter 44 Pultec and Pultec Pro Pultec Latency The Pultec and Pultec Pro plug ins introduce an additional 13 samples of de lay due to upsampling when the session sample rate is below 100 kHz This additional latency does not occur at sample rates above 100 kHz You may enter a value of 13 in the Samples parameter in DelayComp or TrackAdv to compensate See Compensating Upsampled Plug Ins on page 107 for more information No
25. Dry Wet Mix the value LED does not illuminate LED Meters The six segment LED meters display the left and right signal input levels at the Lexicon 224 analog to digital converters which are fully modeled The Meter LEDs indicate levels at 24 AB 18 AB 12 AB 6 AB and O dB When the O dB LED illuminates input clipping has occurred Overflow LED The Overflow LED illuminates when an arithmetic processor overflow has oc curred Overflows can happen when loud signals are present at the input when reverb decay times are long and or when self oscillation occurs Un expected sonic artifacts and or ringing can occur when the processor over flows Overflow behavior in the hardware is fully modeled in the plug in If proces sor overflows are causing undesirable sounds overflow can usually be elim inated by reducing the levels with the Input controls or by reducing the value of the Bass Mid and or Treble Decay controls UAD Powered Plug Ins Manual 270 Chapter 26 Lexicon 224 Primary Controls Program Reverb Time The Program buttons Figure 97 are used to specify which of the nine default Lexicon programs and its associated algorithm is active See Lexicon 224 Programs on page 267 for an overview Eight reverb programs and one chorus program are available Click a reverb program button 1 8 to select that program To select the chorus program shift click any program button or click the CLK CHORUS text lab
26. Resonance Equalization Panel The Resonance panel Figure 68 on page 178 is a five band equalizer that can control the overall frequency response of the reverb effecting its per ceived brilliance and warmth By adjusting its Amplitude and band Edge con trols the equalizer can be configured as shelving or parametric EQs as well as hybrids between the two The EQ curve effects the signal feeding both the early reflections and the late tield reverberations but not the direct path Bands 1 and 5 are configured as shelving bands Bands 2 3 and 4 also have an Edge control for adjusting its bandwidth Generally speaking a lot of high frequency energy results in a brilliant rever beration whereas a good amount of low frequency content gives a warm re verberation Note The values for the EQ parameters are displayed in the text fields at the bottom of the Resonance panel The values can also be entered directly using the text entry method UAD Powered Plug Ins Manual 177 Chapter 16 DreamVerb Bypass Band Amplitude Band Edge Bypass switch Band Amplitude control bats Resonance oS SS FA Fiz i e 3 eee EQ aa 206 10 16i Hz Bz Hz 250 Hz 1 0 kHz se 16k 5 6 dE 2 4 dE 6 6 116 7 0 dB 22 dE 40 0 Hz 500 Ha Band 1 low Band 2 3 and 4 Band 5 high shelving control Edge control bats shelving control Figure 68 DreamVerb Resonance panel The equalizer can be disabled with this switch When the sw
27. The LFO Rate LED illuminates in conjunction with the LFO rate once per LFO cycle Clicking this LED resets the LFO cycle see LFO Reset below The LFO is reset to its zero crossing by clicking the LFO Rate LED This param eter can be automated for mixing or bouncing Normally the LFO is free running but this behavior is not always desirable For example if you are using LFO filter modulation you may want playback to always sound exactly the same when bouncing or mixing To accomplish this the LFO must be started at the same place zero crossing of the LFO waveform Reset enables this sonic consistency when using the LFO This switch defines whether the LFO is synchronized to the tempo of the host application if this feature is supported by the host See Chapter 8 Tempo Sync for more information To ensure the LFO phase is consistent when in Sync mode automate the Reset parameter see LFO Reset on page 305 The Value display depends upon the setting of the Free Sync switch Value displays the LFO frequency in Free mode and the tempo sync note value in Sync mode See Available Note Values on page 96 for more information This control determines the waveform shape used by the LFO Six waveshapes are available Sine Triangle Sawtooth Up Sawtooth Down Square and Random Offset adjusts the polarity between LFO signals for the left and right channels The available range is 180 degrees
28. UAD Powered Plug Ins Manual 297 Chapter 28 Manley Massive Passive EQ e You may also find yourself getting away with what seems like massive amounts of boost Where the knobs end up may seem scary particularly for mastering Keep in mind that even at maximum boost a wide bell might only max out at 6 dB of boost less for the lowest band and only reaches 20 dB at the narrowest bandwidth On the other hand because of how transparent this EQ is you might actually be EQing more than you could with a different unit Taste rules test benches don t make hit records believe your ears Sometimes the shelves will sound pretty weird especially only at the nar row bandwidth settings They might seem to be having a complex effect and not only at the dialed in frequency This is certainly possible Try wider bandwidths at first If you seem to be boosting all 4 bands at widely separated frequencies and not hearing much EQ as you might expect except for level this is a side effect of a passive EQ and probably a good thing To get drastic sound ing EQ you should try boosting a few bands and cutting a few bands In fact it is usually best to start with cutting rather than boosting A reasonable starting point for the Bandwidth for shelves is straight up or between 11 00 and 1 00 It was designed this way and is roughly where the maximum flatness around the knee is combined with a well defined steep slope The Massive Pa
29. UAD Powered Plug Ins Manual 305 Chapter 29 Moog Multimode Filter Mix Stereo Mono Output Output LED Effect Bypass Boost Power Offset can create great stereo spacial effects When the filter is in Mono mode both filters are still heard Tip Click the knob label OFFSET to return the value to zero Mix varies the amount of filtering that is occurring It is not a true dry wet con trol it mimics the mix function on the MF 101 Moogerfooger When Mix is at zero the Drive Gain control and Boost on non SE version are still active and audible Setting Mix at zero is the same as setting the Effect Bypass switch to Bypass The left and right channel filters are always independent in the UAD Moog Fil ter However when this switch is set to Mono the left and right output chan nels are summed In Stereo mode the left right separation is retained The Output control changes the gain at the output of the plug in The available range is 20 dB Mita This LED gives a visual indication of the plug in output level The Out ag put LED is active when Bypass is enabled but not when Power is off When the LED is red the output is O dBfs When Bypass is enabled filter processing is inactive Drive Gain and Output still operate in Bypass mode Enabling Bypass has the same effect as setting Mix to zero If the Free Sync switch is set to Free the LFO phase is reset to zero when Bypass is switched to Effect
30. UAD Xtenda Multicard Setup Xtenda Package Contents Xtenda Installation UAD Xtenda is an optional package that enables UAD 2 SOLO Laptop and UAD Xpander to be used in a desktop computer that has PCle expansion slots The UAD Xtenda provides a convenient way to switch the same UAD ExpressCard between desktop and notebook computers Note UAD Xtenda is a discontinued product If a computer system has both PCI PCI X and or PCle slots the UAD 1 UAD 1e and UAD ExpressCard products via UAD Xtenda or any combina tion thereof can all be installed and used simultaneously as a multicard sys tem four cards maximum The UAD drivers and plug ins are the same for the UAD 1 UAD 1e UAD 2 Solo Duo Quad UAD 2 SOLO Laptop and UAD Xpander See Chapter 5 Using Multiple UAD Devices for detailed in formation The UAD Xtenda package should contain the following items e UAD Xtenda PCle expansion card e UAD Link Cable Installing the UAD Xtenda card uses the exact same procedures as UAD card installation Please see UAD Hardware Installation on page 29 for step by step procedures After the UAD software and UAD Xtenda are installed simply connect the UAD ExpressCard to UAD Xtenda as if the expansion slot were in a notebook system See the instructions for each product type in their respective sections UAD 2 SOLO Laptop Details on page 115 and UAD Xpander Details on page 20 for complete details UAD Power
31. Upsampling Values Table Table 7 below lists the additional latency produced by upsampled UAD plug ins See the Compensating Upsampled Plug Ins on page 107 for details Table 7 Upsampled UAD plug ins with additional latencies Sample Rate kHz Upsampled Plug In gad 13 2 N A Massive Passive 167 em ao ooo A Helios Type 69 31 3 Harrison 32C Neve 1073 1081 31102 Precision EQ SSL E Channel Strip Trident A Range 155 55 55 A 73 O e az 0 Pultiec EQ Pultec Pro UAD 1 13 13 UAD 2 31 UAD 2 31 29 Neve 33609 UAD 1 67 UAD 1 67 UAD 1 67 UAD 1 67 UAD 1 42 UAD 1 42 FATSO Jr Sr UAD 2 55 UAD 2 55 UAD 2 55 UAD 2 55 UAD 2 88 UAD 2 88 Studer A800 Precision Multiband 15 360 16 896 30 720 33 792 UAD 1 N A UAD 1 N A Pesan a ee ere ban uno eeoa 55 a emen 75 n fs l2 tO 7 67 1 13 5 55 2 14 9 1 85 EMT 250 Note The EMT 250 s anti aliasing filters for its A D and D A conversion are not lin ear phase filters therefore our emulation does not have a latency that is the same at all frequencies Thus we cannot report to the delay compensation en gines a delay that is correct for all frequencies The value we report is good at low frequencies but becomes off at high frequencies For example when the plug in is in Delay program mode and set with zero delay time and predelay values the plug in output will not be completely can celled when mixing with flipped phase against an un
32. e The UAD Xpander should be positioned on a secure stable surface and not moved during operation This will help prevent the disruption of signals from cables and or connectors if they are accidentally bumped or worse e For proper ventilation to prevent overheating place the UAD Xpander on a hard flat surface and do not cover the unit Allow air to circulate under neath the chassis e High levels of radio frequency radiation could interfere with proper opera tion If possible avoid placement near unshielded monitors radio transmit ters and similar equipment 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 UAD Powered Plug Ins Manual 121 Chapter 10 UAD ExpressCard Products UAD Xpander Connections This section describes how to set up the UAD Xpander and connect it to the computer Hardware installation is the same for all platforms Power Down Before connecting the UAD Xpander to your computer make sure both sys tems are completely powered down Important Because the Xpander drivers are loaded during startup merely putting the system to hibernate or sleep is insufficient To connect the UAD Xpander components 1 Power down the host computer and make sure the UAD Xpander power switch is in the Off position 2 Connect one end of the UAD Link cable to the UAD ExpressCard the con nector i
33. lt button to decrement the value click the right gt button to increment the value The available range is 1 through 16 Higher values increase the effect UAD Powered Plug Ins Manual 276 Chapter 26 Lexicon 224 Decay Optimization Decay Optimize Enable Decay Optimize Amount Mix Controls The Pitch Shift controls are accessed in the Hidden Controls panel See page 278 for access details Decay Optimization improves the Lexicon 224 reverb clarity and naturalness by dynamically reducing reverb diffusion and coloration in response to input signal levels However if set too high it can make the decay less even Decay Optimization has two control elements Enable and Amount Decay Optimization is factory optimized for each program and should not re quire adjustment in typical use For this reason it was deliberately made dif ficult to access in the original hardware However creative use of the param eter is encouraged by making it easier to access in the plug in This button enables Decay Optimization for the active program De cay Optimization is active when the button LED is lit The default state is ON DECAY Note Decay Optimization is unavailable for P8 Constant Density OFT Plate A and P9 Chorus These two adjacent buttons control the amount of Decay Optimization Click the left lt button to decrement the value click the right gt button to increment the value Th
34. ner knob controls the band gain and the outer ring selects the frequency or band disable High Shelving Gain The gain for the high band is selected with the inner knob of the dual concentric control Rotate the control clockwise to add the famous high end Neve sheen or counter clockwise to reduce the treble response The available range is approximately 15 dB The gain value is zero when the knob position indicator is pointing straight down High Shelving Frequency The high shelving frequency is specified with the outer ring of the dual con centric knob The ring knob pointer can be dragged with the mouse or click the shelving symbol above the knob to cycle through the available frequen cies shift click to step back one frequency The available high shelving frequencies are 16 kHz 12 kHz 10 kHz and off When off is specitied the high shelf band is disabled UAD DSP usage is not reduced when the band is off UAD Powered Plug Ins Manual 322 Chapter 32 Neve 31102 Console EQ Midrange Band The midrange band is controlled by dual concentric knobs delivering smooth semi parametric midrange equalization with a choice of two bandwidths The inner knob controls the band gain and the outer ring selects the frequency or band disable Midrange Gain The equalization gain for the midrange band is selected with the inner knob of the dual concentric control The available range is approximately 15 dB The gain value
35. old with a lower ratio on one channel and a higher threshold with a higher ratio on the other channel In this case you will get a double knee with the lower ratio being used between the knees and the higher ratio above both knees e f you feed the same signal into both channels you can have a lower thresh old with a faster release on one channel and a higher threshold with a slower release in the other channel In this case you will get a two stage re lease after a transient with the first channel releasing at the fast rate until you get down to where the other one is then the release will continue at the slower rate Gratuitous Question Is there any reason would want to use stereo mode and still have the settings for the two channels different Yes Linking the sidechains simply prevents left right image shifting Threshold attack and recovery can be set independently to cause the compressor to be more sensitive to instruments which are panned to one side or the other Out put controls can be set separately in order to correct an overall image shift at the output Background The hardware Neve 33609 can accept an analog signal level of approxi mately 26 dBu before undesirable signal clipping occurs As the signal in creases up fo this point however desirable audio path nonlinearities and good harmonic distortion characteristics occur This musically pleasing warmth at higher levels is what gives the unit m
36. on page 47 Without au thorization UAD plug ins can be enabled to run for 14 days without func tional limitations in a timed demo mode see Demo Mode on page 50 The complete procedure for UAD device authorization is detailed in Chapter 2 UAD Installation See Authorize Plug Ins Procedure on page 32 for complete step by step instructions If the UAD computer is not connected to the internet see on page 33 UAD Powered Plug Ins Manual 67 Chapter 6 UAD Meter amp Control Panel Plug In Column All currently installed UAD Powered Plug Ins are displayed in the Plug In col umn Use the scrollbar to view the entire list if necessary Status Column The Status column reflects the current state of each UAD plug in The status de pends on which device UAD 2 or UAD 1 the plug in is running on the status may change if the Run On device is changed page 70 After the authori zation file is loaded Authorization Overview on page 47 the status will show one of the following Authorized for all devices The plug in is fully licensed and authorized to run on all devices in the system Start Demo The demo period has not been started for the plug in Click the START DEMO button to begin the 14 day trial period Demo days remaining If the 1 4 day trial period has been activated but is not yet expired the number of days remaining is displayed here in green text Important The 14 day
37. stenoorgWaveaoe Windows nope Sony Veoas Windows Digaesign Pro Toos tE Win Mac Sony Aci pos Windows imageline FL Studo Windows Sony Sound Forge8 Windows Celemony Melodyne Win Mac Abietontves wnmac Tascam GigeStudo3 Windows 1 Gakowak Sonar Windows MOTU Digtal Performer 412 Mac Mac Mac Mac Mac ac Limited PDC maximum compensation is 4096 samples BIAS Peak 5 Spark XL 2 8 Important The following sections about delay compensation apply only when using hosts that do NOT implement full plug in delay compensation ame Mm Depending on the host application implementation the delay compensation feature may not provide automatic compensation when UAD Powered Plug Ins are inserted on sends groups or buses In this situation the solution is to use the UAD 1 Delay Compensator plug in UAD 1 Delay Compensator on page 102 UAD 1 Delay Compensator should not be used in situations where the host application provides delay compensation automatically such as on track in serts Some host applications provide fully automatic delay compensation throughout the entire signal path UAD DelayComp is not needed at all in such hosts see Table 6 These explanations of delay compensation apply primarily to playback only For more information about using UAD Powered Plug Ins for live performance and during recording see Live Processing on page 112 For informati
38. text to the right of the display panel exposes several hid den controls including Input Quput gain and Pitch Shift and even a select able Bug Fix mode which enables disables historical bugs fixes from the Hall B and Chorus programs Taken together the Lexicon 224 emulation for UAD 2 is the world s most ex haustive and authentic model of a true studio classic lexicon 224 ig The original Lexicon 224 Digital Reverberator hardware All visual and aural references to Lexicon products and all use of Lexicon trademarks are being made with written permission from Harman International Industries Inc UAD Powered Plug Ins Manual 265 Chapter 26 Lexicon 224 Lexicon 224 Screenshot 1224 Digital Reverb HEADER OO AA dH PROGRAM 4 CLE CHORUS 1 2 E El 5 7 a 5mHallB Woe Plate LgHollB Chamber PerePlate SmHall A RoomA ConstPlote IMMED SYS REAR MODE DECAY lt DRY WET gt SOLO NOISE OUTS ENH OMT MIx BASS MID CROSS TREBLE REVERB TIME OVER DECAY DIFFUSION Figure 95 The Lexicon 224 plug in window UAD Powered Plug Ins Manual 266 Chapter 26 Lexicon 224 Operational Overview Graphical User Interface Lexicon 224 Programs Lexicon 224 Algorithms The original Lexicon 224 consists of two hardware elements The main frame rack mountable 4U chassis contains the power supply circuitry and audio input output connectors The remote control unit has a display buttons and
39. 291 Chapter 28 Manley Massive Passive EQ Gain has a fair amount of interaction with the Bandwidth control The maxi mum band gain is available in Shelf mode when Bandwidth is fully counter clockwise less band gain is available in Shelf mode as the Band width is decreased rotated clockwise Conversely the maximum gain is available in Bell mode when Bandwidth is fully clockwise in Bell mode less band gain is available as Bandwidth is decreased rotated counter clock wise Due to the parallel EQ topology the four band Gain controls also interact with each other unlike typical EQs For example if two bands in the same channel are boosted 20 dB at 2 7kHz you ll get much less than 40 dB of boost at 2 7kHz This also implies that if you first boost one band that the next three will not seem to do anything if they are at similar frequencies and bandwidths Bandwidth UE Bandwidth adjusts the slope or Q of the band filter in both ae Bell and Shelf modes Bandwidth does not have a lot of range Wa 4 FE A Ng 8 and it also affects the maximum boost and cut like a Pultec The widest Q which is obtained at maximum boost or cut is approximately 1 for the 22 1K leftmost band and 1 5 for the other three bands The nar rowest Q is approximately 2 5 to 3 for all of the bands Bell Mode In Bell mode rotating the control counter clockwise increases the bandwidth lowers the Q of the band and a broader range frequ
40. Bypass The late field reverberations can be disabled with this switch When the switch is off black instead of grey the other Reflections controls have no ef fect This switch has no effect on the direct signal path UAD Powered Plug Ins Manual 185 Chapter 16 DreamVerb Late Field Start This parameter defines when the late field reverb tail begins the delay be tween the dry signal and the onset of the LF in relation to the dry signal Amplitude amp This bat controls two late field parameters Dragging the bat vertically con Slope trols the maximum amplitude of the LF reverb energy Dragging it horizontally controls the LF slope fade in time Decay Time This control effects the length of the reverb tail Drag the bat to the left for a short decay or to the right for a long decay Diffusion This slider effects how quickly the late field reverberations become more dense The higher the Diffusion value the more rapidly a dense reverb tail evolves ER Relative To highlight the relative timing relationship between the early reflections and Timing late field reverberation components the shape and timing of the early reflec tions is represented as an outline in the Reverberation panel The shape of this outline is modified by parameters in the Reflections panel not the Reverbera tion panel Positioning Panel DreamVerb has the ability to separately position the direct path early reflec tions and late field reverberation
41. C8 gain and the outer ring selects the frequency or band Dm aNG PC a The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approx imately 18 dB Low Frequency The low band frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click di rectly on the silkscreen text to specify a frequency or disable the band The available low band center frequencies are 33Hz 56 Hz 100 Hz 180 Hz 330 Hz and OFF When OFF is specified the band is disabled UAD CPU usage is not reduced when the band is OFF Note You can also click the shelving symbol above the knob to cycle through the available values or shift click to step back one frequency Low Peak Select peaking EQ The band is in shelf mode by default it is in peak mode a The Low Peak button switches the low band from a shelving EQ to a when the button is down darker UAD Powered Plug Ins Manual 318 Chapter 31 Neve 1081 Equalizer Cut Filters Phase EQ Enable The independent low and high cut filters are controlled by the dual concentric knobs to the right of the low band k see Figure 110 on page 315 The controls specify the wetted fixed frequency of the cut filter The cut filters have an 18 dB per octave slope Click drag the control to change the value or click the silkscreen frequ
42. Figure 88 Most modern compressors provide a control that adjusts the threshold di rectly In the case of the LA 2A the Peak Reduction control adjusts both the threshold and the amount of gain reduction Similarly the 1176LN uses its In put control to adjust the threshold and amount of gain reduction UAD Powered Plug Ins Manual 255 Chapter 24 LA 2A and 1176LN Teletronix LA 2A Leveling Amplifier Background Audio professionals passionate about their compressors revere the LA 2A The original was immediately acknowledged for its natural compression char acteristics A unique electro optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion an accomplishment at the time still appreciated today The LA 2A is known for adding warmth such as for vocals guitar or synths and fatness such as for drums or bass to signals LA 2A Signal A functional block diagram of the LA 2A Leveling Amplifier is provided in Flow Figure 89 The input transformer provides isolation and impedance matching After this the signal is fed into both the side chain circuit and the gain reduc tion circuit The side chain is comprised of a voltage amplifier a pre emphasis tilter and a driver stage that provides the voltage necessary to drive the elec troluminescent panel This signal controls the gain of the compressor After the gain reduction circuit the signal is sent through an Output Gain control and a two
43. Pultec and Pultec Pro sssssssocososooooosoooooooo 435 OVEIVIEW o bie some AA EEEa aE 435 Pulce balony AA APA 436 Pultec EQP 1A Screenshot a 436 Pultec EQP 1A Controls a 436 Low Frequency ConOls costeunecssdsituuateouseeneneitansstedhaaseleueanatees 437 High Frequency Controls 2 438 High Attenuation Controls 0 0 oc teen nent rarere 438 Pultec MEQ 5 Screenshot 439 Pultec MEQ 5 Controls 0 006 a 439 UAD Powered Plug Ins Manual 14 Table of Contents TABLE OF CONTENTS Low Peak Controls n n nn teen nee e nnn eee enn nee Dib COnMOlSads cnawsyce E E AA AA High Peak Controls sands acecieee xaos sanacdes are NAGA TANAKA ian wane caus NUOD MEQ 5 Response Curves 00000 ccc tte ttt ete ett teens Chapter 45 RealVerb Pro 0 0 8 0 8 8 8 8 8 8 O 8 8 6 8 0 8 8 8 8 0 OOl 0 BM O 8 0 6 6 6 88 OVEIVICW a psa oe Ga AA AA AA AA AA AA RealVerb Pro Background Spectral Characteristics a Resonance Equalization a ANG a ecue cap beans seen NAUNA NYLON B ULANG YDANY ee eee NU NGAY HAND snags eng DAA POSIMOMING AA AA CC AA AA AA AAP AA Ge IL AA AA Kea Kens RealVerb Pro Preset Management 2 RealVerb Pro Preset List cece ccc eearri Chapter 46 Boss CE 1 Chorus Ensemble cccccccccccccccccce Overview eee eee ee been e eben eben nee een nnnennnns Boss CE 1 Screenshot a Boss CE 1 Controls 0 ccc ccc ccc cece beeen beee
44. The sidechain dynamics EQ implementations are true stereo when used in a stereo in stereo out configuration Note The EQ module must be active in conjunction with SC EQ for the sidechain to function see EQ Enable EQ on page 347 This button re routes the UAD Neve 88RS signal Normally the au dio signal is routed from the dynamics module into the EQ module i e the EQ is postdynamics When P DYN is enabled the EQ module precedes the dynamics module Pre dynamics is active when the button is gray and the red indicator illumi nates The Phase button inverts the polarity of the signal The signal is inverted when the button is gray and the red indicator illuminates Leave the button inactive unlit for normal phase The Output knob controls the signal level that is output from the plug in The default value is O dB The available range is 20 dB UAD Powered Plug Ins Manual 350 Chapter 34 Neve 88RS Channel Strip Power meme The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Toggle the switch to change the Power state the switch is illumi nated in red when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled stat
45. UAD 2 Satellite Technical Updates Updated technical information and the latest UAD software is regularly posted to the UA website Please visit the UAD support pages for the latest UAD 2 Satellite support bulletins htto www uaudio com support uad satellite support UAD 2 Satellite Instructions All instructions that apply specifically to UAD 2 Satellite are in the UAD 2 Sat ellite Installation section beginning on page 129 About FireWire This chapter contains information about the FireWire protocol and how to use it with UAD 2 Satellite For details see FireWire Basics on page 136 FireWire Bandwidth on page 140 FireWire Bandwidth vs UAD DSP on page 142 and FireWire Bus Power on page 143 UAD 2 Satellite Details Features Package Contents Important The information in these sections apply to UAD 2 Satellite ONLY For UAD 2 Solo Laptop and UAD Xpander instructions see Chapter 10 UAD ExpressCard Products e UAD 2 Duo or Quad in an external housing chassis e 44 1 192 kHz DSP Audio Accelerator for FireWire computers e FireWire 800 amp 400 interface e Same potent DSP power as UAD 2 Duo or Quad e Kensington Security Slot for anti theft cables The UAD 2 Satellite retail package should contain the following items e UAD 2 Satellite unit Duo or Quad version e External power supply with international AC plug adapters e FireWire 800 9 pin cable e JAD Powered Plug Ins s
46. annann ananuna 165 DM 1 Delay Modulator 2 a 166 BAGIKE AA 166 Bia AA AA AA AA 168 RS 1 Reflection Engine a 169 ROI COMMONS AA 170 Chapter 15 dbx 160 Compressor Limiter cccccccceeeeeee 172 OVEIVICW otc hae AAP 172 dbx 160 Screenshot n 0 cece eter e bebe bet ene een eens 172 dbx 160 Controls cence eben eben ete n eens 173 WebZine Articles 0 0 20 ene eet b eben been been eees 174 Chapter 16 DreamVerb 2 cc ccccccccccccccccssssssssees 175 BA AA 175 SION Na o AP AAP AA 176 Resonance Equalization Panel 0 0 ccc eee ees 177 nape PONE co cnewsueneavecien sree sues eneroneneneesuse PAA 179 Materials Panel 0 0 0000 cc cece a 181 UAD Powered Plug Ins Manual 8 Table of Contents TABLE OF CONTENTS Reflections Panel n n nn een nent eaer Reverberation Panel 0 0 0 0 e nn es Positioning PONG AA Levels Panel soc cous AA een eeqaheeeceus nrram DreamVerb Preset Management 0 00 cece cence eee cent enn e ee Spatial Characteristics t eee enn arrra Preset Design Tips 00 c ccc e ee ntnntee eee teens Chapter 17 Empirical Labs EL7 FATSO cc ccc csnscccccccccces Introduction 0 eect e nett eee b need bebe ee benny FATSO Screenshots 0 0 ccc eee eee eee b eee b eben eee bee ne neney FATSO Functional Overview 0 000 ccc eee eee e eben eee nnee FATSO Controls 0 0 00 cece ene een b bebe b nee en ee
47. but has its own unique sound that you may find is better suited for certain types of signals 4 Pole 4 Pole mode has a steeper slope 24 dB per octave so the filtering is more obvious This is the classic and luscious Moog filter in all its glory that has been employed on just about every Moog product from the Modular to the Minimoog to the Voyager UAD Powered Plug Ins Manual 303 Chapter 29 Moog Multimode Filter Step Track Mode Spacing This switch is a smoothing control for the filter cutoff frequency parameter Smoothing is most obvious on continuous filter sweeps when varying the cut off rapidly with the knob or automation Step mode can be desirable when sudden cutoff changes are automated and other creative purposes Smoothing is on in the Track position and off in the Step position Note When set to Track the plug in does not track the input signal fre quency like a synthesizer filter This control is the heart of the Moog Multimode filter combining Moog s clas sic lowpass filter with highpass and bandpass in one control Unlike Moog highpass and bandpass filters of the past UA s design presents Moog s sig nature self oscillation in all three modes bringing a new level of sophistica tion to Moog filter designs of the past The knob switches between the avail able filter types Lowpass Frequencies above the cutoff value are filtered Bandpass Frequencies above and below the cuto
48. center position The high mid EQ offers peak dip bell equalization for the high to middle frequencies High Mid Frequency The center frequency of the high mid filter is specified by this knob Four cen ter frequencies are available 9 kHz 7 kHz 5 kHz and 3 kHz High Mid Gain The gain for the high mid filter is specified by the horizontal slider control The available range is approximately 15 AB The gain value is zero when the slider is in the center position UAD Powered Plug Ins Manual 520 Chapter 53 Trident A Range EQ Low Mid Band Low Shelf Gain slider shortcuts The low mid EQ offers peak dip bell equalization for the middle to low fre quencies Low Mid Frequency The center frequency of the low mid filter is specified by this knob Four center frequencies are available 2 kHz 1 kHz 500 Hz and 250 Hz Low Mid Gain The gain for the low mid filter is specified by the horizontal slider control The available range is approximately 15 dB The gain value is zero when the slider is in the center position The low shelf offers low frequency shelving equalization Low Shelving Frequency The edge frequency of the low shelf filter is specified by this knob Four shelf edge frequencies are available 150 Hz 100 Hz 80 Hz and 50 Hz Low Shelving Gain The gain for the low shelf filter is specified by the horizontal slider control The available range is 15 dB The gain value is zero when the
49. control on every console The 224 s Concert Hall A program is considered to be one of the finest reverbs ever made and its plate programs practically de fined the 80 s drum sound UAD Powered Plug Ins Manual 264 Chapter 26 Lexicon 224 Parameters Every tunable parameter from the original is present in the Lexicon 224 plug in and exposed as dedicated controls inviting easy experimentation and sonic exploration All seven algorithms nine programs are available un der the Program selection Lexicon s distinctive Bass Mid split decay adjust ments and Crossover control set the highly tunable reverb image along with the Treble Decay for rolling off high frequencies Depth sets the apparent dis tance between source and reverb while Predelay produces a short delay be tween the sound source and the onset of reverberation Diffusion affects how quickly the echo density in the reverb builds up over time For total authenticity the UAD 2 only System Noise control enables or dis ables the inherent dynamic system noise of the original Lexicon 224 hard ware Specifically disabling System Noise enables a more modern i e cleaner sound removing the modeled gain stepping parameter zippering and quiescent noise The unique Lexicon 224 Mode Enhancement and Decay Optimization controls improve reverb clarity For insert use the UAD 2 only Dry Wet and Solo parameters control the effect mix within the plug in Clicking the OPEN
50. e g Delay the switch is re purposed to sum the processed outputs to mono In Echo mode it functions as an input mute Some EMT 250 control functions change depending on the active mode see Variable Control Functions on page 214 and Table 11 below To accom modate this design all EMT 250 parameters are exposed for automation and external control surfaces even if the parameter is not active in the current pro gram mode Important Parameters that are automated and or externally controlled will have no effect if those parameters are not active in the current program mode All input and output characteristics of the EMT 250 are fully emulated in the plug in This includes all of its idiosyncrasies such as the A D and D A anti aliasing filters which are not linear phase system latency input clip ping and limited frequency response All these quirks embellish the unique sonic signature The EMT 250 s anti aliasing filters for its A D and D A conversion are not lin ear phase filters therefore our emulation does not have a latency that is the same at all frequencies Thus we cannot report to the delay compensation en gines a delay that is correct for all frequencies The value we report is good at low frequencies but becomes off at high frequencies For example when the plug in is in Delay program mode and set with zero delay time and predelay values the plug in output will not be completely can celled when mixing wit
51. i i 12 i2K 0 id SMOOTH FAST 2 POLE 4 POLE STEF TRACK EFFECT BYPASS EMYELOPE MODE SPACING GAIN 6ENVELOPE 6 LF OUTPUT 4 r AA f yl AL ng Pa f f Ng 2 3 3 Pa bk Fal z ale ka Jil i0 4 3 Figure 106 The UAD Moog Filter SE plug in window The Moog Filter SE controls are nearly the same as the Moog Filter The exceptions are the Drive related controls Drive and Boost are unavail able on the SE model and the Drive control is replaced with a straight non modeled Gain control Please refer to the Moog Filter section for Moog Filter SE control descriptions see Moog Filter Controls on page 301 Note When preset settings are copied from the full Moog Filter version to the SE version the Boost 20 switch value is retained even though the parameter is not available for SE If you subsequently copy from SE back to the full version the original Boost value is pasted UAD Powered Plug Ins Manual 307 Chapter 29 Moog Multimode Filter Moog Filter Latency The Moog Filter but not the Moog Filter SE uses an internal upsampling tech nique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsam pled Plug Ins on page 107 for more information The Moog Filter SE does not require additional latency compensation because it is not upsampled Note Compensating for Moog Filter is not r
52. in project or home studios and sound reinforcement applications For the first time you can manipulate and control the attack and sustain char acteristics of a signal regardless of level in the most intuitive and simple way Usually equalizers are used to separate instruments in a mix the tonal aspect of the signal is considered but not the temporal aspect The Transient Designer opens this further dimension in signal processing By manipulating the attack and sustain curves of a sound event the mix can be made to sound more transparent Instruments can be mixed at lower levels while still maintaining their positions in the mix but occupying less space During a remix or in general after micing you can arrange new positions of instruments Reduce ATTACK and increase SUSTAIN to move signals back into the mix that are too present Additionally the FX parts of too dry signals are strengthened Applied to single instruments or loops the Transient Designer allows you to create entirely new sounds and or effects The following examples are given as suggestions and examples The de scribed procedures with specific instruments can of course be transferred to others that are not mentioned here Processing drum and percussion sounds is probably the Transient Designer s most typical range of application both from samples to live drum sets e Emphasize the attack of a kick drum or a loop to increase the power and presence in the mix UAD Po
53. increases and becomes more prominent as the Q is increased Therefore for the shelf type to have any effect the Q must be above its minimum value Note In order for this button to have any affect the band must be in shelving mode some gain must be applied and the Q must be above its minimum value UAD Powered Plug Ins Manual 154 Chapter 12 Cambridge EQ 10k 20k 10k 20k cb 10k 20k 20 Shelf Mode 10k 20k Indicator Line JK o Ta z 10k 0k Figure 54 Shelf Type C UAD Powered Plug Ins Manual 155 Chapter 12 Cambridge EQ CHAPTER 13 Cooper Time Cube Dual Mechanical Delay Line The original Cooper Time Cube was a Duane H Cooper and Bill Putnam col laborative design that brought a garden hose based mechanical delay to the world in 1971 and has achieved cult status as the most unique delay ever made The Cooper Time Cube is famous for its spectacular short delay and doubling effects and its uncanny ability to always sit perfectly in the mix How ever the CTC had limited practicality as a full featured delay only 14 16 or 30 ms settings were available Over the years this quirky device has grown a strong following and finds a home in the most prestigious studios in the world such as Blackbird and Sunset Sound Top producers and engineers such as Richard Dodd Vance Powell and Joe Chicarelli still swear by the Coo per Time Cube for its unique character The Cooper Time Cube Mkll has
54. it s what like Mike Clink Producer Engineer Mike Clink Guns N Roses Sammy Hagar Pushmonkey also comes from the Record Plant school of recording I find that actually use 1176s more now than ever did he comments I like them because they bring out the brightness and presence of a sound they give it an energy It seems like when I m mixing end up using an 1176 on the vocals every time And if want to compress a room sound I ll take a mono room mic put an 1176 across it and push in all the buttons Bruce Swedien Bruce Swedien is a master engineer who needs no introduction He also is a die hard 1176 fan I have two silverface 1176LNs in my rack that Bill Putnam personally picked out for me he says I remember sitting at Bill s place in the Channel Islands and talking about the 1176 and how wanted a pair The next time we went over he d picked this pair out and they were sitting in his garage waiting for me love them on vocals All of the Michael Jackson and James Ingram vocals that everyone has heard so much were done with at least one of those 1176s couldn t part with them for anything They sound fabulous UAD Powered Plug Ins Manual 534 Chapter 54 History Thank You We would like to thank you again for becoming a Universal Audio customer We urge you sub scribe to our email lists so we can keep you informed about UA product developments and pro motions Email preferences are
55. maximum 1 4D e DM 1L time 2400ms maximum 3 1 e Nigel Echo time 1200ms maximum 1 1D e Nigel Tremolo fade in onset 4000ms maximum 5 1 e Roland RE 201 Head 1 range 5 32 1 64 e Roland RE 201 Head 2 range 1 4 1 32 e Roland RE 201 Head 3 range 1 2T 1 32D Entering Values In addition to adjusting the parameter knob the two following methods can be used for entering Tempo Sync values Arrow Keys After clicking the parameter to select it the arrow keys can be used to scroll through available note values Text Entry Direct text entry is also available see Text Entry on page 91 Any notation values can be entered fraction or decimal and the values are automatically converted to the nearest appropriate setting For example If 3 4 or 6 8 is entered using text entry 1 2D is displayed be cause a dotted half note equals three quarter notes which is the duration of one measure in a time signature of 3 4 or 6 8 If 12 8 is entered with text entry 1 1D is displayed because a dotted whole note equals six quarter notes which is the duration of one measure in a time signature of 12 8 or two measures in a time signature of 3 4 or 6 8 This means you can create a tempo sync duration of one measure for any time signature by simply typing in the time signature assuming there is a match in the beat table UAD Powered Plug Ins Manual 97 Chapter 8 Tempo Sync Out of range Similarly if 1 12 is entered wit
56. on page 431 Note When changing the band Type the Ratio value for the band changes to 1 1 This prevents dramatic jumps in the output level that could result from extreme values of other band parameters UAD Powered Plug Ins Manual 425 Chapter 43 Precision Multiband Threshold Ratio COMPRESS When a band is set to Compress the dynamic range of the band will be re duced dependent upon the band threshold and input level This is the typical value in multiband compression EXPAND When a band is set to Expand the dynamic range of the band will be in creased dependent upon the band threshold and input level GATE When a band is set to Gate the band behaves as a gate A gate stops the signal from passing when the signal level drops below the specified threshold value Gates are generally used to reduce noise levels by eliminating the noise floor when the main signal is not present but they are also useful for special ef fects This parameter determines the threshold level for compression expan sion gating Any signals that exceed this level are processed Signals below the level are unaffected A Threshold of O dB yields no processing The avail able range is 60 dB to O dB As the Threshold control is decreased and more processing occurs output level is typically reduced compression or increased expansion Adjust the Gain control to modify the output of the band to compensate if desired Rat
57. terdependencies between all bell shelf and cut filters that allow for the Massive Passive s natural and organic sound UAD Powered Plug Ins Manual 287 Chapter 28 Manley Massive Passive EQ Massive Passive Screenshots 220 10K i PERE T po 22 1K i 82 KO 220 10K 660 27K BOOST SHELF x SHELF W Al MO BOOST SHELF BOC SHELF BOOST SHELF X SHELF r n i Ay r r Cour CO en lille ie MG KG koe Ka O 0UT O on le a Ll J ety BELL CUT Bri J Bell G li BELL i F ie a a a g ay Fa Pa Fa Pa Pa Pa A Paa a Pa A a i i i N 1 i il i rie F 560 27K D 8 ni di 1 p na ri p ni dE pna p na dE pr T l S J r j l k na i p af we Ea p Ni dE O BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH er E ae BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH z man Ci kt ar NN J MA PE ET NET Na si mmn o PE EG P ba BG a KY ih ff HK pr FREQUENCY HZ FREQUENCYHZ FREQUENCY HZ Da FRE mo 960 ga ik IKS aka ak7 IKA aka i oF o a WAR F BOO a MASSIVE PASSIYE Wi a Og STEREO EQUALIZER i Pa war aa ap WO setts l te i pA 3 R PEN Nat Kai Eng f i f i i f i ry Ee pi F F i 4 fh 1 i f N Fab i f N Fa a i f i Fab bz pu jar p apa bi KE FREQUENCY HZ oer IKI aka w 3 i C QUENCY Hit FREQUENCY HZ FREGUENGY HZ Uu a NE ia T pon m0 50 aa IK WKS sga z Ka f 1K wa o ao zo IK e OS 1G ake 7 arf ka 2K 47 70 1
58. the maximum available for the unit consisting of eight reverb programs and one chorus program Descriptions of the various programs can be found on page 281 The active algorithm determines the inherent sonic character of the current program Algorithms are changed by selecting a different program the algo rithm cannot be changed within the same program Lexicon 224 v4 4 contains seven unique algorithms All seven algorithms and the nine factory programs have been authentically modeled in the UAD Lexi con 224 plug in There are more programs than algorithms because some programs use the same algorithm See Program Descriptions on page 281 for details UAD Powered Plug Ins Manual 267 Chapter 26 Lexicon 224 Lexicon 224 Buttons Lexicon 224 Sliders Inputs amp Outputs Mono Stereo Operation Like the original hardware UAD Lexicon 224 buttons are momentary style and don t latch in a down position When a function is unavailable within a particular program the button s LED will not illuminate when clicked the LEDs also don t illuminate for the increment decrement buttons The first click of an increment decrement button displays the current value of the parameter the value is actually changed only with subsequent clicks This feature enables viewing the current setting without changing it Tip For the inc dec buttons e g Reverb Diffusion the value can be contin uously changed by holding the button down
59. ware the plug in operates in quad with two discrete stereo output pairs accessed through the added front rear output switch Additional digital only features include dry wet mix wet solo reduced noise if desired and hard bypass via the EMT power icon UAD Powered Plug Ins Manual 213 Chapter 19 EMT 250 Electronic Reverberator EMT 250 Screenshot Ea EMT 250 Ragister ode a T a b Noise Output E Front ol o oy 4 6 Bry Wee Raar Outputs Figure 79 The EMT 250 plug in window Functional Overview Program Modes Variable Control Functions The EMT 250 offers six effect types Reverb Delay Phase Chorus Echo and Space These effects are called program modes in the EMT 250 Only one mode can be active at a time Each program mode has up to five parameters that can be modified by the four main control levers plus the front rear switch The function of these con trols varies per program mode see below Additionally there are several global controls that have the same function in all modes The function of control levers 1 2 3 and the Front Rear switch depends upon which program mode is active This is a primary consideration to re member when operating the EMT 250 Table 11 on page 217 details the varying functions of the control levers and the front rear switch in each mode Important The function of the levers and the front rear switch chan
60. which contains two control handles adjusts the stereo width of the late field reverberations Early amp Late Adjustment The left and right slider handles are dragged to adjust the stereo width For a full stereo spread drag the left handle all the way to left and right handle all the way to the right When the slider handles are not set fo maximum width the center of the slider can be dragged left or right to set the positioning of the signal To pan a mono signal hard left or right drag the slider all the way to the left or right UAD Powered Plug Ins Manual 187 Chapter 16 DreamVerb Distance Levels Panel Input Output DreamVerb allows you to control the distance of the perceived source with this slider In reverberant environments sounds originating close to the lis tener have a different mix of direct and reflected energy than those originat ing further from the listener Larger percentages yield a source that is farther away from the listener A value of 0 places the source as close as possible to the listener This panel is where DreamVerb input output levels wet dry mix and reverb mute controls can be modified Input Output code oo de E ni Hm E Figure 75 DreamVerb Levels panel Modifies the signal level at the input to DreamVerb A value of zero is unity gain Modifies the signal level at the output of DreamVerb A value of zero is unity gain UAD Powered Plug Ins Manual 188 Cha
61. 146 The Pultec Pro MEQ 5 Midrange Equalizer plug in window Pultec MEQ 5 Controls On Off Toggle Switch i The MEQ 5 can control three frequency ranges simultaneously using three groups of interacting parameters The first group controls the low mid frequencies and has two controls fre quency select and boost The second group controls the mid frequencies and has two controls frequency select and attenuation The third group controls high mids and has two controls frequency select and boost The placement and grouping of the sections and their related controls are shown in Figure 147 Fi 1 5 a a io pu LTEC MIDRANGE EQUALIZER MEG 5 Figure 147 Control grouping within the Pultec Pro MEQ 5 This switch disables the MEQ 5 portion of Pultec Pro It allows you to compare the processed and unprocessed signal of the MEQ 5 When in the out posi tion the UAD DSP load is reduced unless UAD 2 DSP LoadLock on page 73 is enabled UAD Powered Plug Ins Manual 439 Chapter 44 Pultec and Pultec Pro In the hardware MEQ 5 the audio is still slightly colored even when the switch is in the Out position and the peak dip controls are at zero This is due to the fact that the signal is still passing through its circuitry Because the plug in emulates the hardware in every regard the signal will be slightly processed when this switch is in the In position and the peak dip controls are at zero If a
62. 180 Fohl Figure 99 The UAD Little Labs IBP plug in window UAD Powered Plug Ins Manual 284 Chapter 27 Little Labs IBP Little Labs IBP Controls Delay Adjust Delay Adjust Bypass Phase Adjust Phase Adjust Bypass Phase Invert All parameters are clearly labeled with control names Please refer to Figure 99 on page 284 for control descriptions The Delay Adjust parameter is unique to Universal Audio s workstation ver sion of the Little Labs IBP Delay Adjust is a continuously variable control that simply delays the input signal from 0 0 to 4 0 milliseconds Unlike the analog Phase Adjust parameter which is frequency dependent Delay Adjust is purely digital and shifts all frequencies equally Delay Ad just accomplishes the same function as manually moving an audio region for wards in the timeline so it plays back a little later in relation to other regions This switch bypasses the Delay Adjust parameter Delay Adjust is bypassed when the switch is engaged darker Phase Adjust is the main parameter in the Little Labs IBP It is a continuously variable control that shifts the phase of the input signal The range of Phase Adjust is either 90 or 180 dependent on the Phase Adjust 90 1 80 switch The Little Labs IBP hardware is an all analog device that uses analog allpass tilters to produce phase shifting Allpass filters displace signals in time as a tunction of frequency they are freque
63. 42 and Fi Bus Poy Z UAD Control Panel System Info Plug ins Configuration Help FIREWIRE SYSTEM Current Link Speed Bf Target Link Speed UAD Bandwidth Allocation PLUG IN CALCULATOR Max Stereo Plug ins i At the following sample rate BANDWIDTH METERING Used by UAD INFO Displays the current Firewire link speed between the host computer and the UAD 2 system For larger possible plug in counts use Firewire 800 to 800 connections between the hos computer and the UAD 2 To maximize plug in counts when using mixed Firewire 800 400 systems make sure that the UAD 2 connection to the host computer is Firewire 800 800 and then connect other Firewire 400 devices to the extra ports on the UAD 2 device Figure 13 The UAD FireWire panel The current speed of the FireWire link between the host computer and the UAD 2 Satellite is displayed here The active link speed can be changed with the Target Link Speed control if FW400 and FW800 are both supported by the host system UAD Powered Plug Ins Manual 78 Chapter 6 UAD Meter amp Control Panel Target Link Speed UAD Bandwidth Allocation If the host computer has multiple FireWire buses this is rare up to two speeds will be displayed with the values separated by a comma Note If the host computer supports FireWire 800 and the Target Link Speed is set to 800 but the Current Link Speed still displays 400 check the bus or dering of the FireWire
64. 51 SSL G Bus Compressor Available Release times are discrete values of 100ms 300ms 600ms 1 25 and Auto The Auto release characteristic for SSL G Bus Compressor has a unique quality that is optimized for program material Ratio Ratio defines the amount of gain re duction to be processed by the compressor For example a value of 2 expressed as a 2 1 ratio re duces the signal above the thresh old by half with an input signal of SSL G SERIES 20 dB being reduced to 10 dB The SE OSE Bors available Ratio values are 2 1 4 1 and 10 1 Power IN The Power button determines whether the plug in is active Click the Power button to toggle the processor state Power is useful for comparing the pro cessed sound to that of the original signal Gain Reduction The Gain Reduction VU style meter displays Meter the amount of gain reduction occurring in the compressor Higher values indicate more gain reduction Increase the signal level into the plug in and or lower the Threshold control to in crease gain reduction Fade The SSL G Bus Compressor provides a Fade function that upon activation automatically reduces the plug in out put to minimum within a specified time period This function enables ex tremely smooth sounding fade outs and fade ins plus it can be automated as well The Fade function processes the signal at the output of the compressor The fade signal level that is output has an exponential curve U
65. After experimenting with other time constants one can return to the de fault release setting of the FATSO Jr if desired by cycling the release control until NO LEDs are lit which indicates the default FATSO Jr time constant Release LED s Unlit Compressor Inactive When the compressor is disabled and all Release LED s are unlit the button is disabled Note This control has no effect when the compressor is inactive or when it is in oure Spank mode see Compressor Mode on page 198 UAD Powered Plug Ins Manual 204 Chapter 17 Empirical Labs EL7 FATSO Tranny Level LF Sat LED FATSO Jr Presets WebZine Article This control determines the amount of Tranny process B ing see The Tranny Processor on page 195 for a de A tailed description Higher values make the Tranny ef fect more prominent Increasing the Tranny level also increases the signal THD see THD Indicators on page 198 and the sensitivity of the Warmth proces sor page 199 A value of 5 is the unity setting Note This control has no effect when the Tranny processor is inactive see Bypass Tranny on page 200 The LF Sat Low Frequency Saturation LED indicates the amount of LF satura tion in the Tranny processor Higher Tranny Level values increase the LF satu ration When loading presets created on the FATSO Jr into the FATSO Sr the pa rameters that are unique to FATSO Sr are set to their default
66. All Button Mode Click any Ratio button without the shift key modifier These four pushbutton switches to the right of the VU Meter determine the mode of the VU Meter and whether the plug in is enabled When set to GR the VU Meter indicates the Gain Reduction level in dB When set to 8 or 4 the VU Meter indicates the output level in dB when set to 4 a meter reading of O corresponds to an output level of 4 dB In gain reduction mode with all buttons depressed the VU meter will appear to behave strangely This is normal behavior in the hardware 1176LN and is faithfully recreated in the plug in When the Meter Off switch is selected the 1176LN plug in is disabled and UAD DSP usage is reduced unless UAD 2 DSP Loadlock on page 73 is en abled One trick you can do with the 1176 is turning the attack and release up all the way to their fastest setting This has the audible effect of adding distortion to the audio source and is especially pronounced in all buttons mode What happens here is the attack and release are happening so fast that minute level fluctuations sound like distortion It can add a very useful gritty compression effect This effect is useful on bass where you might need compression and distortion at the same time and the 1176 can provide both in a unique way This trick also sounds great on screaming lead vocals And yes the hardware does this too UAD Powered Plug Ins Manual 260 Chapter 24 LA 2A
67. Auto The available range is from 1 second to 0 01 milliseconds Auto Mode When the Release knob is fully clockwise Automatic mode is active In Auto mode release time is program dependent Isolated peaks will have a fast re lease time while program material will have a slower release Note You can type A or a to enter Auto mode during text entry The Mode switch affects the attack shape of the limiter Subtle tonal variations are possible by switching the Mode between A and B Mode A is the default shape suitable for most material while Mode B can be particularly useful on minimal and or acoustic program material yielding a more subtle touch The Power switch determines whether the plug in is active When the Power switch is in the Off position plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP LoadLock on page 73 is enabled When the plug in is bypassed with this switch but not by the host bypass the VU meter displays the unprocessed input signal level Precision Limiter Meters Overview K System The Precision Limiter has precise calibrated stereo metering It offers the op tion to use K System metering which is a method devised by renown audio engineer Bob Katz http digido com The K System is essentially a method of integrating metering and monitoring levels to standardize the apparent loudness of audio material while providing useful visual feedback of average and
68. Boost button Figure 123 on page 354 increases the overall signal level within Preflex by 20 dB It is completely independent of the Gate and Com pressor On Off controls and will provide a signal boost even with the Gate and Compressor are off Note The Boost button is only available within Nigel and Pretlex The individ val Gate Comp plug in does not contain the Boost button because Boost only affects the Amp within Preflex Sets the threshold level for the compression Any signals that exceed this level are compressed Signals below the level are unaffected A Threshold of O dB yields no compression The range is O dB to 60 dB As the Threshold control is increased and more compression occurs output level is typically reduced However the compressor provides an auto makeup gain function to automatically compensate for reduced levels Adjust the Out put level control if more gain is desired Determines the amount of gain reduction used by the compressor For exam ple a value of 2 expressed as a 2 1 ratio reduces the signal by half with an input signal of 20 dB being reduced to 10 dB A value of 1 yields no com pression Values beyond 10 yield a limiting effect The range is 1 to 60 UAD Powered Plug Ins Manual 356 Chapter 35 Nigel Compressor Attack Menu Compressor Release Menu Compressor On Off Button Sets the amount of time that must elapse once the input signal reaches the Threshold level before compression
69. DYN SC Dy namic Sidechain button allows the user to create frequency dependent gain reduction arrangements with either the Compressor or Gate expander WebZine Article An interesting article about the SSL E Series Channel Strip can be found in the Ask The Doctors section of the Universal Audio April 2009 Webzine e htto www uaudio com webzine 2009 april doctors html UAD UAD 1 UAD 2 and UAD 4K are trademarks of Universal Audio Inc All other names are trademarks of Solid State Logic which are in no way associated or affiliated with Universal Audio Inc These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose circuits and sounds were studied during the sound development of the UAD 4K products Use of third party trademarks are for informational purposes only and do not imply an endorsement or sponsorship of Universal Audio s products UAD Powered Plug Ins Manual 497 Chapter 50 SSL E Channel Strip CHAPTER 51 SSL G Bus Compressor Large Format Console Dynamics The SSL G Series Bus Compressor plug in for UAD 2 is an incredibly faithful circuit emulation of the legendary SSL 4000 G console s bus compressor The undeniable drive and punch of this G Series master compressor modeled to exacting detail by Universal Audio and fully authenticated by Solid State Logic helped make the original 4000 G Series the world s most success tul studio production con
70. Descriptions One two or four twelve inch speaker s One two or four ten inch speaker s p08 Open Back cabinet OOO Sealed Cabinet closed back cabinet Mic close and perpendicular at 90 degrees off center 90 watt Celestion early 1990 s Left speaker Oxford Blue Right Utah both 60 watt early 1960 s 90 watt Celestions early 1990 s 25 watt Celestion Greenbacks circa 1967 Table 21 List of Cabinet Types asoonae UAD Powered Plug Ins Manual 363 Chapter 35 Nigel Cabinet On Off Button Output Level Meter Phasor Module Sync Button Rate Knob Sweep Knobs Enables or disables the Cabinet module within Preflex The Cabinet is en gaged when the button indicator is bright red You can use this switch to com pare the Cabinet settings to that of the original signal or bypass the entire Cabinet section to reduce UAD DSP load This LED style VU meter displays the level of the signal at the output of the Cab inet Just before the red LED is illuminated the signal is at O dB In order to avoid overloading your host application signal path adjust the Preflex output level so that the signal is at or below O dB The Phasor is a frequency variable comb filter with low frequency oscillator modulation It is capable of producing dramatic sweeping and swooshing ef fects including modern and classic sounds such as those produced by the Mutron Bi Phase Small Stone and MXR series of phasor
71. EQ Display Switch on page 433 Band gain center frequencies cF crossover frequencies xF and band width can be modified by manipulating the colored band curves in the EQ Display with the cursor When the cursor is moved over the pre defined hot spots in the EQ Display the cursor changes shape to indicate that adjustments can be made Each of these control points and their corresponding available adjustments are de tailed below UAD Powered Plug Ins Manual 428 Chapter 43 Precision Multiband Adjusting Gain Adjusting Gain and cF Adjusting Gain and Bandwidth Adjusting xF UAD Powered Plug Ins Manual The gain of a band can be adjusted by click drag ging the top of its colored line In this case the cursor changes to an up down arrow when hovered over the hot spot to indicate the direction available for dragging If the cursor is moved slightly lower than the above ex ample the gain and center frequency can be ad justed simultaneously without adjusting the band width In this case the cursor changes to an up down left right arrow when hovered over the hot spot to indicate the direction available for dragging If the cursor is moved to the upper left region of the three center bands LMF MF HMF the gain and bandwidth can be adjusted simultaneously without changing the center frequency In this case the cursor changes to a diagonal arrow when hovered over the hot spot to indicate the d
72. Em IE 100R Mix 208 Abang zs r PE FE 4546 27 ms Distance 2 7 mm Dreamverb 4 0 2 2003 Universal Audio I Figure 66 The DreamVerb plug in window Signal Flow Figure 67 illustrates the signal flow for DreamVerb The input signal is equal ized then delay lines are applied to the early reflection and late field gener ators The resulting direct path early reflection and late tield reverberation are then independently positioned in the soundfield Source Input Gain Output Pans amp Mute Distance Figure 67 DreamVerb signal flow UAD Powered Plug Ins Manual 176 Chapter 16 DreamVerb The DreamVerb user interface Figure 66 on page 176 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 70 on page 179 Early reflec tion pre delay slope timing and amplitude are specified in the Reflections panel Figure 72 on page 184 The Materials panel Figure 71 on page 181 is used to select relative late field decay rates as a function of frequency The late field predelay decay rate room diffusion slope and level is specified in the Reverberation panel Figure 73 on page 185 Finally the Positioning panel Figure 74 on page 187 contains controls for the placement of the source early reflections and late field reverberation
73. FW400 devices AFTER any all FW800 devices in a daisy chain see Figure 39 on page 140 Daisy chain FireWire 400 devices AFTER the FireWire 800 devices in a FW800 bus If and only if FireWire 400 devices are attached to a FireWire 800 bus after the end of all FireWire 800 devices in a daisy chain Figure 39 the FireWire 800 devices will operate at 800 megabits while the FireWire 400 device op erates at 400 megabits Important This is the recommended configuration when UAD 2 Satellite is sharing a FireWire 800 bus with FireWire 400 devices FW800 Computer This FireWire bus runs at both 800 and 400 because the FW400 devices are located AFTER the FW800 device in the daisy chain J e 1 t FW800 UAD 2 Satellite aro HD FW bus 800 FW bus 400 O MD Ou FW400 Audio Interface Figure 39 FireWire 800 bus devices running at 800 and 400 megabits recommended setup FireWire Bandwidth Bandwidth Guage All devices on a FireWire bus must share the available data bandwidth of the bus including hard drives and audio interfaces as well as UAD 2 Satellite If there is not enough FireWire bandwidth to handle all the data traffic on the bus performance issues such as audio clicks pops dropouts or UAD over loads could occur When UAD 2 Satellite is connected the UAD Meter window displays the FireWire Bandwidth gauge Figure 40 on page 141 showing the amount of FireWire bandwidth being used by UAD 2 Satellite and othe
74. If the acoustic level of a snare is expanded to approximately 4 dB by increasing the attack value the effective increase of peak levels in the overall mix is merely about 0 5 dB to 1 dB If your drums happen to sound as if the room mics have been placed in a shoe closet the Transient Designer can immediately turn that sound into the ambi ence of an empty warehouse Just send the stereo room mics through the Tran sient Designer and crank the ATTACK control to emphasize the first wave Now slowly increase SUSTAIN values to bring up an all buttons in 1 176 sound room tone but without pumping cymbals For a solid and driving rhythm track just fine tune the SUSTAIN control to make sure that the room mic envelope ends more or less exactly on the desired upbeat or downbeat UAD Powered Plug Ins Manual 477 Chapter 49 SPL Transient Designer Guitars Bass Staccato vs Legato The Re Invention Of Reverb Use the Transient Designer on guitars to soften the sound by lowering the AT TACK Increase ATTACK for in the face sounds which is very useful and works particularly well for picking guitars Or blow life and juice into quietly played guitar parts Distorted guitars usually are very compressed thus not very dynamic Simply increase the ATTACK to get a clearer sound with more precision and better in tonation despite any distortion Heavy distortion also leads to very long sustain The sound tends to become mushy simply
75. Input Filter on the modeled plate systems See In put Filter on page 207 The frequency parameters specify the center of the transi tion band which is defined as the frequency at which the level in dB is the midpoint between DC and the band edge level Note There is one EQ per plug in instance Each plate model A B C within a preset cannot have unique EQ values EQ Enable The EMT 140 equalizer can be disabled with the EQ Enable switch UAD DSP usage is not increased when EQ is enabled Low Frequency This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low band Gain setting The range is 20 Hz to 2 kHz UAD Powered Plug Ins Manual 209 Chapter 18 EMT 140 Plate Reverb Because this is a shelving EQ all frequencies below this setting will be af tected by the low band Gain value Low Gain This parameter determines the amount by which the transition frequency set ting for the low band is boosted or attenuated The available range is 12 dB in increments of 0 5 dB fine control or 1 0 dB coarse control High Frequency This parameter determines the high shelving band transition frequency to be boosted or attenuated by the high band Gain setting The range is 200 Hz to 20 kHz Because this is a shelving EQ all frequencies above this setting will be af tected by the high band Gain value High Gain This parameter determines the amount by which the frequ
76. Menu gt Project Properties gt Mixer Setup Project independent session file must be open to configure e Ableton Live Options gt Delay Compensation e Pro Tools Options Playback Engine gt Delay Compensation Engine UAD 1 Delay Compensator The UAD 1 Delay Compensator UAD DelayComp for short is a simple UAD 1 plug in which can be used to synchronize unprocessed tracks with those that are processed by UAD Powered Plug Ins It provides a mechanism of delay compensation for situations when the host application does not im plement automatic plug in latency compensation such as on sends groups and buses see Table 6 on page 101 Figure 23 The UAD 1 Delay Compensator plug in window UAD Powered Plug Ins Manual 102 Chapter 9 UAD Delay Compensation When to use DelayComp Virtual Instruments Plugs Parameter Samples parameter The UAD 1 Delay Compensator acts as a dummy UAD Powered Plug In au tomatically introducing the necessary amount of latency for tracks which are NOT processed by UAD Powered Plug Ins It requires no DSP from the UAD device and allows you specify the number of UAD Powered Plug Ins instances you wish to compensate Note UAD DelayComp is available for UAD 1 only 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 1 plug in s In this scenario inserting a UAD DelayComp plug in on the UNPRO
77. Meter amp Control Panel application see page 61 and open the Plug Ins panel see page 63 3 Click the Authorize Plug Ins button page 67 The default web browser opens with the registration URL in the address bar and you may get an er ror that the computer is not connected to the internet 4 You must enter this URL into a web connected computer so either a Drag the URL icon to the Desktop to create a weblink shortcut then trans ter the weblink shortcut to the internet computer preferred Figure 4 on page 34 OR b Carefully write down the URL EXACTLY as it appears 5 Go to the URL using a web browser on an internet connected computer Double click the transferred weblink shortcut or enter the URL as noted elf you don t already have a my uaudio com account you are directed to create one Follow the instructions online elf you already have a my uaudio com account login with your email ad dress and password If your password is lost the store can email it to you 6 Your device will be automatically registered and added to your My Sys tems Computer group and your authorization file is generated UAD Powered Plug Ins Manual 33 Chapter 2 UAD Installation 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 Double click the authorization file The
78. Multiband only on outputs as its design was intended or only in hosts that have full plug in delay com pensation UAD Powered Plug Ins Manual 111 Chapter 9 UAD Delay Compensation Live Processing UAD 1 UAD 2 The previous discussions of delay compensation applies primarily to play back and mixing of existing tracks During recording tracking the primary concern usually centers around getting the absolute lowest possible latency out of your hardware and software combination The lower the latency is the closer you can get to a realtime ears match the fingers performance situa tion in the digital environment where some latency is unavoidable Realtime latency is displayed in the System Information panel page 64 within the UAD Meter amp Control Panel application Minimizing realtime latency is simply a matter of setting the audio I O inter face device driver buffer setting as low as possible before system overloads or diminished audio quality such as distortion occurs The manufacturer of the sound output device in use may offer additional tips for optimizing latency on systems that use their hardware The UAD 2 has an advanced buffering architecture that delivers no additional latency when tracking by using LiveTrack Mode See LiveTrack Mode on page 88 for details UAD Powered Plug Ins Manual 112 Chapter 9 UAD Delay Compensation CHAPTER 10 UAD ExpressCard Products Overview UAD 2 SOLO Lap
79. Note Auto Cal is enabled by default Tip When making manual calibration settings consider disabling Auto Cal so the manually calibrated settings are not accidentally lost if another control is modified Gang Controls enables global control adjustments of all pa rameters for all Studer A800 instantiations This functionality mem may be accessed from within any active Studer A800 OU plug in GANG CTALS Click the Gang Controls buttons to alternate between the two states A red flashing LED is present whenever Gang Controls is enabled as a reminder to use this feature with caution Important When Gang Controls is ON and a Studer A800 parameter is modified the current value of that parameter on all other Studer A800 instan tiations will be overwritten and cannot be recovered Gang Controls Notes e Gang Controls is a read only non automatable parameter and its current value is not saved with the session e Gang Controls is a static control without the ability to make relative offsets Disable Gang Controls if offsets between the same control within different instantiations is desired UAD Powered Plug Ins Manual 512 Chapter 52 Studer A800 Calibration Controls e f Gang Controls is enabled when Auto Cal is enabled any adjustments made to Tape Type Tape Speed or Emphasis EQ causes the Calibration Controls to be automatically adjusted for all instantiations However if the Tape Type Tape Speed or Emphasis EQ value
80. O dBFS corresponds to 4 dBu 18 dB 22 dBu The headroom selected will cause the plug in to behave as though it were a hardware 33609 connected to a nominal 4 dBu inter face with the selected amount of headroom Industry standards for most DAW interfaces are 14 dB and 18 dB headroom The 22 dB setting approxi mates some analog mixing environments and allows the entire useful dy namic range of the 33609 to be exercised The following settings are application guidelines for the Headroom switch 22 dB Typical starting point for individual track inserts where maximum gain reduc tion is desired This setting is equivalent to having a real hardware 33609 connected to a 4 interface with 22 dB headroom 18 dB Typical starting point when used on a buss or group where nominal gain re duction is desired This setting is equivalent to having a real hardware 33609 connected to a 4 interface with 18 dB headroom 14 dB Typical starting point for mastering where minimal gain reduction is de sired This setting is equivalent to having a real hardware 33609 connected to a 4 interface with 14 dB headroom UAD Powered Plug Ins Manual 334 Chapter 33 Neve 33609 Compressor Factory Presets Power Note Keep in mind there are no hard and fast rules Use the above recom mendations as guidelines and feel free to experiment with the various posi tions of the headroom switch regardless of the audio source If it sounds good use i
81. On oF CYA NP LT TIHE E Pi oe gt ear PicPong on Nigel is comprised of eight modules Gate Compressor Phasor Mod Filter Pretlex 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 The following UAD Powered Plug Ins are part of the complete Nigel package e Nigel all of the modules in one plug in e Preflex Gate Compressor Amp Cabinet e GateComp Gate Compressor e Phasor e Mod Filter e TremFade Tremolo Fade e TremModEcho Tremolo Fade Mod Delay Echo UAD Powered Plug Ins Manual 353 Chapter 35 Nigel 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 The Color and Bent controls modify frequency and gain characteristics in in teresting and musically useful ways and realtime component level morphing between any two amp types is possible FP e P Ley HID Hi COLOR gif i s kal jF x ia Figure 123 The Preflex plug in window Preflex Modules The Preflex plug in consists of three sub modules g
82. Plug Ins Manual 135 Chapter 11 UAD 2 Satellite FireWire Basics FireWire vs USB FireWire Bus Bus Power FireWire 400 vs 800 FireWire also known as IEEE 1394 and i Link is a high speed serial data interconnection protocol that is used to transfer digital information between devices FireWire is commonly used to interconnect computer systems to hard drives audio interfaces and digital camcorders A complete discussion of FireWire is beyond the scope of this manual but some of the main points and how they apply to UAD 2 Satellite are covered below FireWire is considered superior to USB for audio purposes because it does not rely on the host processor to manage low level data housekeeping among other reasons FireWire typically outperforms USB at the same rated speeds FireWire devices are connected to a FireWire bus which is comprised of all devices in the serial data stream Figure 33 Figure 34 and Figure 35 on page 138 The FireWire specification supports up to 63 peripherals per FireWire bus Many FireWire devices and host computers have more than one FireWire connector but these connectors almost always attach to the same FireWire bus most computers do not have more than one FireWire bus It is possible to add another FireWire bus to a computer typically by adding a PCle to FireWire or ExpressCard to FireWire adapter card Some FireWire devices can be bus powered which means the dev
83. Selector Switch 438 K System 408 LA 2A 253 528 LA 3A Compressor 262 LA 3A Controls 263 LA 3A Screenshot 262 539 INDEX Late 187 Late Field Relative Timing 185 Late Field Start 186 Latency 65 latency 100 Latency amp Delay Compensation 100 Latency Calculator 83 Latest Information 26 Launching a Powered Plug In 84 Launching a UAD Powered Plug In 84 Launching the Meter Windows 61 Launching the UAD Meter amp Control Panel 61 L Delay Knob 166 Levels 188 Lexicon 224 264 Lexicon 224 Controls 27 1 Lexicon 224 Screenshot 266 LFO Mode 369 LFO Type Menu 366 373 377 LFO Type Pop up Menu 167 Limit 417 Limit CPU Load 72 Limit DSP Load 72 Limiter 406 Linear slider 76 Link Button 169 Little Labs IBP Latency 286 Live Processing 112 LiveTrack Mode 88 Lo Knob 365 368 376 Load Authorization File 48 Load Save Preset 87 Logic Audio 85 Low Cut High Cut Filters 149 Low Frequency Controls 437 440 Low Frequency Knob 209 Low Gain Knob 210 L Pan Knob 168 171 UAD Powered Plug Ins Manual M Mac OS 21 Mackie UAD 1 40 Manley Massive Passive EQ 287 Manual Conventions 21 23 Massive Passive Controls 290 Massive Passive EQ 287 Massive Passive Latency 297 Massive Passive Mastering EQ 289 Massive Passive Notes 297 Master 148 Master Level Knob 148 Materials Blending 183 Materials Blending Bars 183 Materials Menus 182 Materials Panel 181 Materials panel 177 Memory 63 MEQ 5 435 Meter 2
84. Table 1 on page 26 e AGP or PCle graphics video adapter card PCI graphics not supported UAD Powered Plug Ins when combined with a plug in host application is a technically complex system with many variables Because the host application environment is integral to the system but is completely out of our control we cannot claim compatibility with all hosts that may claim to support the use of VST RTAS and or Audio Units plug ins We test the specific host applications listed in Table 1 on page 26 for com patibility with UAD Powered Plug Ins and only these hosts are supported by our technical staff We recommend the latest versions of these host applica tions for optimum performance Host applications that are not listed may work with UAD Powered Plug ins but compatibility with them cannot be guaran teed UAD Powered Plug Ins Manual 25 Chapter 2 UAD Installation 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 e htto www uaudio com support uad compatibility Table 1 Supported Host Applications Steinberg Nuendo Steinberg Wavelab Cakewalk Sonar Magix Samplitude Magix Sequoia Image Line FL Studio Mac Audio Units Audiofile Wave Editor 1 3 Adobe Audition MOTU Digital Performer 4 5 YY Latest Information amp Software Updates Technical Updated UAD technical information is regularly
85. The Equaliser control allows the user to select between the American NAB and European CCIR standardized EQs providing regional pre emphasis de emphasis fil tering at 7 5 and 15 IPS each with its own sonic qualities plus the AES EQ at 30 IPS The HF Bias calibration parameter allows the user to tune the HF os cillation voltage feed to the magnetic record head striking a balance be tween record sensitivity and distortion This can also be used creatively as an effect from warm overbiased sounds to voltage starved distortion and chatter HF Record is a calibration filter that allows for HF makeup when the ideal Bias leaves a high frequency deficiency both HF Bias and HF record are fed into the tape nonlinearity Sync and Repro HF and LF calibration EQs allow for adjusting for a flat playback response or can also be used cre atively All Secondary Controls page 510 can be automatically calibrated to the manufacturer s recommended settings via the A800 s Auto Cal feature or may be disabled Finally separate controls for Hiss and Hum are available each tuned to default settings to match the hardware behavior with a global noise bypass option The primary purpose of Studer A800 is to obtain multichannel tape sonics within the DAW environment To obtain the classic multitrack tape sound the plug in should be placed as the first insert on individual tracks before other processing is applied Creative non standard result
86. The Positioning panel Figure 74 on page 187 provides panning controls for each of these reverb components In addition a proprietary Distance control adjusts perceived source distance These controls allow realistic synthesis of acoustic soaces for instance listen ing at the entrance of an alley way where all resoonse components arrive trom the same direction or listening in the same alley next to the source where the early reflections and reverberation surround the listener Note When DreamVerb is used in a mono in mono out configuration all Positioning controls except Distance are unavailable for adjustment UAD Powered Plug Ins Manual 186 Chapter 16 DreamVerb Direct Early Late Positioning Direct 1001 i 100R Fa rly 100 L TO 100 F la te 100 L _ a 100 R Distance 25 aE Figure 74 DreamVerb Positioning panel These two sliders control the panning of the dry signal The upper Direct slider controls the left audio channel and the lower Direct slider controls the right audio channel A value of lt 100 pans the signal hard left a value of 100 gt pans the signal hard right A value of lt O gt places the signal in the center of the stereo field Note If the DreamVerb Mix parameter page 188 is set to 100 wet or the Wet button is active these sliders have no effect This slider which contains two control handles adjusts the stereo width of the early reflections This slider
87. The main stereo Input Output meter actually displays three meters simulta neously The RMS and instantaneous peak levels which follow the signal and the peak hold also known as global peak level The peak hold level is the maximum instantaneous peak within the interval set by the Hold button and is also displayed as text to the right of the meters To reset the peak hold levels press the Clear button Precision Limiter metering is also active when plug in processing is deacti vated with the Precision Limiter Power switch Metering is disabled when the plug in is bypassed by the host application The Gain Reduction meter displays the amount of limiter gain reduction More green bars moving to the left indicate more gain reduction is occurring Gain reduction only occurs when the input signal level exceeds O dB There fore increasing the Input knob usually results in more gain reduction The Meter switch specifies the signal source for the main stereo meter either input or output Input When the Meter switch is in Input mode the main level meters display the sig nal level at the input of the plug in and is not affected by the Input knob Output When the Meter switch is in Output mode the main level meters display the level at the output of the plug in When the Limiter is enabled the Output and Input knobs will affect this display The meter Scale switch increases the resolution of the main stereo level meter S
88. The six sliders control the main reverb parameters within a program These are the most obvious controls to reach for when fine tuning a reverb program to best suit the material at hand In P9 Chorus A the first four sliders don t control the labeled parameters See P9 Chorus A on page 282 for descriptions of the sliders in this program Tip Clicking a slider cap will show its value in the Numerical Display Clicking the text label of any slider will return that slider to the default value for the active program The Lexicon 224 hardware has two inputs see Mono Stereo below and four discrete outputs labeled as A B C and D Outputs A and C were de signed to be used as the main stereo left right outputs The other two outputs B and D are implemented in some programs for use as quadraphonic reverb The UAD Lexicon 224 fully models the individual sonics of all four outputs when available in the program algorithm The alternate B and D outputs are available via the Rear Outs control page 275 Note The dry signal at the Lexicon 224 output is completely unprocessed The Lexicon 224 hardware has dual channel inputs left and right and is a true stereo processor Like the hardware when the UAD Lexicon 224 plug in is used in a stereo in stereo out configuration the left and right channel sig nals are both processed When used in a mono in stereo out configuration the mono input is sent to both channels of the stereo p
89. Total allocated orange bandwidth neay UAD other SAND Ka devices Figure 14 Elements of the UAD FireWire Gauge The total range of the gauge is 100 reflecting the total available bandwidth of the FireWire bus The UAD Bandwidth Allocation is displayed in green UAD usage is dynamically displayed in blue and usage by all other devices is displayed in orange The sum of UAD and peripheral usage is also dis played as a percentage of the total available bandwidth Important FireWire bandwidth is unrelated to UAD DSP loads See FireWire Bandwidth vs UAD DSP on page 142 for details This area displays helpful text about parameters in the FireWire panel Hover the mouse over a FireWire setting to view the informational text UAD Powered Plug Ins Manual 82 Chapter 6 UAD Meter amp Control Panel Help amp Support Panel The Help amp Support panel Figure 15 contains numerous helpful weblinks to help you get the most out your UAD Powered Plug Ins experience The button names are self explanatory Click a button to launch the URL in your default web browser you must be connected to the internet to launch the web pages If the UAD computer isn t online much of the information is in the manual you re reading now find it in Table of Contents Index or search View User Manual is the only button that doesn t link to the internet Instead licking this button opens the UAD User Manual the file you re reading now
90. UAD DSP load In the hardware EQP 1A the audio is still slightly colored even when the switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Because the plug in emulates the hardware in every regard the signal will be slightly processed when this switch is in the Out po sition If a true bypass is desired use the On Off rotary switch This switch enables or disables the EQP 1A altogether You can use this switch to compare the processed settings to that of the original signal or to bypass the plug in to reduce UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Low Frequency Controls CPS Selector Switch Boost Knob Attenuation Knob This switch determines the frequency of the low shelf portion of the equalizer CPS is an acronym for Cycles Per Second Hertz Four frequencies are avail able 20 30 60 and 100 Hertz This knob determines the amount of low shelf gain to be applied to the fre quency set by the CPS switch This knob determines the amount of low shelf cut to be applied to the fre quency set by the CPS switch UAD Powered Plug Ins Manual 437 Chapter 44 Pultec and Pultec Pro Note In the documentation supplied with hardware version of the EQP 1A it is recommended that both Boost and Atfenuation not be applied simulta neously because in theory they would cancel each other out In actual use however the Boost
91. You may make one copy of the Software for backup purposes only and replacement backup copies in the event of loss of or damage to a backup copy provided you include all copyright notices contained on the original media on the backup copy You may not modify translate adapt reverse engineer decompile create other works from or disassemble the Software or any portions thereof except and to the extent that applicable law expressly permits reverse engineering decompilation or disassembly Similarly you may not copy modify adapt transfer or create other works based upon the printed materials and online or electronic documentation accompanying or published for use with the Software the Documentation iit Technical limitations The Software may include technological measures whether in the Software or in bundled hardware or both that are designed to prevent or detect unlicensed use of the Software Circumvention of these technological measures is prohibited except and only to the extent that applicable law expressly permits despite this limitation Any attempt to circumvent technical limitations may render the Software or certain features unusable or unstable and may prevent you from updating or upgrading the Software iv No reconfiguration The Software is licensed for installation and use only in the manner it was provided to you as configured by an automated installation program provided with the Software or as described
92. a Neve 1081 and 1081SE Controls o n nanunua cece cee eee eee eee eee ees NG CN eseqcutneuses uses beacuse AA Neve TOS LOEN yet eee et nea tenes dee ene ann nos oe tee aeons eae Chapter 32 Neve 31102 Console EQ cece cece cc cer cece ccne OVEIVIEW cc cacaduonaneass sean E nau pewnbaeneneseeen seen sedeeeonesanens Neve 31102 Screenshot 0 0 0 0 a Neve 31102 and 31102SE Controls 0 000 000 a Neve 31102SE ecco ceneedwy shat aces eon eacea iene aceeeeepadss ones NAM Ganeaduces Neve 31102 Maen ce sop res oe os oe oo 3 AA eee Chapter 33 Neve 33609 Compressor cccccccssssccccccscces NE NEN 404s cone ANAN aes cape KANAN AE EE E E E EEE kama NABAGO Neve 33609 Screenshot 0 0 0 0 a OOPGIGNOM o4 5osep cuca eoreoteneceos AA PA PE Neve 33609 and 33609SE Controls 0 00 00 eect eect ence eens PUNE AA Gs Gee Ga a eee eee ares AA Gee PA a Gee eae Seen R i Other Controls nnna cence bebe beeen eben beeen eben Neve 39336095E onc Waa ee cme enaceud Whee EREEREER dae eee bene Gone KUNAN ema NG REN Cee YAP ee ee ee ee ee ee ee en ee ee Chapter 34 Neve 88RS Channel Strip c00 Oa A o noc gos AA Neve 88RS Screenshot nonn 000 c cece eee cnet nee e eee ene e en eees Neve 88RS Controls cee een e eee bene een eees BU AA AA Gate Expander a Limiter Compressor n nnana ADAN SG PA DYKINAG ALONA TA PENE GG NGANGA O ALGAE CA Cut Filters 0 0 2 cece eee bbe eb nee b bebe b bebe ben
93. a E M G d A A B x a fa Level dB 10 Frequency Hz Figure 148 Pultec MEQ 5 Low Peak Response UNIVERSAL AUDIO UAD Powered Plug Ins Manual 444 Chapter 44 Pultec and Pultec Pro Dip Response MEQ 5 Frequency Response Dip 500Hz Level dB 12 10 10 10 Frequency Hz Figure 149 Pultec MEQ 5 Dip Response UNIVERSAL AUDIO UAD Powered Plug Ins Manual 442 Chapter 44 Pultec and Pultec Pro High Peak Response Level dB 10 Frequency Hz Figure 150 Pultec MEQ 5 High Peak Response UAD Powered Plug Ins Manual 443 Chapter 44 Pultec and Pultec Pro CHAPTER 45 RealVerb Pro Overview Room Shape and Material Resonance Timing and Diffusion Stereo Soundfield Panning RealVerb Pro uses complex spatial and spectral reverberation technology to accurately model an acoustic space What that gets you is a great sounding reverb with the ability to customize a virtual room and pan within the stereo spectrum RealVerb Pro provides two graphic menus each with preset Room Shapes and Materials You blend the shapes and material composition and adjust the room size according to the demands of your mix Controls are provided to ad just the thickness of the materials even inverse thickness for creative effects Through some very clever engineering the blending of room shapes size and materials may be performed in real time without distortion pops clicks or zip per noi
94. ability Plug ins 70 to enable disable individual devices is displayed in the Device 2 oe 37 8 64 1 98 9 56 6 a Status 0k nipa System Information window Plug ins 17 See System Information en 01 3 Panel on page 64 for com Plugins 3 ELSE a plete details Individual UAD devices can be disabled using the Device Enabled function see page 66 This can be useful for example if creating a session on a system with multiple devices that will be transferred to a system with fewer devices Devices are disabled only while the UAD Meter amp Control Panel application is open When the UAD Meter amp Control Panel is quit disabled devices are re enabled Note For optimum results quit any applications using UAD plug ins before disabling enabling devices If a UAD Powered Plug In is loaded on a device then that device is subse quently disabled an error message will be displayed This occurs because a plug in is assigned to a device when it is first instantiated It stays assigned to the same device until it is de instantiated for example removed from the in sert slot Using more than one device can cause a slight increase in host CPU require ments so disabling unused devices can help you squeeze in a bit more host performance if you need it Using additional devices on the PCI bus requires host resources so running 15 UAD plug ins on three devices at five plug ins per device may require more host CPU
95. and 1176LN Stereo Phase coherent stereo imaging is maintained when the 1 176LN plug in is Operation used on a stereo signal 1176SE Special Edition 24 24 3 5 a a 4 30 48 O GR Y t F x Tec ii 36 O n42 Bb a O s12 be dg G Age G 3 J 5 H ho in TA OFF eS sm 2 a t D 4 117855E LIMITING AMPLIFIER E INPUT OUTPUT 1 UNIVERSAL AUDIO RELEASE Figure 93 The 1176SE plug in window Overview The 1176SE is derived from the 1176LN Its algorithm has been revised in or der to provide sonic characteristics similar to the 1176LN but with signifi cantly less DSP usage It is provided to allow 1176LN like sound when DSP resources are limited The 1176SE behavior is practically identical to the 1176LN Its sound is nearly identical too but certain compromises had to be made in order to squeeze the extra DSP performance that the 1176SE provides At nominal set tings the sonic difference is negligible At extreme cranked settings nobody with golden ears will say it sounds exactly like the 1176LN but it still sounds great and is very usable in most situations 1176SE Controls The 1176SE controls are exactly the same as the 1176LN Please refer to the the 1176LN section for 1176SE control descriptions see 1 1 76LN Controls on page 259 UAD Powered Plug Ins Manual 261 Chapter 24 LA 2A and 1176LN CHAPTER 25 LA 3A Compressor Overview The original Teletronix LA 3A Audio Level
96. and other instruments with very fast decays Using fast settings on other sources may produce undesirable results UAD Powered Plug Ins Manual 489 Chapter 50 SSL E Channel Strip Expand Attack Dynamics Enable Dynamics eters Attack defines the duration between the input signal reaching the thresh old and processing being applied by the expander gate Attack time is G normally auto sensing and program dependent When Fast Attack is en abled attack time is 1ms Fast Attack is active when the F ATT LED is illuminated To toggle Fast At tack click the LED or its label text ee These three buttons determine the status of the dynamics UM processors PTA l pH G Dynamics In DYN IN The DYN IN button enables both the compressor limiter and the expander gate modules neither module will function when DYN IN is disabled The dynamics modules are enabled when the green LED is illumi nated DYN IN is useful for quickly comparing the original signal dynamics to the dy namically processed signal Important DYN IN must be engaged to enable compressor limiter and or expander gate processing Expander In EXP IN The EXP IN button enables the expander gate module The module is enabled when the amber LED is illuminated This button has no effect when DYN IN is disabled Compressor In CMP IN The CMP IN button enables the compressor limiter module The module is en abled when the red LED is illumin
97. be changed If the host computer has multiple FireWire buses this is rare up to two band width gauges will be displayed one for each bus This number displays the percentage of FireWire bus bandwidth that is used by UAD plug ins running on the UAD 2 Satellite The number cannot exceed the value set by the UAD Bandwidth Allocation parameter UAD Powered Plug Ins Manual 81 Chapter 6 UAD Meter 8 Control Panel Used by other devices FireWire Gauge Info Display This number displays the percentage of FireWire bus bandwidth that is used by all the FireWire devices connected to the bus EXCEPT for UAD 2 Satellite such as hard drives and audio interfaces The number is used to help deter mine an optimum value for the UAD Bandwidth Allocation parameter The FireWire Gauge Figure 14 reflects the FireWire bus bandwidth cur rently used by UAD 2 Satellite and all other FireWire peripheral devices e g audio interfaces and hard drives The gauge graphically displays the UAD Bandwidth Allocation the bandwidth used by active UAD 2 Satellite plug ins and bandwidth used by all other devices on the bus The FireWire Gauge in the FireWire control panel is also displayed in the UAD Meter when UAD 2 Satellite is connected see Figure 7 on page 60 Available FW bandwidth headroom Total available Firewire bus bandwidth UAD Bandwidth Allocation blue green Used by Available for UAD other devices green
98. be entered here directly using l ECHO DELAY the text entry method see Text Entry on page 91 When Sync mode is off delay times are expressed in millisec onds When Sync is on delay times are expressed as a frac tional bar value ECHO DELAY When the beat value is out of range the value is displayed in parentheses This occurs in Sync mode when the time of the note value exceeds 700ms as defined by the current tempo of the host application This knob controls the repeat level feedback of the echo sig nal At the minimum fully counter clockwise position only one repeat is heard Rotating the control clockwise increases the number of echoes Higher values will cause self oscillation asm The self oscillation of the EP 34 is one of the magic features that really makes it more than a mixing tool it s also an instrument to be played The effect may be used subtly sending the unit into gentle os cillation on held notes or can be put into over the top oscillation with ex treme settings The EP 34 s oscillation qualities are heavily dependent upon program mate rial and control settings Different sources of audio gain tone repeat rate and input settings will all effect oscillation performance The EP 34 can also achieve oscillation with no signal making the it a truly unique instrument UAD Powered Plug Ins Manual 229 Chapter 20 EP 34 Classic Tape Echo Echo Volume Recording Vo
99. com support uad videos html Webzine Our online magazine is published regularly and contains lots of useful and in teresting information How to pages artist producer engineer interviews support Q amp A detailed scientific notes and other fascinating articles make the Webzine a great place to routinely visit e htto www uaudio com webzine Users Forum The unofficial UAD Powered Plug Ins users forum for the exchange of tips and information is on the world wide web at e hito www studionu com uadforums Customer Support Customer support is provided by Universal Audio staff to all registered UAD Powered Plug Ins users see Registration on page 57 for details 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 UAD Powered Plug Ins Manual 22 Chapter 1 Introduction Phone Support Online Support Factory Address Main Website Feedback Customer Service amp Technical Support USA toll free 877 MY UAUDIO 1 877 698 2834 International 1 83 1 440 1 176 FAX 1 831 461 1550 To request online support please visit our support page then click the Sub mit Support Ticket button to create a help ticket e htto www uaudio com support Universal Audio Inc 1700 Green Hills Road Scotts Valley CA 95066 4926 USA e htto www uaudio com Your feedback
100. considered the best of the Space Echo line Our team spent over a year developing our RE 201 Space Echo which truly captures the physical behavior of this complex device warts and all down to the distortion wow and flutter pitch shifting and warmth that tape based delays are famous for but our plug in goes even fur ther capturing the complex self oscillation that makes the Space Echo more than an effect but a unique instrument unto itself UA s RE 201 Space Echo faithfully retains all the controls and features of the original such as the Mode Selector for various head combinations Repeat Rate for fine timing control and Intensity which sets repeat count and allows the unit to achieve self oscillation The all important Echo Normal Dub switch is retained for muting as well as the simple tone controls Last but cer tainly not least the atmospheric shimmer of the Space Echo s spring reverb is faithfully captured putting this fantastic plug in on par with the original unit as a tool of infinite creativity UAD Powered Plug Ins Manual 466 Chapter 48 Roland RE 201 Space Echo Roland RE 201 Screenshot pA Figure 163 The Roland RE 201 plug in window Roland RE 201 Interface The RE 201 interface is true to the original hardware with a few customiza tions to bring it into the digital era The original mic and instrument volume controls have been replaced with echo reverb pan controls and an input control We
101. control has slightly higher gain than the Attenuation has cut and the frequencies they affect are slightly different too The EQ curve that results when boost and attenuation are simultaneously applied to the low shelf is an additional feature High Frequency Controls KCS Selector This switch determines the frequency of the high boost portion of the equal Switch izer KCS is an acronym for KiloCycles per Second kiloHertz Seven fre quencies are available all in kiloHertz 3 4 5 8 10 12 and 16 Bandwidth Knob This knob sets the proportion of frequencies surrounding the center frequency determined by the KCS switch to be affected by the high boost This is a Q control Lower values yield a narrower band and effect fewer frequencies Boost Knob This controls sets the amount of gain for the high frequency portion of the equalizer High Attenuation Controls Attenuation This switch determines the frequency of the high frequency attenuator Three Selector Switch frequencies are available all in kiloHertz 5 10 and 20 Attenuation This knob determines the amount of high shelf cut to be applied to the fre Knob quency set by the Attenuation Selector switch UNIVERSAL AUDIO UAD Powered Plug Ins Manual 438 Chapter 44 Pultec and Pultec Pro Pultec ME 5 Screenshot l a OM i Pali D ii PEAK 500 700 S 1000 3 ge gt TOO E 500 3 300 10 700 PULTEC MIDRANGE EQUALIZER MEQ 5 Figure
102. cuts FAST 5 OFF 25 15 10 7 5 3 150 UNIVERSAL AUDIO O DEESSER 40 dh o SPEED SLOW il Figure 134 The Precision De Esser plug in window UAD Powered Plug Ins Manual 387 Chapter 37 Precision De Esser Precision De Esser Controls Threshold Speed Frequency Solo Control knobs for the Precision De Esser behave the same way as all UAD plug ins Threshold Frequency and Width values can be modified with text entry See Text Entry on page 91 for more information Threshold controls the amount of de essing by defining mi the signal level at which the processor is activated Ro B tate Threshold counter clockwise for more de essing BT da o SPEED Signals peaks as determined by Frequency Fre quency on page 388 and Width Width on page 389 that exceed the Threshold level are compressed by a ratio of 7 1 The available range is 40 dB to O dB Speed determines the response of the sibilance detector Fast mode will usually make sibilance reduction more obvious In Slow mode the effect is usually more subtle but can produce a more natural sounding result The actual times of the two modes are as follows FAST SPEED ety e Fast Attack O 5ms Release 30ms e Slow Attack 2 0ms Release 120ms Click the Speed button to change the mode Alternately you can click hold the LED area and drag like a slider to change the value FREQUENCY This control defines t
103. 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 prima rily use the LA 2 for Most anything else can do without but can t be without at least a pair of 1176s and an LA 2A For example on the Enrique Iglesias project l m currently mixing I m using both an 1176 and an LA on his voice which is not unusual for me The 1176 absolutely adds a bright character to a sound and you can set the attack so it s got a nice bite to it usually use them on four to one with quite a lot of gain reduction like how variable the attack and release is there s a sound on the attack and release which don t think you can get with any other compressor listen for how it affects the vocal and depending on the song set the attack or release faster attack if want a bit more bite My preference is for the black face model the 4000 series think the top end is especially clean The LA 2A is not as versatile but it also has a sound that really like On certain voices you can crank it heavily to where you almost want to put a piece of tape over the meter because there s so much gain reduction that you don t want anyone else to see it l m not particularly into overcomp
104. detail The 1081 EQ also includes a DSP opti mized 1081SE EQ for higher instance counts Neve 1081 Screenshot 1081 Figure 109 The Neve 1081 plug in window UAD Powered Plug Ins Manual 314 Chapter 31 Neve 1081 Equalizer Neve 1081 and 1081SE Controls Overview The Neve 1081 channel module is a four band EQ with high and low cut fil ters The 1081 features two parametric midrange bands with Hi Q selec tions for tighter boosts or cuts Both the high and low shelf filters have select able frequencies and may be switched to bell filters Other features include a 20 to 10 dB input gain control phase reverse and EQ bypass The bands are arranged and grouped as in Figure 10 below The bands feature dual concentric controls For each of the main bands the inner knob controls the gain while the outer ring controls the frequency The low and high cut filters are grouped as one knob ring set but they are actually two inde pendent filters Band Layout High High mid Gain Frequency Low mid Low Low cut ring band band inner knob outer ring band band High cut knob Figure 110 Neve 1081 band control layout The Input Gain control sets the level at the input of the plug in The range is from 20 dB to 10 dB Input Gain When the Input Gain knob snaps to the OFF position plug in processing is disabled and UAD DSP usage is re duced unless UAD 2 DSP LoadLock on page 73 is en abled Not
105. determines the amount by which the oo frequency value for the band is boosted or atten reer uated The available range is 15 dB in both Swe Black and Brown modes KW center position i b 5 f f 200 Aone 300 LMF Frequency f F This control determines the LMF band center fre quency to be boosted or attenuated by the band Gain setting The available range is 0 2 kHz to 2 5 kHz in both Black and Brown modes LMF Q The Q bandwidth control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The filter slopes get steeper narrower bandwidth as the control is rotated counter clockwise The available range is 0 5 to 2 5 in both Black and Brown modes LF Gain 5 200 A st 1008 e300 This control determines the amount by which the PB eee ches IF frequency value for the LF band is boosted or at tenuated The available range is 15 dB in both Black and Brown modes Tip Click the O to return the control knob to its center position UAD Powered Plug Ins Manual 493 Chapter 50 SSL E Channel Strip LF Frequency This control determines the band center frequency to be boosted or attenuated by the band Gain setting The available range is 30 Hz to 450 Hz in both Black and Brown modes LF Bell The Bell button switches the LF band from shelf mode to peak dip mode In normal shelf mode only frequencies below the frequency v
106. determines the band frequency to be boosted or attenuated by the band Gain setting The available range is 1 5 kHz to 16 kHz in both Black and Brown modes HF Bell The Bell button switches the HF band from shelf mode to peak dip mode In normal shelf mode only frequencies above the frequency value are boosted or attenuated In Bell peak dip mode frequencies above and below the fre quency value are boosted or attenuated In Black mode the HF Bell Q is 1 3 and in Brown mode the HF Bell Q is 0 8 HMF Gain This control determines the amount by which the frequency value for the band is boosted or atten uated The available range is 15 dB in both Black and Brown modes Tip Click the O to return the control knob to its center position HMF Frequency EQUALISER This control determines the HMF band center fre ert quency to be boosted or attenuated by the band Gain setting The available range is 0 6 kHz to 7 kHz in both Black and Brown modes UAD Powered Plug Ins Manual 492 Chapter 50 SSL E Channel Strip Low Mid Frequency LMF Band Low Frequency LF Ban HMF Q The Q bandwidth control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The filter slopes get steeper narrower bandwidth as the control is rotated counter clockwise The available range is 0 5 to 2 5 in both Black and Brown modes LMF Gain AD c eE This control
107. existed at the destination before copying are lost Stereo Mode When in Stereo mode see Stereo Mode on page 401 clicking A gt B cop ies the left AND right parameter values from parameter set A to parameter set B and clicking the A lt B button copies all the values from parameter set B to parameter set A This feature is useful when you want to make an EQ change to a stereo signal while maintaining the original values so the two settings can be easily com pared Note The high pass filter parameter is global per preset and is not affected by this control Parameter Copy in Dual Mode When in Dual mode the A and B buttons behave as left and right channel copy buttons Clicking A gt B copies all the values from the left channel pa rameters to the right channel parameters and clicking A lt B copies all the val ues from the right channel parameters to the left channel parameters UAD Powered Plug Ins Manual 402 Chapter 40 Precision Equalizer Power Switch The Power Switch determines whether the plug in is active This is useful for comparing the processed settings to the UNIVERSAL AUDIO original signal or to bypass the plug in to reduce the UAD PREG sla DSP load load is not reduced if UAD 2 DSP Loadlock on page 73 is enabled EQUALIZER a Click the rocker switch to change the Power state Alter nately you can click the blue UA logo to toggle the Power state Band Controls Each control
108. frequency value attempt the width of the band must be re duced first then the center frequency adjusted again It s easiest to see the cF limits at the given width by dragging the center frequency with the mouse To modify the frequency and gain values using the EQ Display see Curve Control Points on page 428 UAD Powered Plug Ins Manual 430 Chapter 43 Precision Multiband Dynamics Meters Meter Labels Band Enable Buttons Band Solo Buttons Realtime display of Precision Multiband dy namics processing is shown in the Dynamics Meters This area also contains the band en able and band solo controls There is one vertical dynamics meter for each band They are color coded to match the bands and represent from left to right the LF LMF MF HMF and HF bands respectively Dy namics processing for each band is indicated by light blue LED style metering a Zero dB is at the center of the meter and the a a WI range is 15 dB Downward negative meter 34 95 4 1 36 1 88 ing indicates compression is occurring on the band Upward positive metering indicates ex pansion is occurring In Gate mode there is simultaneous inward metering from the top and bottom to the center which provides a visual gate that opens and closes along with the gate processing Dynamics Meters signal peaks are held for 3 seconds before resetting The labels above the Dynamics Meters reflect the mode that each ba
109. fully paramet ric The EQ module can be disabled altogether When the high frequency HF and or low frequency LF band is in shelf mode the band gain affects the band frequency As gain is increased the shelf frequency more closely matches the knob value As gain is reduced how ever the low shelving frequency moves higher and the high shelving fre quency moves lower With the UAD Neve 88RS EQ the Q value and range is dependent on the gain setting of the band With any non zero gain setting the Q will be calcu lated in real time for that band But if the band gain is zero Q will always dis play zero The unique sound of AMS Neve EQ is the result of years of research and ex tensive studio experience UAD Powered Plug Ins Manual 346 Chapter 34 Neve 88RS Channel Strip 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 121 Neve 88RS EQ Controls Layout EQ Enable EQ lt e This button activates the equalizer module The module is ac tive when the button is gray and the green indicator illumi nates You can use this button to compare the equalized signal to the original signal or bypass the EQ altogether UAD DSP load is reduced when this module is inactive unless UAD 2 DSP LoadLock on page 73 is enabled UAD Powered Plug Ins
110. high fre quencies will decay 10 times faster than the low frequencies At 200 thick ness this is multiplied by two high frequencies decay at 20x the rate of the low frequencies At negative 100 the sense of low frequency and high fre quency is swapped low frequencies decay 10 times faster than the high fre quencies Many hardware and software reverbs tend to compensate for the high fre quency absorption that air provides RealVerb Pro instead provides Air as a material If you do not choose to use Air as one of the materials you can effectively compensate for the high frequency absorption properties of air with the Resonance filters Set the right hand Transition Frequency slider to 4 794 kHz and bring the level down about 10 dB to 15 dB for large to huge rooms and down about 4 dB to 9 dB for small to medium rooms To help you out the following lists classify the materials under two headings those that tend to reflect high frequencies and those that tend to absorb them They are listed in order of their transition frequencies from lowest to highest Table 31 Materials with high frequency absorption aap Table 32 Materials with high frequency reflection Mor S UAD Powered Plug Ins Manual 450 Chapter 45 RealVerb Pro Resonance Equalization The Resonance panel has a three band parametric equalizer that can control the overall frequency response of the reverb affecting its perceived brillian
111. hold the power switch then drag it like a slider to quickly compare the enabled disabled state UAD Powered Plug Ins Manual 418 Chapter 42 Precision Maximizer Operating Tips e As a starting point for general loudness enhancement set Precision Maxi mizer to one band mode with Limit engaged with Mix at 100 and Shape at 50 Then set Input so signals peak at around O dB on the Input Meters These settings offer good results under most conditions producing more presence with a warmer sound and enhanced detail especially with lower frequencies while retaining the apparent dynamic range of the original signal e The most natural warmth and tube style distortion can be obtained with Shape at 5096 in one band mode with Limit off and signal peaks just touch ing O dB at the input Shape at 50 delivers the lowest amount of higher or der harmonics and most closely emulates a tube characteristic e More overdrive may be obtained by disengaging the Limit function Up to 6 dB of additional headroom is available before clipping occurs when Limit is off This can cause clipping at the output so reduce the Input and or Output control to compensate if necessary e Input clipping can dramatically change the distortion characteristic and may yield significantly different results in one band versus three band mode e Generally speaking the input should be set as high as possible before un desirable sound quality is obtained e For opti
112. i 4 ae PUSS tacking 3 5 Pinned TRANNY 4 Warmth 5 OVU BYPASS BN Li P Litij i LINK To LINK click F ENEE CONTROLS COMP 20 15 i 7 5 j f cm m oUHz Dart 05 Sac 12Hz a 30m 2 Set NG Dave Derr s 80m Sae Y Fay Custom Mods E Le Pi HP SIDE FILT ATTACK RELEASE Four Processing Types Saturation and Distortion Processor UAD Powered Plug Ins Manual 194 The FATSO was essentially designed to integrate frequencies in a musical manner and provide some foolproof vintage sounding compression Gener ally it is difficult to make the unit sound unnatural due to its vintage topology FATSO provides four types of processing Harmonic Generation amp Soft Clipper Basically this is a distortion generator associated with the Input knobs Any time you pass a signal through the FATSO it passes through this part except in bypass This processing is useful to softly but instantly clip peaks and tran sients allowing a higher average level Aggressive distortion can also be achieved through the same controls It is well known that the triode distortion in tube circuits produces lots of 2nd order and 3rd order harmonics in somewhat varying ratios Analog tape also saturates in this manner The 3rd order harmonic is induced in the FATSO by increasing the level through two discrete distortion circuits and is usually the result of flattening the tops and bottoms of waveforms Second or der harm
113. identical to the original hardware See Front Rear Outputs on page 215 for more information For more information about phasing see the Flangers and Phasors article in our December 2008 Webzine e http www uaudio com webzine 2008 december doctors html Chorus program mode creates an ensemble effect by simulating the impres sion of multiple imprecisions added to the original signal In EMT 250 this is accomplished by routing the same signal to four delay processors each hav ing short delay times that are continuously and randomly modulated While it was necessary to combine the various physical outputs for variations of Chorus complexity the EMT 250 plug in is pre mixed in four popular combinations Note Levers 1 and 2 have no effect in Chorus program mode Chorus Mode Lever 3 Four subtle variations of the chorus effect are available I Il Ill and IV Lever 3 specifies the current variation UAD Powered Plug Ins Manual 221 Chapter 19 EMT 250 Electronic Reverberator Echo Positions I and II are of a simpler nature while IlI and IV are more complex Position I duplicates the Left Front and Right Front outputs of the hardware Il duplicates Left Rear and Right Rear outputs of the hardware III combines both the Left Front and Left Rear on the left side and Right Front and Right Rear on the right IV combines Left Front Left Rear and Right Rea
114. ih ipil We o Tip All mode can be selected by shift clicking Mode letters or LEDs E Slope changes the shape of the high pass filter that is ap SLOPE zi JE I pn nig 5 plied to the effect signal The high pass filter helps eliminate rumble muddiness in the signal Slope can be setto 6 12 24 or 36 dB per octave The active Slope can be selected by clicking the Slope button repeatedly to rotate through the values or by clicking each Slope value or LED Note When the Hz Frequency is set to a low value Slope may have little or no audible effect UAD Powered Plug Ins Manual 393 Chapter 38 Precision Enhancer Hz Hz Frequency Hz Solo Output Power 8 Through filter isolation of the original bass content the Hz Frequency parameter defines the cutoff fre quency for the enhancement process Frequencies be low this value are enhanced by the processor The available range is 16 Hz to 320 Hz Hz Solo isolates the original bass signal and can be combined with Ef 168 tect Solo Hz Solo is active when the button is red Output controls the signal level that is output from the plug in The available range is 20 AB to O dB if 20 d i Generally speaking adjust the Output control after the desired amount of processing is achieved with the Effect and Hz Fre quency controls Output does not affect the amount of enhancement process ing nor does it have any effect when the plug in is disab
115. in clusion of both the Type E black knob and brown knob four band EQ and filters long considered favorites in SSL lineage Other features include high and low cut filters independent Expander Gate and bespoke Compres sor Limiter The E Series middle EQ bands are fully parametric while the high and low bands provide the user with switchable bell or shelving filters The Comp Lim iter provides Threshold fast or slow Attack time a 0 1 to 4 second Release and a continuously variable Ratio control The Exp Gate offers Threshold fast or slow Attack time a O 1 to 4 second Release time and a Range control to tailor the Gate or Expansion effect In addition the SSL E Series Channel Strip plug in adds a second Gate setting featuring a no chatter circuit bor rowed from later SSL designs For increased flexibility a PRE DYN button allows users to reorder the signal chain placing the EQ before the dynamics section With the DYN SC button users may engage a sidechain feature providing frequency dependent com pression using the EQ filters cut filters or both Lastly a Link button adds the ability to link or unlink the sidechain when using the stereo version of the plug in Taken together these features make the SSL E Series plug in for UAD 2 among the most flexible and bestsounding channel strip emulations available today bar none UAD Powered Plug Ins Manual 484 Chapter 50 SSL E Channel Strip SSL E Chan
116. in Universal Audio s documentation You may not separate the components contained in the Software or otherwise reconfigure the Software to circumvent technical limitations on the use of the Software or to otherwise exceed the scope of your license 4 Export Renting and Transfer Restrictions You may not export convey rent sublicense or otherwise distribute the Software or any rights therein to any person or entity You may however transfer the Software license but only under the following limited terms and conditions i Eligible transferees You may transfer the license to a transferee a for whom you have provided registration details your name hardware ID s user e mail ID buyer s name and buyer s e mail address to Universal Audio at info uaudio com in advance of such transfer and b who has agreed to be bound by the terms of this license by registering with Universal Audio at my uaudio com and confirming such agreement during installation of the Software Any such permitted transferee may not subsequently transfer this license and the limited 90 day warranty set forth in Section 5 shall expire upon such permitted transfer ii Eligible products the Software may only be transferred in connection with up to four 4 UAD 1 cards and four 4 UAD 2 cards per user account Special exceptions may arise where the use of more than eight 8 UAD cards is required These cases are generally related to areas of education and multi ro
117. ins or computer e UAD 2 only During authorization the UAD plug in license state is stored on the UAD 2 device If the UAD 2 is moved to another computer it is not necessary to reload an authorization file e UAD 1 only If a UAD 1 card is installed into a different system an autho rization file must be loaded on the different computer The auth file can be one obtained on the other computer or via the Authorize Plug Ins button All unlicensed UAD plug ins include a free 14 day trial evaluation period When the demonstration mode is activated the plug in will run without func tional limitations for 14 days Demo mode can be activated once only After the demo trial period has expired demo mode cannot be activated again on the same UAD device If an unlicensed plug in is loaded and its demo has never been started a di alog appears with instructions to start the demo and the option to visit the on line store to purchase the license If you don t start the demo or purchase a li cense the plug in interface appears and can be manipulated but audio is not processed by the plug in Important The 14 day demo period can only be activated once and can not be stopped or restarted during this period We recommend you do not ac tivate demo mode until you have the time to thoroughly check out its sound and functionality To activate demo mode 1 Ensure UAD Powered Plug Ins version 5 0 or higher is already installed and con
118. is the Universal Audio online store where UAD devices are registered to your account and UAD plug in authorizations are obtained Bun dled plug in vouchers are redeemed at the store and optional plug in licenses can be purchased at my uaudio as well This chapter provides details about UAD plug in authorization and licensing and the my uaudio com store Important All UAD plug ins must be authorized before they can be used Authorization is accomplished by clicking the Authorize Plug Ins button page 67 in the UAD Meter amp Control Panel For instructions see Authorize Plug Ins Procedure on page 32 For complete details see Authorization Overview on page 47 View cart Figure 5 Accessing my uaudio com from www uaudio com Optional Plug Ins Most UAD Powered Plug Ins require optional licenses to run without restric tions Optional plug in licenses are obtained at my uaudio com the Universal Audio online store Licenses can be purchased separately page 52 or they can be purchased with vouchers that are bundled in most retail packages Retail Packages The UAD devices are available in a variety of retail packages The difference between each package besides the UAD device itself is the selection of plug ins that are included Each package includes a set of bundled plug ins and a voucher that can be redeemed at my uaudio com for UAD plug in li censes UAD Powered Plug Ins Manual 46 Chapter 4 My ua
119. is zero when the knob position indicator is pointing straight down Midrange Frequency The midrange frequency is specified with the outer ring of the dual concentric knob controls The ring knob pointer can be dragged with the mouse or click the peak dip symbol above the knob to cycle through the available frequen cies shift click to step back one frequency The available midrange center frequencies are 7 2 kHz 4 8 kHz 3 2 kHz 1 6 kHz 0 7 kHz 0 35 kHz and off When off is specified the band is dis abled UAD DSP usage is not reduced when the band is off High Q Select The High Q button switches the response of the midrange band from normal to a narrower bandwidth for a sharper EQ curve The band is in normal mode by default it s in high Q mode when the button is down darker Low Shelf The low band is controlled by dual concentric knobs deliv ering smooth shelving equalization The inner knob con trols the band gain and the outer ring selects the frequency or band disable Low Gain The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approxi mately 15 dB The gain value is zero when the knob position indicator is pointing straight down UAD Powered Plug Ins Manual 323 Chapter 32 Neve 31102 Console EQ Cut Filters Phase Rotate the control clockwise to boost the selected low band frequency or counter
120. its dis tinctive sonic character The coils for each channel are at fixed but different lengths which define the available single delay times of 16ms for channel A and 14ms for channel B The two channels can be cascaded in series via external routing for a total available delay time of 30ms at reasonable fidelity for its era which accord ing to the original product brochure brings complete respectability to the heretofore marginally feasible acoustical delay line The UAD Cooper Time Cube plug in has all the vibe of the original with mod ern feature enhancements It is a true stereo plug in with two independent de lay processors Each channel has its own set of controls and there are global controls that affect the plug in overall Cooper Time Cube Controls Global Controls Gain The global controls affect both channels of the processor simultaneously COOPER TIME CUBE Mk Il MODEL S20 i6 Figure 56 The global controls Wet Solo and Power also global controls are not shown here Gain controls the signal input level to the plug in for both A left and B right channels Gain affects the combined wet and dry signals The available range is 15 dB and the 12 o clock position is unity gain UAD Powered Plug Ins Manual 157 Chapter 13 Cooper Time Cube HP Filter Echo A B Sync Send Coils The 12 dB per octave high pass filter is used to reduce low frequencies at the input to the delays when de
121. may appear to be a dash actually represents a decimal point This anomaly mimics the original hardware This control determines the amount of gain or attenuation to be applied to the mid band Up to 15 dB of boost or cut is avail able The Q bandwidth on the midrange band is fairly wide and gentle at low settings but gets progressively narrower as the gain value is in creased UAD Powered Plug Ins Manual 249 Chapter 23 Helios Type 69 Equalizer Mid Type High Shelf Gain EqCut Phase Level Adjust Line Note Whether gain or attenuation is applied is determined by the Mid Type control mode When switched to Peak the Mid Gain control will boost the a Mid Type specifies whether the midrange band is in Peak or Trough midrange When switched to Trough Mid Gain will cut the midrange Note When using Trough a 1 dB loss occurs on the overall output of the plug in This is normal the behavior is the same in the original hardware The High Shelf Gain knob offers fixed frequency shelving equalization at 10 kHz This stepped control can cut the tre ble by 3 dB or 6 dB or boost it in 2 dB increments up to 16 dB emang This switch is an EQ bypass control lt allows you to compare the wm processed and unprocessed signal The EQ is active when in the in up position The EQ is bypassed when in the out down position EqCut does not re duce UAD DSP load In the original Helios
122. might be more appropriate for sources where greater chaos may be musical UAD Powered Plug Ins Manual 471 Chapter 48 Roland RE 201 Space Echo Splice Wet Solo Caution D y Normally the splice on the tape loop comes around at regular in 1 tervals This interval varies and is determined by the selected Re _ peat Rate Depending on what Tape Quality is selected the splice can be subtle or obvious and can work as a catalyst for chaos es pecially when the RE 201 is in a state of self oscillation This switch resets the location of the tape splice when the switch is actuated It is a momentary switch that pops back into the off position immediately after it is activated allowing the user to trigger the splice point at will Note that the splice effect isn t immediate It drops the splice at the write head and it needs time to go over the read heads at which point there will be a dropout and then the tape capstan where it will create some wow and flut ter When this switch is OFF the dry unprocessed signal is mixed with the wet processed signal When set to ON only the pro cessed signal is heard Wet Solo is useful when the plug in is placed on an effect group bus that is configured for use with channel sends When the plug in is used on a channel insert this control should generally be OFF Note Wet Solo is a global per RE 201 plug in instance control If the RE 201 generates noise after instal
123. model Note There is one Input Filter per plug in instance Each plate model A B C within a preset cannot have a unique Input Filter value UAD Powered Plug Ins Manual 207 Chapter 18 EMT 140 Plate Reverb Reverb Controls Plate Select Reverb Time Meters Damper Controls Reverb Time Plate reverb systems are extremely simple A re mote damper setting and a high pass or shelf fil ter found at the plate itself Additional manipula tion is often used including reverb return equalization which is typically achieved at the console Predelay is was often achieved when sutivauw Ba necessary with tape delay sending the return to a tape deck Different tape speeds allowed dif imam ferent pre delay amount REVERBERATION TIME A E C The original damper controls are remote control devices usually found some where near the control room for quick access Our hybrid panel combines three remotes into the panel with a switch to select each of the three available systems Note The reverb controls Plate Select and Reverb Time are completely inde pendent from all other plug in controls Three plate models algorithms are available for reverb process ing This switch specifies which plate will be active Each setting is a model of a completely separate and unique plate system Three 140 s for the price of one Note You can also switch the active plate by clicking the A B or C letters above
124. much attenuation compression is oc curing Signal peaks are held for 3 seconds before resetting When Split is on the amount of sidechain attenuation is displayed When Split is off it displays the attenuation of the entire signal The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Toggle the switch to change the Power state the UA logo is illuminated in blue when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled state e For taming sibilance for a full mix mastering best results will usually be ob tained by enabling Highpass and Split modes e Generally female ess and shh sounds vary more in frequency than those of males Due to this situation you may find that using the sidechain filter in Highpass mode or Bandpass mode with a large width may be more responsive e Over de essing can degrade the natural sound of a vocal UAD Powered Plug Ins Manual 390 Chapter 37 Precision De Esser CHAPTER 38 Precision Enhancer Hz Overview The Precision Enhancer Hz allows the user to selectively add upper harmonics to bass fundamentals sometimes referred to as phantom bass This signifi cantly enhances the perceptio
125. of the Mod Filter When the Mod Type is an LFO the label changes to Rate and determines the rate of the LFO When the Mod Type is set to Wah the label changes to Wah and adjusts the wah pedal position Sens When the knob is controlling Sensitivity a higher setting will have a greater more sensitive response to variations in dynamic level Rate When the knob is controlling Rate a higher setting will increase the rate of fil ter cutoff frequency modulation by the LFO The range is from O Hz to 8 Hz Wah When the knob is controlling Wah a higher setting will have a brighter sound just like when a real wah pedal is pressed forward On a real wah pedal the wah filter is alternately enabled and disabled by rocking the pedal to the maximum forward position Similarly when the Wah knob is moved to the maximum position the wah effect is alternately en abled disabled until the knob or an external controller mapped to the knob is moved to maximum again This emulates real wah pedal behavior when an external MIDI control pedal is used in realtime Hint add a rubber stopper to the front of your MIDI pedal to fully emulate a real wah pedal The Sweep knobs determine the frequency range of the Mod Filter The low and high frequency values can be independently adjusted This flexible ar rangement allows the Mod Filter to affect a narrow or broad frequency range and also enables you to tune the frequency response character
126. of 1176s into a pair of the mults Push in 20 to one and four to one simultaneously and it puts the unit into overdrive creating a very impressive sound Murray Allen Murray Allen is a veteran engineer and Director of Post Production for the San Francisco Bay Area company Electronic Arts He has a fascination for gear both old and new and he explains why he thinks the 1176 has been so popular for so long It has a unique sound to it that people like it s very easy to operate and it does a great job You have just two controls relative to the ratio of compression You have input and output and you have attack and release That s all there is It s still my favorite limiter for Fender basses and string basses because you don t know it s working It doesn t change the way the bass sounds it just keeps the level at a more con trollable place Ken Kessie Mixer Ken Kessie En Vogue Tony Toni Tone Ce line Dion is known for being experimental Seems like everybody knows the basic tricks for the 1176 he says But here are two that might be lesser known If you turn the attack knob fully counterclockwise until it clicks the 1176 ceases to be a compressor and acts only as an amplifier Sometimes this is the perfect sound for a vocal And of course the unit can be over driven adding another flavor of distortion in case your plug ins are maxed out Then for that hard to tame lead vocalist the one that backs up from th
127. of the FATSO Jr Therefore both plug ins use the same amount of UAD DSP UAD Powered Plug Ins Manual 193 Chapter 17 Empirical Labs EL7 FATSO FATSO Screenshots ligo INPUT 15 12 10 Warmth 3 2 1 OUTPUT Pil a fi 1 g b BUSS Tracking 3 5 Pinned TRANNY Labs Zah ibili amp 8 Ww ap rcomp 3 6 ki aai Na OM BYPASS io SPANK 4 Warmth 7 To LINK click Link LEDs LINK aa F LE COMPRESS COMP 29 jf ih Foe ee j m 2 u wa INPUT 15 12 10 Warmth 5 3 2 1 OWT PUT A 1 a a a gt 4 wae BUSS Tracking 4 5 Pinned TRANNY J GP rump 3 6 ovu BP i Wann Yg UY YRASS G To LINK click LINK Link LEDs COMPRESS COMP 20 j 1T 5 ee ee IMMM p THRESHOLD Compressor Controls 32 MG 60Hz Am5 05 Sec an AG 5is 120Hz 10m8 A Sec Thresh 240Hz 30mS 2 Sec unity 4e0Hz oms 5 Sec r l F Chi HP SIDE FILT ATTACK RELEASE Figure 77 The FATSO Sr plug in window FATSO Functional Overview WE ap 7Comp 4 ident paaa Compressor Controls Ng 3 N W mar INPUT 15 12 i0 Warmth 5 3 2 1 OUTPUT gi i Ko gt ge Mg BUSS Tracking 3 3 5 pinned TRANNY vali ap Comp 4 6 ov BYPASS bra 4 4 Warmth 7 jiga af K To LINK cik P LINK Link De F CONTROLS COMP 20 15 ii 7 5 j me Te INPUT 15 12 10 Warmth 5 3 2 1 OUTPUT mie bi a ye 7 b2
128. online store from www uaudio com UAD Powered Plug Ins Manual 51 Chapter 4 My uaudio com Registration Account My Profile Buying Plug Ins Registration at my uaudio com is required for all UAD users to obtain UAD de vice authorizations redeem vouchers purchase optional UAD plug in li censes get software updates and receive customer support It is also an op portunity for you to inform us of your system details so we can serve you better and for us to keep you informed about important updates and new product announcements A my uaudio com account is required to use UAD Powered Plug Ins because UAD plug ins must be authorized for use and authorization can only occur of ter the UAD device is registered to an account UAD registration also entitles you to free UAD Customer Support and special promotional offers Creation The first time you visit my uaudio com you are prompted to create your ac count Your email address is your account login You ll be prompted to enter your name address and password and set your email notification prefer ences Login When you revisit my uaudio com you are prompted to login to your account Your email address is your account login the password was specified when the account was created If you forget your password you can have the store email your password to you You have the option to stay logged in via a browser cookie if desired so you don t have to keep entering the cred
129. or Always on top floating view mode In normal mode the window can be covered by windows of the foreground application When in Always on top mode the Meter window always floats on top of other windows even when other applications are in the foreground so you can always see the meter and access the disable but tons page 62 This setting is saved when the meter is quit To enable Always on top mode click the control panel menu in the Meter win dow title bar Figure 8 on page 64 and select Always on top The mode is active when a checkbox appears next to the item in the menu Note If No Devices Found appears in the UAD Meter window instead of the expected buttons and gauges then the UAD drivers are not communicat ing with the UAD hardware If this occurs double check hardware and soft ware installations and or contact customer support UAD Powered Plug Ins Manual 61 Chapter 6 UAD Meter amp Control Panel UAD Meter Elements Title Bar Disable Current Resource Gauges Refer to Figure 7 on page 60 for these element descriptions The title bar at the top of the UAD Meter window contains buttons to quit the UAD Meter amp Control panel application and minimize the UAD Meter win dow and a drop menu to access the Control Panel window functions The Disable Current button disables all UAD Powered Plug Ins Gai that are currently running This enables you to add new UAD cE plug ins for offli
130. other upsampled plug ins You may use Delay Comp or TrackAdv to compensate See Compensating Upsampled Plug Ins on page 107 for more information Important Compensating for Precision Multiband latency is not required if the host application supports full plug in delay compensation throughout the entire signal path or when it is used only on the outputs See Host PDC Im plementation on page 100 UAD Powered Plug Ins Manual 434 Chapter 43 Precision Multiband CHAPTER 44 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 5 and includes both the EQP 1A and MEQ 5 modules The EQP 1A is iden tical in UAD Pultec and UAD Pultec Pro In designing the Pultec equalizer plug ins we performed detailed analyses of the signal path and equalization characteristics of selected well maintained in spec Pultec equalizers used regularly in professional studios A golden unit was selected and the resulting model reproduces the measured equal ization and signal path characteristics to within a fraction of a dB mean error for all knob settings
131. peak levels Integrated Meter Monitor System The K System is not just a metering system it is designed to be integrated with calibrated monitoring system levels In a full K System implementation O dB on the level meter yields 83 dB sound pressure level SPL per channel in the monitor output level 86 dB running two channels in stereo when measured UAD Powered Plug Ins Manual 408 Chapter 41 Precision Limiter Type with 20 20 kHz pink noise on an SPL meter set to C weighted slow i e aver age response It is this calibrated meter monitor relationship that establishes a consistent average perceived loudness with reference to O dB on the meter Sliding Meter Scale With the K System programs with different amounts of dynamic range and headroom can be produced by using a loudness meter with a sliding scale because the moveable O dB point is always tied to the same calibrated mon itor SPL The Precision Limiter provides several meter ranges for various types of program material see Type on page 409 Long Live Dynamic Range The K System can help combat the bane of the loudness wars which is all too common in today s music whereby material is made to appear louder when compared to other material at the same playback volume at the ex pense of dynamic range and fidelity The Type switch defines the O dB point in the meter scale see Sliding Meter Scale on page 409 There are three different K S
132. plug in can be pro cessed This can increase the distortion characteristic at the output particularly when the Limit function Limit on page 417 is en gaged The available range is 12 dB A good starting point for sonic experimenta tion is to set the input level so the input peaks occur around O dB then adjust the other controls to taste UAD Powered Plug Ins Manual 415 Chapter 42 Precision Maximizer Shape Bands The Shape knob is the primary saturation control for the Maximizer effect It contours the harmonic content and ap parent dynamic range of the processor by changing the small signal gain of the saturator The available range is O 100 At lower settings apparent loudness is not as dramatic but harmonic processing still occurs producing a richer sound with minimal reduction of dynamic range As Shape is increased the sound becomes more saturated with sonically pleasing distortion and perceived loudness punch and clarity Shape values between 0 50 will make the effect more subtle but a richer sound is still obtained Lower Shape values accentuate louder peaks which can sound great on percussive instruments Solo instruments can also benefit trom lower Shape values by taming the peaks while maintaining dynamic range As Shape is increased beyond 50 presence excitement and harmonic col oration can be dramatic yet still highly musical and without the dynamic squashing of typical limi
133. plus the distinct sounds of multiple tape formulas Put simply it s the world s most ac curate representation of professional analog tape recording now available on Mac and PC As the first microprocessor controlled tape machine the Studer A800 marked a new generation of professional multitrack recorders when it was introduced in 1978 Years ahead of its time the A800 remains a sonic benchmark and can still be found in studios all over the planet However with their massive steel frame and meter bridge twin half horsepower motors and cast alloy deck plates original A800 units tip the scales at a backbreaking 900 pounds 408 kg not to mention the space required to house such a device The UAD 2 plug in version poses none of the hardware hassles of manual calibra tion and maintenance nor the potential for tape degradation while retain ing all the beautiful sonic qualities that make tape such a beloved recording medium Just drop the A800 in your first insert on every track desired and en joy the benefits of having recorded to tape All visual and aural references to Studer products and all use of Studer trademarks are being made with written permission from Harman International Industries Inc Any references to third party tape formulations are used solely for identification and do not imply and endorsement by or affiliation with any tape manufacturer UAD Powered Plug Ins Manual 503 Chapter 52 Studer A800 Studer
134. possible on any other guitar system can be realized Pre Hex also offers variable component level morphing between any two amp pre sets truly bringing creative guitar voicing to the next level As with the UAD Powered Plug Ins CS 1 channel strip the components of Ni gel are also supplied as individual plug ins for unprecedented DSP and cre ative efficiency Each Nigel module includes Universal Audio s proven smoothing algorithm for zipper free automation of all parameters Nigel may change the way you think about guitar signal processing Never before have such exciting realistic and extreme guitar sounds been heard from a software plug in Enjoy UAD Powered Plug Ins Manual 352 Chapter 35 Nigel Nigel Screenshot THRESH THRESH RATIO i y a ATACE w edin H j RELEASE On boo st on LO PATE LO SWEEP HI PEGE HIX na a a EG Sy 256 FOTV DE Sn Boeie O On 7 FLT EP NG F TAC ee 1 PATE LO SWEEP HI PEX OUTPUT CA EC gt EB EC MODTYPE EEE FIER SETS Figure 122 The Nigel plug in window Nigel Modules pre post PREP Lj T kin HI COLOR CI a Te MID Hi OUTPUT lt s Eo 2G AMP E vo Masa bright Ele 128 fr Na PG Ta HE GA ba a See ae ga CA Fe F F et 3 JI TREM PADE PENT THRESH FADE IN ONSET RATE DEPTH IFOTVDE SANE MODE IT ate cya AC PEL Be Fi PATE DEPTH TME RECIR DAMPING Lili a Sf oe ET LFOTVDE Sno MODE e acho PECIR DAMPING MIX
135. presets Tips for designing a natural environment sound e Make timing proportional As the size of the simulated environment in creases the length of the pre delay for the EF LF and LF tail should increase proportionally Typically ER and LF pre delay should be not too far apart with LF starting shortly after ER e Place the ER timing preceding leading into the LF e ER amplitude naturally decays Slope the amplitude down from left to right e Use ER filtering as this improves the reverb sound in almost all situations e Try a gradual Lf or Hf roll off or boost with the EQ section The left and right most EQ bands are shelf filters which are perfect for this job The ad jacent bands can be used to shape the roll off e Try natural materials and air densities before the unnatural custom or in verse materials and air densities e Try adding onset slope to the LF as many environments naturally have an LF onset For additional info e Read Chapter 45 RealVerb Pro page 444 of this manual UAD Powered Plug Ins Manual 192 Chapter 16 DreamVerb CHAPTER 17 Empirical Labs EL7 FATSO Introduction FATSO Jr Endorsed and scrutinized for accuracy by designer Dave Derr of Empirical Labs originator of the hugely popular Distressor UA has painstakingly rec reated the highly regarded FATSO Jr as a plug in capturing the sonic nu ances of the hardware The FATSO Full Analog Tape Simulator and Opti mizer is
136. realtime The filter bank mode of Precision Multiband can be specified with the Phase Mode switch Click the switch to toggle the mode The default mode is Linear Both filter bank modes achieve the magnitude response of a Linkwitz Riley fil ter and provide perfect magnitude reconstruction Linear Use linear phase mode when perfectly phase coherent results are desired Minimum phase mode provides a more analog i e colored sound and uses slightly less UAD CPU While the DSP savings are rather negligible there is a functional advantage to Min phase mode When Precision Multiband is used as a track compres sor Min phase mode provides the advantage of rapid response time of the fil ters for smooth automation and filter sweeps UAD Powered Plug Ins Manual 433 Chapter 43 Precision Multiband Power Switch The Power Switch determines whether the plug in is active Click the toggle button or the UA logo to change the state When the Power switch is in the Off position plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP Loadlock on page 73 is enabled When the plug in is bypassed with this switch but not by the host bypass the I O meters and the Input Level knob remain active Precision Multiband Latency The Precision Multiband requires a large processing buffer to perform its sonic wonders This buffer results in a significantly larger latency than other UAD plug ins including all
137. right area To select the first or second material click its material pop up selector menu to view the available materials then drag to the desired material and release For a discussion of the various materials see About the Materials on page 449 In addition to the perfect materials marked with a K DreamVerb provides J materials that are not found in RealVerb Pro These perform the inverse of the K mate rials The materials marked with a J preferentially absorb low frequencies they give the selected decay time at high frequencies and a much shorter decay time at low frequencies DreamVerb allows you to specify the density of the air in the reverberant space with this menu enabling another dimension of sonic control The more dense the air is the more it absorbs high frequencies At the top of the Air Density menu is Ideal Gas where no frequencies are absorbed The air quality increases in density with each selection as you go down the menu Inverse Air and Inverse Thick Fog ab sorb more low frequencies instead of high frequencies UAD Powered Plug Ins Manual 182 Chapter 16 DreamVerb Materials The Materials Blending Bars see Figure 71 on page 181 are used to blend Blending Bars the three materials together at any ratio The materials are not just mixed to gether with the bars the reverberation algorithm itself is modified by blend ing Materials Blending Blend the two mate
138. sec onds The multiplier refers to a factor of the main decay time lever 1 Higher values upper lever positions generally result in more high frequency content in the reverb tail Predelay Lever 4 Lever 4 is used as a typical reverb predelay parameter See Lever 4 Predelay on page 215 for more information Front Rear In Reverb mode the Front Rear Outputs switch is illuminated Changing the switch setting will yield a slightly different effect See Front Rear Outputs on page 215 for more information UAD Powered Plug Ins Manual 218 Chapter 19 EMT 250 Electronic Reverberator Delay Delay program mode offers two independent delay processors one each for the left and right output channels Up to 375ms delay time is available for each channel Delay repeats feedback are not available in Delay mode use Echo mode if delay feedback is desired Note The maximum per channel delay time of 375ms in Delay mode is ob tained by setting the coarse fine and predelay times to their respective max imum values Coarse Delay Time Lever 1 Lever 1 controls the coarse delay time for the currently selected channel left or right The currently selected channel is defined by lever 3 The coarse delay time range is O to 300ms selectable via 16 steps The green LEDs on the right side of lever 1 display the current value the red LEDs on the left side of lever 1 are inactive Fine Delay Time Lever 2 Lever 2 control
139. shelving EQ a six frequency 7 2 4 8 3 2 1 6 0 7 and 0 35 kHz peaking EQ with two Q types a four frequency 220 110 60 and 35 Hz low shelving EQ a four frequency high pass filter 45 70 160 and 360 Hz and five fre quency 6 8 10 14 and 16 kHz low pass filter Other features include a 30 dB range of Gain Trim plus phase reverse and EQ bypass The UAD Neve 31102 license also includes a DSP optimized 31 102SE Special Edition EQ for higher instance counts Neve 31102 Screenshot Figure 112 The Neve 31102 plug in window UAD Powered Plug Ins Manual 321 Chapter 32 Neve 31102 Console EQ Neve 31102 and 31102SE Controls Input Gain High Shelf The Input Gain control sets the level at the input of the plug in and doubles as a plug in bypass control The range is from 20 dB to 10 dB and off When the Input Gain knob snaps to the off position plug in processing is disabled and UAD DSP usage is re duced Note UAD 2 only UAD 2 DSP usage is reduced only when DSP Loadlock oage 73 is disabled If DSP LoadLock is enabled the default setting setting Input Gain to off will not reduce DSP usage Tip Clicking the off screen label toggles between off and the previously set Input Gain value You can also click the Neve logo to toggle between off and the previous state The high shelf delivers smooth high frequency shelving equalization controlled by dual concentric knobs The in
140. signals below the threshold are attenuated by the range RGE amount see Figure 119 on page 340 and hysteresis is available see Figure 120 on page 341 Expansion mode is enabled by rotating the hysteresis HYST control fully counter clockwise or clicking the EXP label In expansion mode the gate ap plies downwards expansion at a fixed 1 2 ratio with the amount of gain re duction determined by the range control Two attack speeds and a continu ously variable release time are available in both modes GATE EXPANDER Threshold Threshold Cut d6 In Figure 119 The Neve 88RS Gate Expander diagram Salada This button activates the gate expander module The module is Enable G E active when the button is gray and the green indicator illumi nates You can use this button to compare the gate expander settings to that of the original signal or to bypass the module altogether UAD DSP load is reduced when this module is inactive unless UAD 2 DSP Loadlock on page 73 is en abled UAD Powered Plug Ins Manual 340 Chapter 34 Neve 88RS Channel Strip Gate Exp Hysteresis HYST Gate Ex Threshold THR The Hysteresis knob sets the difference in threshold for signals that are either rising or falling in level Signals that are rising in level are passed when the level reaches the threshold value E plus the hysteresis value Signals that are falling in level are E not passed at the lower threshold lev
141. slider is in the cen ter position The band gain sliders can be instantly moved to any position by clicking any where within its range Tip Clicking just above or below the O zero graphic returns the associ ated slider to its center zero gain position The band gain sliders will jump to any position clicked within the red zones Click near the O to return to zero gain Figure 178 Trident A Range slider shortcuts UAD Powered Plug Ins Manual 521 Chapter 53 Trident A Range EQ High Pass Filters Output Level EQ In Three high pass filters are available and they can be used si multaneously in any combination The available cutoff frequen cies are 100 Hz 50 Hz and 25 Hz with a slope of 18 dB per octave Each filter is active when its button is engaged darker Each high pass filter adds to the others For example engag ing the 50 Hz filter will rolloff frequencies below 50 Hz but en gaging 100 Hz as well will also attenuate frequencies below 50 Hz even more than if 50 Hz was used by itself mamaga The Output knob controls the signal level that is output from the ATA plug in The default value is O dB The available range is 24 dB to 12 dB Tip Click Output or O zero to return to zero gain position The EQ In switch determines whether the plug in is active When the switch is in the Off lighter position plug in processing is disabled and UAD DSP us
142. sliders which control the 224 parameters and functionality Some of these buttons and sliders have dual and even triple functionality which makes using certain buried functions a tricky procedure The UAD Lexicon 224 interface resembles the appearance and functionality of the original hardware remote control Operation has been simplified how ever by reassigning the buried shift functions to the buttons that are no longer necessary in a plug in such as managing saved programs Additional parameters are exposed by opening a panel cover The original Lexicon 224 hardware has programs that are defined by the firmware ROM Read Only Memory chip installed in the unit A Lexicon 224 program is comprised of a unique DSP algorithm and an initial set of factory parameter values voiced by Lexicon In modern terminology these ini tial values would be called a preset In Lexicon 224 hardware speak a program is called loaded which selects the DSP algorithm and sets the default recommended factory parameter val ues These settings can then be modified with the various controls and saved in a user register for later recall The plug in behaves the same way except user registers are not implemented Instead user settings are stored within the session file or they can be saved as a preset for later recall like all other UAD plug ins Lexicon 224 version 4 4 firmware contains nine programs
143. speakers e A different effect response will be achieved when the plug in is used pre compression It is recommended to experiment with processing order as re sults can vary substantially UAD Powered Plug Ins Manual 395 Chapter 38 Precision Enhancer Hz CHAPTER 39 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 Unlike other enhancers that function by fre quency delay or filtered clipping the Precision Enhancer kHz works on spe cialized techniques of equalization and dynamic expansion that can be used as a highly versatile effect The five Modes A B C D and the shift clickable All present various con trol configurations to support the widest array of source material With Modes A and B the filtered audio is mixed in with the dry signal according to the Ef fect control For Modes C D and All audio is passed through a unique up wards expander where the expanded audio is then filtered before being mixed with the dry signal For these modes Effect is used as a fader on the way into the expander The release can be ad
144. stacked one above another in series on the send group bus that the track is assigned to NOT the total number of UAD Powered Plug Ins used The Samples parameter shifts the audio with single sample accuracy in either direction It is provided mainly for compensation of the upsampled UAD plug ins Compensating Upsampled Plug Ins on page 107 However it can be used anytime minute shifting of audio is desired Audio can be shifted up to 128 samples in either direction Note The keyboard shortcuts PageUp PageDown and Shift Arrow auto matically add the 13 sample Pultec value for your convenience TrackAdv Examples Insert Situation You have one track with MIDI and one track with audio You put a UAD plug in on the audio track Result All tracks are perfectly aligned Solution None needed Delay compensation on track inserts is handled au tomatically by most host applications UAD Powered Plug Ins Manual 106 Chapter 9 UAD Delay Compensation Send Group Bus Situation You have a song with drums and guitar on audio tracks and a MIDI bass line You want a cohesive room reverb on the audio tracks so you send them to the UAD RealVerb Pro via an effect send Result The RealVerb Pro ef fect return plays late in relation to the MIDI track 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 re turn the TrackAdv Plugs valu
145. stage output amplifier followed by the output transformer Input Input Optical Voltage Cathode gt Transformer Attenuator Amplifier Follower Peak Reduction Voltage aire ont Amplifier Driver Pre Se Emphasis L gt Stereo Interconnection Trim Negative Feedback V Output Output Transformer gt Figure 89 LA 2A signal flow UAD Powered Plug Ins Manual 256 Chapter 24 LA 2A and 1176LN LA 2A Controls SB rat a GAIN REDUCTION A ENGINEERING CO TELFTRONIN sno wie KAO OUTPUT 10 a HI Ea Figure 90 The LA 2A plug in window Limit Compress Gain Peak Reduction Meter On Power Switch Stereo Operation Changes the characteristics of the compressor I O curve When set to Com press the curve is more gentle and presents a low compression ratio When set to Limit a higher compression ratio is used 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 Adjusts the amount of gain reduction as well as the relative threshold A Peak Reduction value of O yields no compression Rotate this control clockwise until the desired amount of compression is achieved to monitor the Peak Reduc tion set the VU Meter to Gain Reduction The Peak Reduction should be ad justed independently of the Gain contro
146. switch the same UAD ExpressCard unit between desktop and notebook computers Note UAD Xpander and UAD Xtenda are discontinued products Mackie UAD 1 The Mackie card is a UAD 1 Mackie was the worldwide distributor of UAD Powered Plug Ins for its first two years on the market Universal Audio has been the developer and manufacturer of UAD Powered Plug Ins hardware and software since its inception WAD 1 vs UAD 2 SOLO DUO QUAD Power Comparison Meter Quan pa pa pa pa Ka Ki Ni Ci O 0 C0 0 aa ea EEE Hm ii m m a aag ee ee ee w eL LG DB UAD Powered Plug Ins Manual 40 Chapter 3 UAD System Overview The UAD Software Installer Powered Plug Ins Optional Plug Ins The UAD Powered Plug Ins software consists of the UAD installer the UAD plug ins the UAD Meter amp Control Panel application the UAD device drivers and the user documentation The UAD Powered Plug Ins software installer contains all the UAD software components plug ins drivers and documen tation and copies them to disk during installation There is one UAD software installer for each OS platform Windows and Mac The UAD software installer supports all variations of UAD hardware devices Powered Plug ins are the VST RTAS and Audio Units plug in files that are loaded within the host application The plug ins are where the graphical user interface GUI is seen Figure 18 on page 85 and where the various control pa rameters can be manipu
147. synergy came the 1176LN leveling amplifier the 1108 FET preamp and in con junction with Ed Long the 813 family of speakers Mentor and Innovator Allen Sides currently owner of Ocean Way Recording whose studios to day encompass almost unchanged what was part of United Western calls Putnam my best friend When Bill started designing control rooms they were about eight feet by six feet and they were calling them booths he says He built the first of what we now call conventional control rooms with speakers above the windows The whole control room concept we think of today was Bill s The first console that had equalizers in every channel was Bill s the feedback equalizer was Bill s creation he built all his own limiters his own consoles he could tune his own pianos he basically did the whole deal Around 1962 he was doing half speed cutting to get the high frequencies on the discs re calls Sides He d designed his own mastering systems because you couldn t do it any other way He was recording on custom made 30ips machines and he was doing all the super hi fi stuff like the Mercury Living Presence series Sides who is renowned for both his golden ears and his abilities in the art of the deal ap preciated Putnam on many levels He was an exceptional businessman with a tremendous un derstanding of things he says If had a complex deal and couldn t quite figure out how to approach it I d s
148. text field at the bottom of the Timing panel 2 Drag the Predelay control for the late field reverberations left or right from 1 300 milliseconds to affect the delay between the dry signal and the on set of late field reverberations The Predelay time is indicated in the text tield at the bottom of the Timing panel UAD Powered Plug Ins Manual 453 Chapter 45 RealVerb Pro Positioning 3 Drag the Decay Time control for the late field reverberations left or right from O 10 96 00 seconds to affect the length of the reverb tail The De cay Time is indicated in the text field at the bottom of the Timing panel 4 To affect how quickly the late field reverberations become more dense ad just the Diffusion control at the right of Late Reflection display in the Timing panel The higher the Diffusion value near the top of the display the more rapidly a dense reverb tail evolves One of the unique features of RealVerb Pro is the ability to separately position the direct path early reflections and late field reverberation The Position panel see Figure 157 provides panning controls for each of these reverb components In addition a proprietary Distance control adjusts perceived source distance These controls allow realistic synthesis of acoustic spaces for instance listening at the entrance of an alley way where all response com ponents arrive from the same direction or listening in the same alley next to the source where th
149. that was added that was not implemented correctly Unfortunately in a production mistake the circuit was placed in across both the direct signal and the tape playback causing the dry source signal sustain to be cut off prematurely Most modded their units to re move the noise compressor and Maestro quickly removed the compressor de sign from the design The Echoplex EP 3 hardware unit An article about the Echoplex can be found in the Analog Obsession ar ticle of the Universal Audio May 2009 Webzine at e htto www uaudio com webzine 2009 may analog html EP 34 Tape Echo is not affiliated with sponsored nor endorsed by any companies currently using the Echoplex name The EP 34 Tape Echo name as well as the EP 3 and EP 4 model names are used solely to identify the classic effects emulated by Universal Audio s product UAD Powered Plug Ins Manual 233 Chapter 20 EP 34 Classic Tape Echo CHAPTER 21 Fairchild 670 Overview In the annals of compressor history the products produced by Fairchild are some of the best built and most highly prized on the vintage market The most famous Fairchild products produced were the 660 and 670 compressor lim iters which are famous for their fantastic sound quality The stereo Fairchild 670 is probably the Holy Grail of compressors in studio gear esoterica not only because of its price known to fetch 530 000 and be yond on the vintage market but also its extreme rar
150. the Bob Katz K System metering specifications This meter ing allows the user to see what is happening to audio with a great deal of ac curacy with simultaneous RMS and Peak metering and adjustable Peak Hold And since we know how valuable good metering is the plug in can also be bypassed and used strictly as a high resolution meter Key features include user adjustable Release or intelligent Auto Release which allows for fast recovery minimizing distortion and pumping and a unique selectable Mode switch which allows you to delicately tailor the at tack shape and control the presentation for different material Mode A is the default shape suitable for most material while Mode B can be particularly useful on minimal and or acoustic program material yielding a more subtle touch The Precision Limiter is yet another indispensable UAD tool for your audio ar senal UAD Powered Plug Ins Manual 406 Chapter 41 Precision Limiter Precision Limiter Screenshot OUTPWT Er 30 LA ASA 1 GAIN 74 3F 16 15 12 lt 9 RELEASE eee REDUCTION UNIVERSAL AUDIO LIMITER PRECISION MASTERING 1 ERIES Bi AUTO Ye A auio MODE B OFF WEEN cee cutee HOLD er TOOM UB SCALE S NORMAL TYPE Figure 138 The Precision Limiter plug in window Controls Overview Control knobs for the Precision Limiter behave the same way as all UAD plug ins Input Output and Release values can be modified with text entry See
151. the Materials panel Figure 71 on page 181 effect the spatial characteristics of the reverb The pattern of early reflections in a reverb is determined by the room shape s and the ER start and end points Two shapes can be blended from 0 100 All parameters can be adjusted dynamically in real time without causing dis tortion or other artifacts in the audio 21 shapes are available including var ious plates springs rooms and other acoustic spaces Note The Shape parameters effect only the early reflections They have no effect on the late field reverberation Shape Dome First shape First shape selector display menu Blending bar Second shape Second shape display selector menu First shape Spring Second shape percentage percentage Sa 4 Figure 70 DreamVerb Shape panel UAD Powered Plug Ins Manual 179 Chapter 16 DreamVerb Shape Menus Shape Blending Bar DreamVerb lets you specify two room shapes that can be blended to create a hybrid of early reflection pat terns The first and second shape each have their own menu The available shapes are the same for each of the two shape menus The first shape is displayed in the upper area of the Shape panel and the second shape is displayed in the lower area To select a first or second shape click its shape pop up selector menu to view the available shapes then drag to the desired shape and release The Shape Blending Bar see Figure 70 on page 179 is used
152. the Power switch should be used UAD Powered Plug Ins Manual 417 Chapter 42 Precision Maximizer Output The Output knob controls the signal level that is output from the plug in The available range is 12 dB to O dB Note that when Limit is not engaged it is possible for the output level to exceed O dB In this case Output can be lowered to eliminate any associated clipping When Precision Maximizer is used for CD mastering and it is the last processor in the signal chain the recom mended Output value is 0 10 dB Output Meter The stereo peak Output Meter displays the signal level at the out put of the plug in The displayed range is from 40 dB to O dB The very top segment of the Output Meter is a clip LED one each for the left and right channels which illuminates when the signal exceeds O dB The clip segments are held for three seconds be fore resetting E Note The Limit function prevents the output signal from exceeding O dB Therefore the clip LED s will only illuminate if Limit is off Power The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the mia UAD DSP load load is not reduced if UAD 2 DSP Load ti Lock on page 73 is enabled OFF LEES Toggle the switch to change the Power state the UA logo is illuminated in blue when the plug in is active Note You can click
153. the amp controls These two amp types can then be morphed to smoothly transform one amp type into another creating new sounds never before possible Morph accom plishes this task by interpolating between amplifier component values of the A and B Amp types as the slider is moved Morph is NOT a blend or crossfade control Morph allows you to continuously shift between two completely different amp sounds in realtime with full automation And because the Color and Bent knobs also control multiple parameters simultaneously which is essentially a morph amazing new dynamically shifting timbres can be realized Preflex has two groups of Lo Mid and Hi equalizer controls Pre EQ is before the amplifier and Post EQ is after the amplifier Both sets of EQ are available simultaneously The actual frequency and bandwidth of a particular EQ knob depends on the amp type setting The EQ knob values are offsets relative to the preset amp type value they do not display absolute values The Pre EQ group modifies the tone of the signal before it passes into the Amp Note that the EQ knob values are offsets relative to the preset amp type value they do not display absolute values Pre EQ Lo Knob Modifies the low frequency response of the signal before the Amp This con trol is a set to a fixed frequency but the frequency changes with the amp type UAD Powered Plug Ins Manual 359 Chapter 35 Nigel Amp Post EQ Knobs Amp Color Knob
154. the chorus or flange settings the maximum delay is 125 msec In the flanger modes the L and R delay controls have slightly different func tions than when in the chorus modes The high peak of the flanger is con trolled by the settings of the L and R delay controls The low Peak of the flanger is determined by the setting of the Depth control When delay times longer than 300ms are desired use the DM 1L plug in in stead DM 1L has a maximum time of 2400ms per channel UAD Powered Plug Ins Manual 166 Chapter 14 CS 1 Channel Strip Mode Pop up Menu Rate Knob Depth Knob LFO Type Pop up Menu Recirculation RECIR Knob Determines the DM 1 effect mode The available modes are Chorus Chorus180 QuadChorus Flanger1 Flanger2 Dual Delay and Ping Pong Delay In addition to reconfiguring the DM 1 s settings the Mode also deter mines the available parameter ranges for L R Delay and Depth In Chorus mode both oscillators or modulating signals are in phase In Chorus 180 mode both oscillators the modulating signals are 80 de grees out of phase inverted In QuadChorus mode both oscillators the modulating signals are 90 de grees out of phase In Ping Pong delay mode you will only get a ping pong effect if you have a mono source feeding the DM 1 on a stereo group track or send effect On a mono disk track it works exactly like Dual Delay Sets the modulation rate for the delayed signal expressed in Hert
155. the device Each bundle has either a set of included plug ins or a voucher system that you use to specify the par ticular plug ins you want at our online store For a detailed overview about the UAD Powered Plug Ins system and how it operates see Chapter 3 UAD System Overview Package Contents Each UAD retail package includes e Printed Information Sheet e UAD DSP hardware device e UAD Software Installer CD ROM with PDF user documentation e UAD plug in voucher if applicable redeemable at UA online store e UAD 2 Satellite Chapter 11 UAD 2 Satellite and UAD 2 SOLO Laptop and UAD Xpander Chapter 10 UAD ExpressCard Products have addi tional contents Documentation Overview This section describes the various instructional and technical resources that are available for installing using and troubleshooting UAD Powered Plug Ins Documentation for the product line is available in written video and on line formats ReadMe The ReadMe contains important late breaking information that may not be available in other locations Please review all the information in the ReadMe before installing or using UAD Powered Plug Ins The ReadMe file is presented for viewing during the software installation process UAD Powered Plug Ins Manual 20 Chapter 1 Introduction User Manual Windows Mac Manual Conventions Platforms Windows Mac UAD Nomenclature Screen Shots This complete user manual for th
156. the gate mode on earlier hard ware consoles Gate 2 G2 Gate 2 mode operates the same way as Gate 1 but has a different no chat ter response characteristic that is derived from later versions of the hard ware Threshold defines the input level at which expansion or gat ing occurs Any signals below this level are processed Sig nals above the threshold are unaffected Threshold is contin uously variable from 30 dB to 10 dB 30 yii THRESHOLD 1n typical use it s best to set the threshold value to just above the noise floor of the desired signal so the noise doesn t pass when the de sired signal is not present but below the desired signal level so the signal passes when present Range depth controls the difference in gain between the gated expanded and non gated expanded signal Higher values increase the attenuation of signals below the threshold When set to zero no gating or expansion occurs Range is at h 4 continuously variable from O dB to 40 dB RANGE Release sets the amount of time it takes for gate expander pro cessing to engage once the input signal drops below the Threshold value The available range is O 1ms to 4 seconds Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks Note Fast release times are typically only suitable for certain types of per cussion
157. the tempo of the host application using the Tempo Sync feature When Tempo Sync is activated the time based parameters that are available for synchronization are changed to note duration values and will sync to the tempo of the host application using the displayed note value L DELAY RELAY SYNC RATE DEPTH a E ij a a n a a Ab AA MODE I5 ra Tap IFOTIFE z E 174 WG 1 7 BU 76 0 Figure 21 The Tempo Sync feature within UAD DM 1L Note Not all host applications support Tempo Sync In such hosts the tempo sync features will not function Tempo Sync Plug Ins Tempo Sync is supported in the UAD plug ins listed in Table 4 Table 4 UAD Plug Ins with Tempo Synchronization UAD Roland RE 201 UAD Nigel UAD CS 1 UAD Phasor UAD DM 1 UAD ModFilter Sync Activation To activate Tempo Sync click the Sync button within the plug in interface The Sync button LED will illuminate and the time parameters will change trom a time based display to a note value see Figure 21 UAD Powered Plug Ins Manual 95 Chapter 8 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 96 The values are listed in musical notation as a d
158. to blend the two shapes together at any ratio The two shapes are not just mixed together with this parameter the early reflections algorithm itself is modified by blending Blend the early reflection patterns of the two rooms by dragging the Blending Bar Drag the bar to the bottom to emphasize the first shape drag to the top to emphasize the second shape The relative percentages of the two rooms appear at the bottom of the Shape panel To use only one room shape drag the Blending Bar so a shape is set to 100 The resulting early reflection pattern is displayed at the top of the Reflections panel Figure 72 on page 184 where each reflection is represented by a yel low vertical line with a height indicating its arrival energy and a location in dicating its arrival time UAD Powered Plug Ins Manual 180 Chapter 16 DreamVerb Materials Panel The parameters in the Materials panel in conjunction with the Shape panel Figure 70 on page 179 and Reverberation panel Figure 73 on page 185 ef fect the spatial characteristics of the reverb The material composition of an acoustical space effects how different fre quency components decay over time Materials are characterized by their ab sorption rates as a function of frequency the more the material absorbs a certain frequency the faster that frequency decays Note While materials are used to control decay rates as a function of fre quency the overall decay rate of the
159. to the Authorization section page 31 You can use the UAD Meter amp Control Panel to verify installation see Verify ing Installation on page 34 The UAD Meter amp Control Panel application and UAD documentation is cop ied to these locations on the hard drive during installation UAD Powered Plug Ins Manual 28 Chapter 2 UAD Installation Windows GR r e C Program Files Universal Audio Powered Plug Ins You can access these files from the Windows Start Menu at e Start gt All Programs gt UAD Powered Plug Ins The VST plug in files are installed to the location specified during installation e Startup Disk Applications Powered Plug Ins Tools The plug in files are installed to the standardized OS X locations e VST Startup Disk Library Audio Plug Ins VST Powered Plug Ins e Audio Units Startup Disk Library Audio Plug Ins Components e RTAS Startup Disk Library Application Support Digidesign Plug Ins UAD Hardware Installation ExpressCard Products UAD 2 Satellite About PCI and PCI Express The UAD software should be installed before installing the UAD DSP de vice s See the previous section for software installation instructions The UAD Xpander and UAD 2 SOLO Laptop are UAD products that are de signed for use with the ExpressCard expansion slot typically found on note book computers These UAD products have their own set of hardware con nection and operation instructions Refer to Cha
160. tude Pre delay and Decay Time To illustrate the relation between both re verb components the shape of the other is represented as an outline in both sections of the Timing panel see Figure 156 UAD Powered Plug Ins Manual 452 Chapter 45 RealVerb Pro Early Amplitude Reflections control i N display II I Predelay pin BE control l L I Late Field Amplitude Reverbera Control tions display Predelay control Diffusion Decay Time control control Figure 156 RealVerb Pro Timing panel To adjust the timing of the early reflections 1 Drag the Amplitude control for the early reflections up or down from 80 dB to O dB to affect the energy of the reflections The Amplitude value is indicated in the text field at the bottom of the Timing panel 2 Drag the Predelay control for the early reflections left or right from 1 300 milliseconds to affect the delay between the dry signal and the on set of early reflections The Pre delay time is indicated in the text field at the bottom of the Timing panel Note The length in time of the early reflections cannot be adjusted from the Timing panel and instead is determined by the reverb s shape and size see Figure 153 To adjust the timing of the late field reverberations 1 Drag the Amplitude control for the late field reverberations up or down from 80 dB to O dB to affect the energy of the reverberations The Am plitude value is indicated in the
161. webzine 2009 april doctors html UAD UAD 1 UAD 2 and UAD 4K are trademarks of Universal Audio Inc All other names are trademarks of Solid State Logic which are in no way associated or affiliated with Universal Audio Inc These trademarks of other manufacturers are used solely to identify the products of those manufacturers whose circuits and sounds were studied during the sound development of the UAD 4K products Use of third party trademarks are for informational purposes only and do not imply an endorsement or sponsorship of Universal Audio s products UAD Powered Plug Ins Manual 502 Chapter 51 SSL G Bus Compressor CHAPTER 52 Studer A800 Multichannel Tape Recorder For more than 30 years artists and engineers alike have been drawn to the warm sound solid punchy low end and overall presence of the Studer A800 Multichannel Tape Recorder The sheer number ot albums recorded on this legendary 2 analog tape machine including classics from Metallica Stevie Wonder Tom Petty and Jeff Buckley serve as shining examples of the musicality of analog tape Authenticated by Studer and modeled by UA s world renowned team of DSP engineers and AES magnetic recording expert Jay McKnight over a 12 month period the Studer A800 Multi Channel Tape Recorder plug in for UAD 2 is the first and only product of its kind This plug in faithfully models the entire multitrack tape circuit path and electronics of an A800 machine
162. when the Trem Fade input signal is above the Threshold It provides visual feedback for optimizing the Threshold setting The Trigger LED glows bright red when the signal is above the Threshold value UAD Powered Plug Ins Manual 372 Chapter 35 Nigel Fade In Knob Onset Knob Rate knob Depth Knob LFO Type Menu Mode Menu Determines the signal fade in time Fade In is typically used to create auto matic volume swells The range is from None to 4000 milliseconds When set to None there is no fade in and only the Tremolo effect is active Determines the time for the Tremolo effect to reach the specified depth Onset behaves as an intensity ramp for the Tremolo effect The range is from None to 4000 milliseconds When set to None the Tremolo effect begins immedi ately when the Threshold value is exceeded Sets the LFO rate for the Tremolo The range is from O Hz to 16 Hz Sets the maximum Tremolo depth The range is from zero to 100 Determines the LFO waveshape used to modulate the signal The waveshape can be set fo sine or square The Mode menu reconfigures the behavior of the Trem Fade algorithms and or the preset parameter settings Each of the Modes is described below Fade Mode In Fade mode when the input signal level crosses the threshold value the au dio will fade in ramp up according to the time set with the Fade In knob The Onset Rate and Depth controls are also active in Fade mode Two Fade modes a
163. windows the UAD Meter and the UAD Control Panel The UAD Meter window Figure 7 on page 60 displays the current DSP program and memory status of the UAD hardware in realtime The UAD Control Panel window page 63 has multiple panels that display and modify various system plug in and global configuration param eters The UAD device drivers are the low level system software files that instruct the host computer system on how to communicate with the UAD device s The UAD drivers are loaded during system startup so the UAD devices are ready to be used when the plug in host application is launched In addition to instructing the OS on how to control the UAD hardware the driver acts as a software middleman between the host application and the UAD hardware The host application uses the driver to route UAD signals in the DAW Each UAD device family UAD 2 or UAD 1 has its own set of drivers One or both are specitied during UAD software installation depending on which de vice type s you have installed UAD Buffers and Latency The UAD drivers use buffers to shuttle audio signals to and from the device This means the digital data is transferred in small batches instead of continu ously Buffering induces a very small audio latency delay that is inherent in most digital audio systems and can be detected in certain situations UAD latency is managed automatically by most host applications and can be reduced to u
164. 0 unprocessed to Wet 100 processed signal only This control uses a logarithmic scale to provide increased resolu tion when selecting lower values When the knob is in the 12 o clock position the value is 15 Note If Wet Solo is active adjusting this knob will have no affect ca The Wet Solo button puts EMT 140 into 100 Wet mode When Wet Solo is on it is the equivalent of setting the Mix knob value to 100 wet and the Mix value is ignored Wet Solo defaults to On which is optimal when using EMT 140 in the clas sic reverb configuration placed on an effect group bus that is configured for use with channel sends When EMT 140 is used on a channel insert this control should be deactivated Note Wet Solo is a global per EMT 140 plug in instance control UAD Powered Plug Ins Manual 211 Chapter 18 EMT 140 Plate Reverb Power Switch This toggle switch enables or disables EMT 140 You can use it to compare the processed settings to the original signal or to by pass the plug in which reduces but not eliminates the UAD DSP load unless UAD 2 DSP Loadlock on page 73 is enabled The red EMT power indicator glows brighter when the plug in is en abled Note The EMT 140 distills 18004 pounds of classic vintage reverb into a sin gle plug in Exercise caution when lifting UAD Powered Plug Ins Manual 212 Chapter 18 EMT 140 Plate Reverb CHAPTER 19 EMT 250 Electronic Reverberator
165. 00 aiia IK 1 ka NG o a d Ea aay al i TA FB SS Figure 100 The Massive Passive plug in window O BOOST e a E ae E2 IP 220 10K 220 10K 560 27K 560 a a na 22 14K B2 IKI D BOOST a BOOST SHELF SH kA A Aio BOOST SHELF BOOST SHELF BOOST SHELF X SHELF nii CO QOUT C ouT el abo i Mo Na O oT Oo ouT QC C ot 5 He j J o im Beil f Bel CUT BELL N CUT BELL J 7 mi a a i i fem g g al a TTR nT T 71T Rp b A pm a l i a i Nag ir O a 0 a5 11 O YG o ae 11 BANDWIDTH BANDWIDTH BANDWIDTH BANDWIDTH FREQUENCY Hf FREQUENCY HZ FREQUENCY HZ FREQUENCY HE 100 10 pan 360 Wi HID tk TED 2K32 Sey JKS Ske T 270 kI KZ GEO Hi TRA Ar Kr 2 Ki S e OE a Hi bh 2 STEREO EQUALIZER A f _ Figure 101 The Massive Passive Mastering plug in window Unusual EQ Conventions Passive EQ Parallel Topology The Massive Passive has design and operation characteristics that make it unique in the EQ world Some of these factors mean the Massivo may not respond in a manner that you would expect from typical EQs Keeping these points in mind may help you obtain more satisfactory results See Notes from Manley Laboratories on page 297 for more tips No active components are used in the EQ circuits just like revered vintage EQs This can make some adjustments respond in more subtle ways The
166. 10 dB of gain Note The Echo Tone controls do not affect the dry signal Treble Controls the high frequency response in the delayed signals Bass Controls the low frequency response in the delayed signals UAD Powered Plug Ins Manual 230 Chapter 20 EP 34 Classic Tape Echo Echo Pan Input Tension Send Pan sets the position of the delayed wet signal in the stereo field it does not affect the unprocessed dry signal Tip Click the Echo control text to return the knob to center Note When the plug in is used in a mono in mono out MIMO configuration the Pan knob does not function and cannot be adjusted The original hardware unit had two inputs Instrument and Micro emp phone The Input switch on the EP 34 toggles between the gain lev se els of these two inputs a The LO position captures the gain structure of the Instrument input while the HI position captures the gain structure of the Microphone input This allows for a cleaner LO or dirtier HI sound depending on the switch position Important Depending on the source material and gain structuring switch ing between LO and HI may cause a significant jump in output levels The original hardware provides a tension adjustment screw on the bottom of the Echo Delay slider Adjusting this tension screw varies the pitch shifting effects technically the slew rate that are obtained when the Echo Delay parameter is m
167. 42 Precision Maximizer CHAPTER 43 Precision Multiband Overview The Precision Multiband is a specialized mastering tool that provides five spectral bands of dynamic range control Compression expansion or gate can be chosen separately for each of the five bands The unparalleled flexi bility and easy to follow graphical design of the Precision Multiband make it the ideal tool for the novice as well as the seasoned mastering engineer The Precision Multiband can be used for anything from complex dynamic con trol to simple de essing Two filter bank modes offer precise linear phase or minimum phase gain control use the linear phase option for perfectly phase coherent results or minimum phase for a more analog sound Both filter bank modes achieve the magnitude response of a Linkwitz Riley filter and pro vide perfect magnitude reconstruction Precision Multiband Screenshot INPUT LEPEL PUIPUI LEPEL es sa z r T at Pai pee NGA ers BEA i Ni 7 a CI hy i LO sa i 14 Li E E i Wi i Nai PEAK of in an N sana kak i a pi a a AB AIR HA e A OB PEAN JUUS J ms THRESHOLD ALL RELEASE ALL 0 a db ts i ms kd a BS Z0ms TSE RAFIO AL GAN ALL 0 50 m FI Ik ak 10k 20k 16 z4 76 Ki mi 134 Hz f 298Hz 550 He N 241 Hz M 257k g 700k EE 34 5 4 aee _ kx eS F lt FF ai FE 3 F CLOUBPRESSURJESPRAUERS URIE MIN TN EN LINEAN m DISPLAY i Pa MULTIBA
168. 6 414 421 466 473 Neve 1081 Controls 248 263 315 339 388 397 Neve 1081 Equalizer 314 P Neve 1081 Latency 320 Package Contents 20 115 128 Neve 1081 Screenshot 247 262 314 338 parameter 90 Neve 1081SE 320 Parameter Copy Buttons 402 Neve 1081SE Controls 245 320 Parametric EQ 151 Neve 31102 Console EQ 321 Parametric Type Selector 151 Neve 31102 Controls 322 Peak 263 Neve 31102 Latency 326 Peak Level 310 315 322 467 Neve 31102 Screenshot 321 Peak Reduction 257 Neve 31102SE 325 Phasor Module 364 Neve 31102SE Controls 325 Phasor On Off Button 366 Neve 33609 Compressor 327 Plate 140 Overview 206 Neve 33609 Controls 329 Plate Select Switch 208 UAD Powered Plug Ins Manual 541 INDEX Platforms 21 Plug In Formats 44 Plug In License Policy 54 Plug Ins Panel 67 Plugs parameter 106 Positioning panel 177 186 Post EQ Hi Knob 360 Post EQ LO Knob 360 Post EQ Mid Knob 360 Power 463 465 Power Down 122 Power Lamp 212 Power Requirement 56 Power Switch 212 403 Powered Plug Ins 41 Precision Buss Compressor 172 381 Precision Buss Compressor Controls 173 382 Precision Buss Compressor Screenshot 382 Precision De Esser 381 387 Precision De Esser Controls 388 Precision De Esser Screenshot 387 Precision Enhancer Hz 391 Precision Enhancer Hz Controls 392 395 Precision Enhancer Hz Screenshot 391 Precision Enhancer Hz Usage Notes 395 Precision Enhancer kHz 396 Precision Enhancer kHz Controls 397 Precision Enhance
169. 60 Meter Elements 62 Meter On Off Button 63 Meter Pop up Menu 165 MIDI Control 94 MIN 73 MIN_GNT 73 Misc Settings 83 Mix 189 417 Mix Knob 211 365 380 Mixed UAD System 54 Mod Delay On Off Button 378 Mod Delay Overview 375 Mod Depth 210 Mod Filter Module 367 Mod Filter On Off Button 370 Mod Rate 210 Mod Type Menu 369 Mode Menu 373 Mode Pop up Menu 167 540 INDEX Mode Switch 408 Neve 33609 Screenshot 328 Modes 401 Neve 33609SE 336 Modulation 210 Neve 88RS Band Layout 347 Moog Filter Controls 301 Neve 88RS Channel Strip 337 Moog Filter Latency 308 Neve 88RS Controls 339 415 Moog Filter Screenshot 301 Neve 88RS Screenshot 338 Moog Filter SE 307 Nigel 352 353 435 Moog Filter SE Controls 307 Nigel Modules 353 438 440 Moog Multimode Filter 300 Noise 225 Morph Slider 362 Note Values 96 Multicard DSP Loading 57 Nuendo 84 Multicard Setup 119 Multiple Buttons 465 O Multiple UAD Cards 54 Offline Authorization 33 Mute 189 On Off Button 378 380 My Profile 52 On Off Rotary Switch 437 My Systems 49 Online Documentation 22 My uaudio com 45 46 Onset Knob 373 Optional Plug Ins 41 46 N Order Menu 366 Neve 1073 Equalizer 309 Output 188 259 Neve 1073 Latency 313 336 419 Output Knob 164 168 171 369 Neve 1073 Screenshot 309 328 Output Level Meter 364 Neve 1073SE 312 336 Output VU Meter 211 Neve 1073SE Controls 313 336 Overview 162 172 247 262 309 314 321 327 Neve 1081 Band Layout 315 337 381 387 391 39
170. 88 Frequency fc Knob 164 Frequency Controls 430 Frequency Knob 150 404 G Gain G Knob 164 Gain Knob 151 404 Gain Reduction 390 Gain Reduction Meter 411 Gate Fast Button 356 Gate Level Display 355 Gate Of On Button 355 Gate Threshold Knob 356 Gate Comp 355 Grit 260 Group Bus 104 107 Grouping Tracks Requiring DelayComp 104 H Hardware Installation 29 Harrison 32C EQ 242 Harrison 32C EQ and Harrison 32C SE Controls 243 Harrison 32C EQ Screenshot 242 Harrison 32C Latency 246 Headroom 333 Headroom Switch 334 Helios 69 Latency 251 Helios Type 69 Band Layout 248 Helios Type 69 Controls 248 Helios Type 69 Equalizer 247 Helios Type 69 Screenshot 247 Help amp Support Panel 83 Help Menu 70 90 Hi Knob 365 369 376 Hidden Controls 212 UAD Powered Plug Ins Manual High Attenuation Controls 438 440 High Frequency Controls 438 High Frequency Knob 210 High Gain Knob 210 High Resolution 93 High Pass Filter 404 History 524 Host Application 43 190 Host Application Settings 102 Host Computer 43 Host CPU 58 Host CPU Loads 93 Host PDC Implementation 100 Hot Disconnect 124 133 Hot Swapping 124 133 How to use TrackAdv 106 http 22 308 Hysteresis 341 I O Buffers and Latency 45 In Out Toggle Switch 437 439 Info Display 77 82 Input 188 259 Input Mode Switch 465 Install Software First 26 116 121 129 Installation 24 Installer 41 Installing the UAD Hardware 30 Introduction 17 K KCS
171. A Range EQ Screenshot Figure 176 The Trident A Range EQ plug in window UAD Powered Plug Ins Manual 518 Chapter 53 Trident A Range EQ Operational Overview Unique Band Interactions amp Distinct Cut Filter Combinations The unique inductor based EQ section of the board is what the Trident A Range sound is all about A series of three high pass filters and three low pass filters are arranged at the ends of the EQ section see Figure 177 These are unique in that the switches can be pushed in simultaneously offering dis tinct cut filter combinations with unusual filter curves The rest of the EQ section contains four bands low shelf low mid bell high mid bell and high shelf see Figure 177 Each band has four selectable tixed frequencies and 15 dB of gain These were the good old days before sweepable frequencies and bandwidth controls but the results are wonder tully warm and musical The controls complement is rounded out with phase output level and bypass There is band interaction between the high and low shelving filters and also between the low mid and high mid bell filters The midband interactions can be significant if the center frequencies are near each other Band Layout Each of the four main EQ bands have similar controls The band frequency is controlled by its knob and the band gain is controlled by its slider low pass high shelf low mid filters band band high mid low shelf high pass band band f
172. A800 Screenshot Figure 173 The Studer A800 plug in window Operational Overview The Studer A800 for UAD 2 provides all of the original unit s desirable ana log sweetness like magnetic tape users can dial in a clean sound or just the right amount of harmonic saturation using the Input and Output controls The reel deck IPS control steps through the three tape speed choices available on the original hardware 7 5 15 or 30 IPS each with distinct frequency shift head bump and distortion characteristics The Tape Type control lets users choose from four of the most popular magnetic tape formulas of the last three decades each with their own subtle sonic variation and tape compression characteristics The Cal control allows the user to choose between 3dB UAD Powered Plug Ins Manual 504 Chapter 52 Studer A800 Multitrack Tape Machine 6dB 7 5dB or 9dB calibration levels which can be used at their recom mended settings or tweaked for additional tonal options Input Sync and Re pro paths plus Thru bypass are available for authenticity providing all available circuit options of the A800 A huge time saver the Studer A800 plug in features an innovative Gang Controls setting allowing for instant glo bal adjustment of any parameters for all Studer A800 instances in your ses sion Secondary controls are hidden behind the reel deck and can be exposed by clicking on the Studer badge or Open label of the plug in GUI
173. AC 5 Graph EHA Shel Hrcz Small Signal AC 5 Fr quency He 10 000 31 623 100 000 316 225 3 162k i i i I i i i 420000 maaga aaanakananaaaaaunanakasansaasaaanaakasasanaanasasalaasausaasaasadanaananusanasudan i i i 15 000 a E salklsosasansbasans a BARIL f i i 1 i f I i 1 i 1 4 agama i I a ka Sc a ee PAMPA oo l of om REALE ow 435 4 iim REAL Specs 18 22 7m Figure 103 Effect of Bandwidth control on response curve in Shelf mode UAD Powered Plug Ins Manual 293 Chapter 28 Manley Massive Passive EQ Frequency moa Ta This control defines the center frequency Bell mode or edge too TY p25 frequency Shelf mode for the band Each band provides a wide range of specially tuned overlapping and interleaving f frequency choices The available frequencies for each band d are listed in Table 18 below is Eai Available Frequencies Table 18 Available band frequencies standard and mastering 82 120 180 270 390 560 820 1 2K 1 8K 2 7K 3 0K 220 330 470 680 1K 1 5K 2 2K 3 3K 4 7K 6 8K 10K 560 820 1 2K 1 8K 2 7K 3 9K 5 6K 8 2K 12K 16K 27K Channel Controls The controls for the two identical channels left and right are detailed below Because both UAD Massive Passive plug ins operate the same way and the controls for each channel are identical the control descriptions for each channel are only detailed once Note See Sta
174. AD Powered Plug Ins Manual 500 Chapter 51 SSL G Bus Compressor Fade Rate Auto Fade Button Fade Rate determines the amount of time that will pass between the Fade but ton being activated and the plug in output level being reduced to minimum or being raised to O dB in the case of a fade in The available range is from 1 0 second to 60 seconds Fade times immediately reflect the current Fade Rate value Therefore a fade out that has already been initiated can be accelerated by changing Fade Rate during the fade out Conversely a fade in can be accelerated by changing Fade Rate during the fade in Activating the Auto Fade button initiates a fade out The fade out time is de termined by the Fade Rate parameter The Fade button blinks when a fade out is in progress and is continuously lit when the fade out is complete when the Fade Rate time has elapsed Deactivating Fade clicking the solid lit button initiates a fade in During a fade in the signal level is increased from the current level of attenuation to O dB of attenuation The Fade button flashes when a fade in is in progress and is no longer illuminated when the fade in is complete when the Fade Rate time has elapsed Toggling the Fade button causes an already active fade to reverse direction without a jump in output level The Fade Rate is constant even if an active fade is interrupted For example If the Fade Rate value is 30 seconds and a fade out is initiated th
175. Although the amount of FireWire bandwidth reserved by UAD 2 Satellite de pends on the UAD Bandwidth Allocation setting the amount of DSP used by any UAD plug in does not affect FireWire bandwidth UAD plug ins that use very little DSP require the same FireWire bandwidth as DSP intensive UAD plug ins See FireWire Bandwidth vs UAD DSP on page 142 for details UAD Powered Plug Ins Manual 79 Chapter 6 UAD Meter amp Control Panel It is important to note that all devices on the FireWire bus share the available data bandwidth of the bus including hard drives and audio interfaces as well as UAD 2 Satellite Therefore all of the bandwidth cannot be allocated for UAD use if FireWire hard drives and or audio interfaces are on the same bus See FireWire Bandwidth on page 140 for additional information To determine the proper value for the UAD Bandwidth Allocation 1 Connect and power up all the FireWire devices host computer audio in terfaces hard drives UAD 2 Satellite on the FireWire bus 2 If running an audio interface on the FireWire bus ensure the audio inter face drivers are installed and configured correctly specifically all the au dio inputs and outputs that will be used should be enabled 3 Run the UAD host DAW software but DO NOT run any UAD plug ins at the HIGHEST SAMPLE RATE that will be used in the session the sample rate may be reduced after UAD Bandwidth Allocation is set 4 View FireWire Gauge
176. Audio can be shifted up to 128 samples in either direction The keyboard shortcuts PageUp PageDown and Shift Arrow automatically add shift the Samples value in 13 sample increments UAD Powered Plug Ins Manual 103 Chapter 9 UAD Delay Compensation 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 1 Delay Compensator on that bus or group DelayComp Examples Insert Send Group Bus Important Delay compensation is fully automatic and requires no user in tervention when UAD Powered Plug Ins are used in hosts that support full plug in delay compensation See Host PDC Implementation on page 100 Situation You have a song with bass drums and guitar You want a room simulator on the guitar so you put an RS 1 on an insert of the guitar track Re sult All tracks are perfectly aligned Solution None needed Delay compensation on track inserts is handled au tomatically by most host applications Situation You have a song with bass drums guitar and 2 vocal tracks You want a fantastic reverb on the vocals so you send both vocal tracks to the UAD RealVerb Pro via an effect send Result The RealVerb Pro effect return plays late in relat
177. BLE OF CONTENTS Chapter 1 Introduction 4 4 00354044 GGWA GG 00 HOH OOOO OW AGA 17 Welcomel 0 cece cree cn eee een e bebe bebe d ebb eb been eens 17 Kae AA 19 The UAD System eee nnn eraann beeen eens 20 Kore Calo KENA 20 Documentation Overview 0 222 eee e teen eens 20 Online Documentation 000 e bbe b nee tne e eens 22 CUSIOMIET DUD DOU AA APA AA AA 22 Chapter 2 UAD Installation cccccccccccscsscccccccsscees 24 OWEDIEW 4 oa EE eas Bee eter enon Hole E 24 Install Videos 0 24 System Requirements 0 0c cece eet e eee ees 25 Supported Hosts n AA AA 25 Latest Information amp Software Updates nauan annur n eens 26 UAD Software Installation 27 Install Software First ccc cece eee eee eee ene b eben e been eneneees 27 UAD Hardware Installation noona 2 29 Authorization aaan 31 Authorize Plug Ins Procedure 00 6 ccc arara 32 Offline Authorization 0 0 ccc eee ect nent b eee e eben n bee nnnnney 33 Using Unlicensed Plug Ins Demo Mode c ccc ccc eee 34 Verifying Installation 34 lean MOS wae aces eont aducetas gous Gan eadue ated goes eee adn eae AANO Hen AEE 36 Software Removal 0 00 cee cece eee eee eee bebe b bebe etn nbnennnney 36 Chapter 3 UAD System Overview ccccccccccsscccccccsssees 37 The UAD Environment 0000 c ccc ete e eee e eee e eee tenet en eees 37 The UAD Hardware 0 00 ccc ccc c
178. CESSED track s will automatically re synchronize the audio Cubase and Nuendo currently do not automatically compensate for latency on MIDI virtual instrument VSTi tracks Therefore UAD DelayComp should also be used on non VSTi tracks when VSTi s are in use Note Check out our UAD DelayComp Examples on the UAD Powered Plug Ins CD ROM or download them from our website for real world examples formatted for several popular host applications The DelayComp Plugs parameter value to be used on an unprocessed track or tracks is simply the number of UAD Powered Plug Ins that are being used in se quence on the send group or bus For example if three separate sends are used and each send has one in stance of UAD plug ins the Delay Compensator Plugs value for the unproc essed tracks would be one However if one send group bus is used that has three instances of UAD Powered Plug Ins stacked up the Delay Compensator Plugs value for the dry tracks would be three Note The Delay Compensator Plugs value matches the total of UAD Pow ered Plug Ins used serially stacked one above another in series NOT the to tal number of UAD Powered Plug Ins used The Samples parameter shifts the audio with single sample accuracy in either direction It is provided mainly for compensation of the upsampled UAD plug ins see Compensating Upsampled Plug Ins on page 107 However it can be used anytime minute shifting of audio is desired
179. Control knobs for the Precision Enhancer Hz behave the same way as with all UAD plug ins Effect Hz Frequency and Output values can be modified with text entry See Text Entry on page 91 for more information The Effect Knob controls the amount of pro cessing that occurs in the plug in The avail able range is from 0 00 to 100 0 0 25 100 Technically speaking Effect scales the input to the enhancer Increasing this parameter makes the enhancer have a higher amplitude output for a given input level Increasing Effect increases the overall enhancement effect Note The signal level at the plug in input will interact with the Effect control The Effect Meter indicates the amount of signal processing that is occurring More illuminated blue segments indicate more signal enhancement Effect Solo isolates the generated signal and is affected by Effect level Effect Solo is active when the button is red The Effect Solo signal is pure and contains no added original or fil tered bass signal Therefore the soloed signal may not sound pleasant when heard by itself When Effect Solo is used in conjunction with Hz Solo on page 394 the complete mixed effect is heard p ma The five Modes A B C D and All optimize the plug in internally to support the widest array of source material The Mode control determines the type of enhancement that will be applied to the signal Tip The active M
180. D Powered Plug Ins Manual 227 Chapter 20 EP 34 Classic Tape Echo EP 34 Tape Echo Screenshot INPUT TENgION SHORT ECHO DELAY LONG z350 RECORDING ECHO TONE gt RECORDING LEVEL S Ag N Ab u OLUME VOLUME Pan a TREBLE Tn Figure 80 The UAD EP 34 Tape Echo plug in window EP 34 Controls Echo Delay Echo Delay controls the delay time of the unit The selected value is shown in the Echo display page 229 The parameter can be adjusted by using the metallic slider handle or the slider nose both sliders control the same parameter see Figure 81 Figure 81 The Echo Delay sliders UAD Powered Plug Ins Manual 228 Chapter 20 EP 34 Classic Tape Echo Echo Display Echo Repeats The available delay range is 80 to 700 milliseconds When Sync is active beat values from 1 64 to 1 2 can be selected see Table 5 on page 96 When the beat value is out of range the value is displayed in parenthesis This occurs in Sync mode when the time of the note value exceeds 700ms as defined by the current tempo of the host application See Chapter 8 Tempo Sync for detailed information about tempo synchronization Tip Click the control slider s then use the computer keyboard arrow keys to increment decrement the sync value This window displays the current delay time of the EP 34 Displayed values are defined by the Echo Delay parameter page 228 Delay values can
181. E Channel Strip Filters Low Pass Filters to Sidechain DYN SC In addition to the four band EQ UAD SSL E Channel Strip offers individual high and low pass filters FILTERS When the Filter control is at minimum value Fully counter clockwise the filter is disabled The control ranges and sonics of these filters can be changed between Black and Brown modes with the EQ Type switch See EQ Type on page 491 for more information High Pass The left knob determines the cutoff frequency for the high pass filter Rotate clockwise to reduce low frequencies In Black mode the slope of the high pass filter is 18 dB per octave and the available range is 16 Hz to 350 Hz In Brown mode the slope of the high pass filter is 12 dB per octave and the available range is 20Hz to 350 Hz The right knob determines the cutoff frequency for the low pass filter Rotate clockwise to reduce high frequencies In Black mode the slope of the low pass filter is 12 dB per octave and the available range is 22 kHz to 3 kHz In Brown mode the slope of the low pass filter is 12 AB per octave and the available range is 16 kHz to 3 kHz This button enables the Filters sidechain function When the Filters sidechain is active signal output from the Filters module is removed from the audio path and is instead routed to control key the dynamics module Sidechaining is typically used for de essing and similar frequency consciou
182. EQ bands are routed in parallel instead of serially so gain values for the bands don t add up like most EQs For example if two bands in the same channel are boosted 20 dB at 2 7kHz you ll get much less than 40 dB of boost at 2 7kHz UAD Powered Plug Ins Manual 288 Chapter 28 Manley Massive Passive EQ Unique Shelves No negative feedback loops Control Interaction Most EQs offer a shelving mode for the edge bands only Massive Passive of fers the shelving option on all bands for expanded sonic possibilities such as staircase EQ curves One result of not using negative feedback loops in the design is that the gain control for a band cannot have a bipolar boost and cut control Only band gain is available how that band gain is applied either as a boost or as a cut is specitied with a separate toggle switch Due in large part to the above points the Massive Passive controls are much more interactive with and interdependent upon each other We encourage experimentation with an open mind without expectations of what a visual in terpretation of what control settings should do Massive Passive Mastering EQ Manley Labs developed the Massive Passive Mastering EQ to better address the specific needs of mastering engineers Your UAD Massive Passive license includes both the standard and mastering versions available as two individ val plug ins The Massive Passive Mastering has nearly the same featu
183. ES is truly standard ized for 30 IPS and is the sole EQ found on the Studer A800 for 30 IPS The Noise Enable buttons are a global enable disable control for the individual hum and hiss components of the A800 model The amount of hum and hiss noises are continuously variable and are set with the Hum Noise and Hiss Noise controls We cage 515 Click the Noise buttons to alternate between OFF and ON While noise is historically considered a negative and was the attribute that pushed the technical envelope for better machines and formulas noise is still an ever present component of the sound of using tape and tape machines UAD Powered Plug Ins Manual 511 Chapter 52 Studer A800 Auto Cal Gang Controls The Studer A800 has individual parameters for Bias HF Record EQ and Sync Repro EQ On the hardware tape ma chine these calibration controls are usually adjusted when ever Tape Type Tape Speed or Emphasis EQ is changed m Ol T a AUTO GAL When Auto Cal Automatic Calibration is ON in the plug in these calibration controls see Figure 175 on page 514 are automatically adjusted to the calibrated values whenever the Tape Type Tape Speed and Emphasis EQ are modified After Auto Calibration occurs the automatically adjusted parameters can then be modified to any value if desired When Auto Cal is OFF the calibration parameters do not change values when Tape Type Tape Speed and Emphasis EQ are modified
184. In qui eter passages little or no meter movement will occur Use make up gain to get a good gain match between active and bypassed Traditionally the SSL G is most commonly used from the beginning of the mix process and the engineer is mixing to the sound and behavior of the com pressor The ideal way to audition this plugin is on a new mix dropped into an insert on your stereo master fader In this case you will be spending a lot of time keeping an eye on gain reduction metering and you may make tweaks to the setup as the mix progresses Of course it can also be dropped in exist ing mixes at any time but keep in mind it may take a bit more effort to dial in especially if your ear is already used to the sound without its compression properties The SSL G is also useful of groups such as drum busses in this case a more aggressive approach may be appropriate with a greater range of gain re duction 10 1 will give a harder sound often desired for drum groups Fast at tacks releases will give the most audible sound of the compressor working Finally Auto Fade is useful when the end of a song needs a gradual decrease in volume The speed of the fade can be tuned from 1 to 60 seconds and in corporates SSL s unique fade curves fade in is also available An interesting article about the SSL G Series Bus Compressor can be found in the Ask The Doctors section of the Universal Audio April 2009 Webzine e htto www uaudio com
185. Inc Any references to third party tape formulations are used solely for identification and do not imply and endorsement by or affiliation with any tape manufacturer UAD Powered Plug Ins Manual 517 Chapter 52 Studer A800 CHAPTER 53 Trident A Range EQ Overview The original Trident A Range desk holds near mythic status in the professional recording industry and is arguably the best loved of the classic Trident con sole designs Particularly noted for its fantastic preamps and the unique band interactions of its colorful EQ section the Malcolm Toft Trident designed A Range console has made an indelible impact on the sound of record mak ing During the Golden Years of rock the A Range was employed to record some truly great records David Bowie s The Rise and Fall of Ziggy Stardust Lou Reed s Transformer and Queen s Sheer Heart Attack to name a few helping to solidify this console s reputation forever And now this sound comes to the UAD Powered Plug Ins platform courtesy of the Trident A Range Classic Console EQ plug in Working in partnership with Trident Audio Developments UA scrupulously analyzed and faithfully reproduced the EQ section from the specific Trident A Range console used to record classic albums by both The Police and Rush One of only 13 A Range consoles ever built this desk was hand picked by El liott Smith for his private studio and now resides at New Monkey Studio in Van Nuys CA Trident
186. LFO mode is engaged the filter cutoff frequency does not respond dy namically to changes in input signal level Instead the filter cutoff frequency is varied according to the Rate knob setting Envelope Mode When Envelope mode is engaged the filter cutoff frequency responds dynam ically in realtime to variations in the input signal level The amount of dynamic response is determined by the Sensitivity Sens knob In Env Up mode a higher signal level sets the filter cutoff to a higher value In Env Down mode the envelope is inverted and a higher signal level sets the tilter cutoff to a lower value Wah Mode When the Wah mode is engaged the filter cutoff frequency is varied accord ing to the Wah knob setting UAD Powered Plug Ins Manual 369 Chapter 35 Nigel Mod Menu Table Filter Type Menu Mod Filter On Off Button Wah Pedal Mode Similar to Wah mode in Wah Pedal mode the filter cutoff frequency is varied according to the Wah knob setting However when the knob reaches its max imum value the effect is bypassed until the knob reaches is maximum value again at which time the effect is re engaged Wah Pedal mode is ideally suited to emulating a real Wah pedal by using a MIDI foot pedal controller Table 23 Mod Filter Mod Types and Descriptions LFO mode with Sine waveshape LFO mode with Square waveshape LFO mode with Random waveshape Env Up Normal Envelope mode Filter cutoff frequency is dynamically i
187. MANLEY s trademarks are being made with written permission from MANLEY LABORATORIES INCORPORATED UAD Powered Plug Ins Manual 299 Chapter 28 Manley Massive Passive EQ CHAPTER 29 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 UA modeled the analog behavior of the historical 4 pole ladder filter conceived by the world s most recognizable electronic instrument maker right down to the self oscillation saturation and non linearities of its analog counterpart As the name suggests the heart of the Moog Multimode Filter is the switchable Low pass Highpass and Bandpass filter that allows Moog s signature self oscilla tion and extreme resonance in any of the three modes bringing a new level of sophistication to Moog filter designs of the past The UAD Moog Filter algorithm uses a special filter structure that was created especially to eliminate digital artifacts for time varying filters An expensive DSP technique was used to calculate the response of the nonlinear feedback loop surrounding the saturation and filter elem
188. MMN Ou FW Audio Interface i eS o External HD UAD 2 Satellite Figure 33 FireWire bus connections via a hub Computer UAD 2 Satellite External HD FW Audio Interface Figure 34 FireWire bus connection via daisy chain Computer External HD External HD 2 FW Audio Interface External HD Figure 35 FireWire bus connections via hub and daisy chain A Te External HD F be NG UAD 2 Satellite External HD oO dn Oel FW Audio Interface Figure 36 FireWire bus connections using UAD 2 Satellite as a hub UAD Powered Plug Ins Manual 138 Chapter 11 UAD 2 Satellite Connections Mixing FireWire Speeds The ability to connect and disconnect FireWire devices while power is ap plied or not is part of the FireWire specification Since UAD 2 Satellite is IEEE 1394 compliant the device may be hot plugged while powered up Note See Hot Plugging on page 133 for detailed information Although FireWire 400 and FireWire 800 devices can be connected to the same FireWire bus via a hub or daisy chain special precautions must be ob served to maximize bandwidth in these situations Nofe See Figure 39 on page 140 for the recommended configuration when mixing FireWire bus speeds FireWire 800 devices on a FireWire 400 bus FireWire 800 devices are backwards compatible and can be connected to a FireWire 400 bus using a 6 pin to 9 pin FireWire cabl
189. Manual 347 Chapter 34 Neve 88RS Channel Strip HF Freq This parameter determines the HF band center frequency to a be boosted or attenuated by the band Gain setting The fet available range is 1 5 kHz to 18 kHz HF Gain This control determines the amount by which the frequency set ting for the HF band is boosted or attenuated The available range is 20 dB HF Hi Q Enable gm The filter slope of the HF band can be changed with this control Lib When Hi Q is off the Q is 0 7 When Hi Q is active the Q is 2 Higher Q values mean the peak or trough has steeper slopes Hi Q is active when the button is gray and the yellow indicator illuminates Hi Q is off by default Note Hi Q has no effect when the band is in shelf mode HF Shelf Enable The HF band can be switched from bell mode to shelving mode by clicking the shelf enable button Shelf mode is active when the but ton is gray and the yellow indicator illuminates Shelf is off by de HMF Freq This control determines the HMF band center frequency to be boosted or attenuated by the HMF Gain setting The available m range is 800 Hz to 9 kHz HMF Gain This control determines the amount by which the frequency set ting for the HMF band is boosted or attenuated The available range is 20 dB HMF Q The Q bandwidth control defines the proportion of frequencies surrounding the HMF band center frequency to be affected by the band gain control The filter slope
190. ND PHASE Figure 142 The UAD Precision Multiband plug in window UAD Powered Plug Ins Manual 421 Chapter 43 Precision Multiband Precision Multiband Interface The Precision Multiband interface is designed to make this complex processor easier to use Five separate frequency bands are available for processing Each band is identified by a unique color and all controls specific to the band have the same color This helps to visually associate parameters to the band that they affect The band names and their colors are e Low Frequency LF Red e Low Mid Frequency LMF Orange e Mid Frequency MF Yellow e High Mid Frequency HMF Green e High Frequency HF Blue The interface is divided into four primary areas of control e The Band Controls section contains the dynamic response parameters for each of the five bands One set of band controls is displayed at a time See Band Controls on page 423 e The EQ Display contains the band frequency parameters and shows a graphic representation of the band frequency response The overall equal ization response is also displayed if enabled See EQ Display on page 428 e The Dynamics Meters display the amount of gain reduction or expansion oc curring on each band The band enable and solo controls are here also See Dynamics Meters on page 431 e The Global controls affect aspects of the plug in not associated with individ ual bands These include input
191. OPE OF THIS WARRANTY EXCEPT AS SPECIFIED HEREIN SHOULD THE SOFTWARE PROVE DEFECTIVE YOU AND NOT UNIVERSAL AUDIO OR A UNIVERSAL AUDIO AUTHORIZED REPRESENTATIVE ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING REPAIR OR CORRECTION SOME JURISDICTIONS DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES SO THE ABOVE EXCLUSION MAY NOT APPLY TO YOU 6 Limitation of Liability UNIVERSAL AUDIO SHALL HAVE NO LIABILITY TO YOU OR ANY THIRD PARTY WHETHER IN CONTRACT TORT NEGLIGENCE OR PRODUCTS LIABILITY FOR ANY CLAIM LOSS OR DAMAGE INCLUDING BUT NOT LIMITED TO LOST PROFITS LOSS OF USE BUSINESS INTERRUPTION LOST DATA OR LOST FILES OR FOR ANY INDIRECT SPECIAL INCIDENTAL OR CONSEQUENTIAL DAMAGES OF ANY KIND OR NATURE WHATSOEVER ARISING OUT OF OR IN CONNECTION WITH THE USE OF OR INABILITY TO USE THE SOFTWARE OR DOCUMENTATION OR THE PERFORMANCE OR OPERATION OF THE SOFTWARE EVEN IF Universal Audio HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES SO THE ABOVE EXCLUSION OR LIMITATION MAY NOT APPLY TO YOU IN NO EVENT SHALL UNIVERSAL AUDIO S TOTAL LIABILITY TO YOU FOR ALL DAMAGES LOSSES AND CAUSES OF ACTION WHETHER IN CONTRACT TORT INCLUDING NEGLIGENCE OR OTHERWISE EXCEED THE AMOUNT PAID BY YOU FOR THE SOFTWARE EULA continued next page 7 Termination To the extent permitted by law and without prejudice to any other rights Universal Au
192. Oe aT Poe ite er ale BG a a TA Ga Ode PEAK See ey AG The range is from 30 dB to O dB Signal peaks are held for 3 seconds before resetting UAD Powered Plug Ins Manual 385 Chapter 36 Precision Buss Compressor Gain Reduction Meter Power Extra Presets WebZine Article The Gain Reduction meter dis plays the amount of gain re REDUCTION 22 f duction occurring within the compressor AIN More blue bars moving to the left indicate more gain reduction is occurring The meter range is from 16 dB to O dB Signal peaks are held for 3 seconds before resetting 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 process ing is disabled and UAD DSP usage is reduced unless UAD 2 DSP Loadlock on page 73 is enabled When the plug in is bypassed with this switch but not by the host bypass the O meters and the Input Level knob remain active Extra presets for the UAD Precision Buss Compressor that are not in the factory bank can be downloaded from our website These presets replicate all the fixed attack and release setting combinations that are found on large console VCA style compressors The extra presets can be found here htto www uaudio com support software UAD downloads support html An interesting article about the Precision Buss Compressor is available in t
193. P in reverb only or echo only modes versus when both modes are used simultaneously UAD Powered Plug Ins Manual 468 Chapter 48 Roland RE 201 Space Echo The affect of each knob position is detailed in Table 34 on page 469 Table 34 RE 201 Mode Selector Positions Mode REPEAT REVERB ECHO REVERB Knob echo o ONLY Position Bass This knob controls the low frequency response in the tape echo portion of the signal It does not affect the dry signal or the re verb signal This is a cut boost control it has no effect when in the 12 o clock straight up position Treble This knob controls the high frequency response in the tape echo portion of the signal It does not affect the dry signal or the re verb signal This is a cut boost control it has no effect when in the 12 o clock straight up position Reverb Volume ok This control determines the volume of the spring reverb effect Rotate the control clockwise for more reverb Reducing the con trol to its minimum value will disable the reverb On the original hardware the reverb output is quite low and with some sources unusable due to a high noise floor Our model of the spring reverb has no noise and has an increased available output level to im prove usability Note Reverb Volume has no affect when the Mode Selector is in positions I through 4 Output Volume Tate This control determines the output volume of the plug in It affects the dry and effect
194. Pana kaa NANO KANA WANT ATA PAG poe eae koe ieee eee PANA HAKA LIMA LAWA 387 Precision De Esser Screenshot 00 a 387 Precision De Esser Controls a 388 Operating Tips ee teen ERa E E ER aaa na 390 Chapter 38 Precision Enhancer HZ sssssssessooosooosoooosoo 391 OVERVIEW AN N E AA AA AA 391 Precision Enhancer Hz Screenshot 391 Precision Enhancer Hz Controls 0 a 392 Precision Enhancer Hz Usage Notes 0 c cece eee e nnn 395 Chapter 39 Precision Enhancer kHz 0 5 000000 oo 396 OQVEIMIOW 5 5 04 cnee Ges con Sues baes pace noe past aon pees Bee Base ase pee EE noes 396 Precision Enhancer kHz Screenshot 0000 a 397 Precision Enhancer kHz Controls a 397 Chapter 40 Precision Equalizer cccccccccssscsccccccsssees 400 OWEIMIOW 4 22 345 0n Rens Bees ae eee wees AA AA 400 Precision Equalizer Screenshot 0 00 ccc ec annanru arare 400 Precision Equalizer Controls e nnn 401 Control Grouping s onana unnan doe DAYAN AN BAWOD KNA BAYAD HAMDATED NGA nanse he 401 Kole a 401 UAD Powered Plug Ins Manual 13 Table of Contents TABLE OF CONTENTS Band Controls 0 0 0000 a 403 Precision Equalizer Latency 0 0 c cece eect eee enn n eee 405 Chapter 41 Precision Limiter 0 000 o0 406 Ea canceos nee Sh geetuaehee eee eee eta ne ne eed neo oeane ec oes wees 406 Precision Limiter Screenshot
195. S and 33609 products and all use of AMS NEVE s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 326 Chapter 32 Neve 31102 Console EQ CHAPTER 33 Neve 33609 Compressor Overview Derived from the original Neve 2254 compressor circa 1969 the 33609 stereo bus compressor limiter utilizes a bridged diode gain reduction circuit and many custom transformers The uniquely musical character of this circuit made the 33609 a studio standard since its release The UAD Neve 33609 is the only Neve sanctioned software recreation of the Neve 33609 revision C Every detail of the original unit is captured and matches its hardware counterpart with absolute precision The 33609 plug in includes a DSP opti mized 33609SE which allows for higher instance counts The completely step controlled 33609 is made up of separate compression and limiter sections each with their own threshold recovery and bypass con trols Two of the recovery selections for each section are dedicated to a pro gram dependent auto release The compressor section also offers five ratio se lections and 20 dB make up gain while the limiter offers a fast or slow attack The mono stereo switch couples and decouples the left and right gain reduc tion elements The UAD Powered Plug In version of the Neve 33609 adds a few control en hancements not found on the hardware An additional stepped output control with 20 dB of gain a
196. STEREO DUAL A B Hi In Stereo mode the L and R equalizer sections both control one side of the ste reo source signal The L and R controls are linked in stereo mode In stereo mode there are two sets of EQ settings referred to as A and B with each set containing the full set of Land R parameter values the high pass filter value is global per preset This feature enables easy switching between two EQ settings for comparison purposes Both the A and B parameter sets are contained within a single Precision Equalizer preset UAD Powered Plug Ins Manual 401 Chapter 40 Precision Equalizer Dual Mode Parameter Copy Buttons In Dual mode dual mono mode the left and right parameters can be inde pendently adjusted so that each side of the stereo signal can have different EQ settings Note that this mode is infrequently used during mastering be cause phase imaging and level inconsistencies may be induced in the result ing stereo signal Mode Selection Any of the below methods may be used to modify the Mode value e Click the Stereo button to cycle through modes A and B e Click the Dual button to activate dualmono mode e Click the indicator light above each mode e Click hold drag the indicator light above each mode The Parameter Copy buttons provide an easy method for copy ing parameter values The behavior of the buttons is determined by the current operating mode of Precision Equalizer Note The values that
197. Specifically make sure the UAD Meter amp Control Panel and all UAD host applications are not running Software Installation Procedure for Windows Systems Important Verify the computer system date and time are set correctly be fore installing the software and or launching the UAD Meter amp Control Panel application for the first time 1 Launch the software installer e To install from CD ROM insert the UAD Powered Plug Ins CD If the installer doesn t automatically run double click the Setup exe application located on the CD e To install from a download double click the downloaded software archive which is an executable application The installer will run automatically 2 Setup will guide you through the installation procedure 3 When installation has completed power down your system to install the UAD card s following the instructions on page 29 If the UAD device is al ready installed or you are updating restart the system 4 After restarting the New Hardware Wizard will try to locate the new driv ers Follow these steps UAD Powered Plug Ins Manual 2 Chapter 2 UAD Installation Mac Install or Installed Locations 7 e a Select the Install the software automatically Recommended option and click Next e b The UAD device driver will be installed click Finish when it is complete e c UAD 1 only The New Hardware Wizard will run again to look for the seco
198. The UAD Xtenda provides a convenient way to switch the same UAD ExpressCard between desktop and notebook comput ers See UAD Xtenda on page 119 Note UAD Xpander and UAD Xtenda are discontinued products UAD ExpressCard products are hardware systems designed for use with UAD Powered Plug ins which is the companion software package that includes the drivers plug ins and software documentation UAD Powered Plug Ins Manual 113 Chapter 10 UAD ExpressCard Products Instructions in this chapter are specific to the UAD ExpressCard products only and apply in addition to the other chapters To get the most from your UAD ExpressCard products please review the following additional information Important Information Important user information is presented on a printed document within the UAD ExpressCard product retail package lt provides details that may not be in cluded in this manual Please review the information carefully Technical Updates Updated UAD technical information is regularly posted to the UA website Please visit the UAD support pages for the latest bulletins e htto www uaudio com support uad ExpressCard Videos Our support website contains many helpful videos that explain how to install the hardware and software register and authorize the product obtain op tional plug ins and more e htto www uaudio com support uad videos html UAD 2 SOLO Laptop Instructions All instructions that apply speci
199. This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Rate Knob Sets the LFO modulation rate of the delayed signal The available range is 0 01HZ to 25 Hz UAD Powered Plug Ins Manual 375 Chapter 35 Nigel Depth amp Time Sweep Knobs Sweep Knobs Depth Knob If the LFO Type menu is set to one of the Trem modes the Rate is linked to the Trem Fade module rate In this scenario the Rate knob value changes to Trem adjusting the Mod Delay Rate will have no effect and the modulation rate is determined by the Trem Fade module settings even if the Trem Fade module is disabled with the On Off button The function and label of the second and third controls in the Mod Delay mod ule are determined by the Mode pull down menu When the Mod Delay Mode is set to Flanger the second and third knobs are labeled Sweep Lo and Sweep Hi respectively When the Mod Delay Mode is set to Chorus or Vi brato the second and third knobs are labeled Depth and Time respectively The Sweep knobs determine the frequency range that will be affected by the Mod Delay The low and high frequency values can be independently ad justed This flexible arrangement allows the Mod Delay to affect a narrow or broad frequency range and also enables you to tune the frequency response characteristic to match the signal if desired Note The Sweep knobs are only visible in Flanger mode Sweep Lo Knob Sets th
200. UAD POWERED PLUG INS USER GUIDE SOFTWARE VERSION 5 9 0 MANUAL VERSION 110429 UNIVERSAL AUDIO Universal Audio Inc 1700 Green Hills Road Scotts Valley CA 95066 4926 Voice 1 831 440 1176 Fax 1 831 461 1550 www uaudio com Customer Support USA 1 877 MY UAUDIO 877 698 2834 NOTICES Disclaimer 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 shall not be liable for errors contained herein or direct indirect special incidental or consequential damages in connection with the furnishing performance or use of this material or the product s Important Safety Instructions Before using this unit be sure to carefully read the applicable items of these operating instructions and the safety suggestions Afterwards keep them handy for future reference Take special care to follow the warnings indicated on the unit as well as in the operating instructions Water and Moisture Do not use the unit near any source of water or in excessively moist environments Object and Liquid Entry Care sh
201. UAD Toolbar common to all UAD plug ins Figure 18 A typical UAD plug in window UAD Powered Plug Ins Manual 85 Chapter 7 Using UAD Powered Plug Ins Controls View UAD Toolbar Device Indicator 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 UAD LA3A Peak Reduction 36 00 Comp Limit Comp Meter GR Figure 19 A UAD plug in showing controls view Below every UAD Powered Plug In when displayed in normal GUI view is the UAD Toolbar Figure 20 The Toolbar has several useful features that make using UAD plug ins more convenient Settings drop menu Status indicator Help drop menu UAD 2 I G DEMO 14 DAYS Device that plug in LiveTrack button Buy plug in button is running on Figure 20 Anatomy of the UAD Toolbar The text at the left of the Toolbar indicates which UAD device lt gt vad 2 the plug in is running on either UAD 1 or UAD 2 If both de lt gt UAD 1 vices are installed you can specify which device the plug in runs on see Run On Menu on page 70 UAD Powered Plug Ins Manual 86 Chapter 7 Using UAD Powered Plug Ins Settings Menu Preset Settings Compa
202. WebZine Article An article about the Harrison 32C can be found in the Plug In Power article of the Universal Audio January 2009 Webzine at e hitp www uaudio com webzine 2009 january power htmi The Harrison 4032 Console featuring the Harrison 32C EQ CH CMOS a MMK DWK O Sl AN NG a DA NEA ry SEP 5 Fa a AP Special thanks to Bruce Swedien for his gracious cooperation with the UAD Harrison 32C project UAD Powered Plug Ins Manual 246 Chapter 22 Harrison 32C EQ CHAPTER 23 Helios Type 69 Equalizer Overview Helios consoles were used to record and mix some of the finest rock pop and reggae classics ever produced The Beatles Led Zeppelin The Rolling Stones The Who Roxy Music Queen Jimi Hendrix and Bob Marley are just a few that recorded with these amazing wrap around consoles Moreover many great musicians of the era purchased Helios consoles for their personal use Of all the Helios consoles produced between 1969 and 1979 the original Type 69 is considered the most musical Universal Audio modeled the EQ section of the very first Type 69 This console was originally found at Island s Basing Street Studio in London it now resides with Jason Carmer in Berkeley California where it continues to record multi platinum albums Helios Type 69 Screenshot Helios Type g em 10 kHz EqGut P Figure 85 The Helios Type 69 plug in window UAD Powered Plug Ins Manual 247 Chap
203. a a 1d comp 1038 COMPRESS 1 In 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 328 Threshold determines how much compression will occur When the input sig nal exceeds the threshold level the compressor engages A smaller value re sults in more compression The available range is from 20 dB to 10 dB in 2 dB increments Recovery release is the time it takes for the compressor to stop processing of ter the signal drops below the threshold value The available values in milli seconds are 100 400 800 1500 al and a2 The automatic settings al and a2 are program dependant The value for a1 can be as fast as 40ms but after a sustained period of high signal level the period is 800ms The value for a2 can be as fast as 150ms but after a sus tained period of high signal level the period is 1500ms This makeup gain control increases the signal level out of the compressor to compensate for reduced levels as a result of compression The available range is O to 20 aB in 2 dB increments Make sure to adjust the Gain control after the desired amount of compression is achieved with the Threshold control The Gain control does not affect the amount of compression Note If the limiter is also enabled this gain is applied before the limiter stage This contr
204. a balanced line output and to provide the proper impedance match ing to drive the line impedance of 600 ohms These two jobs are accomplished by the primary and secondary windings whose turns ratio defines the impedance ratio This transformer is critical due to the fact that it uses several additional sets of windings to pro vide feedback which makes it an integral component in the operation of the output amplifier Putnam spent a great deal of time perfecting the design of this tricky transformer and carefully qualified the few vendors capable of producing it The first major modification to the 1176 circuit was designed by Brad Plunkett in an effort to re duce noise hence the birth of the 1176LN whose LN stands for low noise Numerous design improvements followed resulting in at least 13 revisions of the 1176 Legend has it that the D and E blackface revisions sound the most authentic The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough in limiter technology the first true peak limiter with all transistor circuitry offering superior perfor mance and a signature sound Evolved from the popular Universal Audio 175 and 176 vacuum tube limiters the 1176LN retained the proven qualities of these industry leaders and set the standard for all limiters to follow a n a a a UAD Powered Plug Ins Manual 530 Chapter 54 History Pros Talk UA Both the 1176 and the LA 2A remain in
205. a cartoons like the Flintstones In the early 60s Western Recorders one block away at 6000 Sunset was acquired and re modeled The studio was renamed United West ern and business continued to grow The talent behind and in front of the glass in those days reads like a who s who of classic recording Bones Howe Wally Heider and Lee Hirschberg were on staff During the 60s and 70s the studios were jumping 24 hours a day seven days a week with artists like Frank Sinatra Bing Crosby Dean Martin Sammy Davis Nat King Cole Johnny Mercer and Ray Charles Charles classic Su Can t Stop Loving You was recorded there as fit UAD Powered Plug Ins Manual 526 Chapter 54 History 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 Now called UREI the company had acquired the patent rights to the LA 2A leveling amplifier and also to National Intertel which became the Teletronix division of UREI It was a unique situation Putnam was always searching for better ways to do things and the combination of studios and manufacturing led readily to new product ideas Out of this
206. acks that are assigned to a send group bus that is using UAD 1 plug in s UAD Powered Plug Ins Manual 105 Chapter 9 UAD Delay Compensation How to use TrackAdv Plugs parameter Samples parameter Important UAD TrackAdv should not be used in host applications that pro vide full PDC throughout the entire signal path TrackAdv or DelayComp is not needed at all in such hosts See Host PDC Implementation on page 100 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 The TrackAdv Plugs parameter value to be used on a track insert is simply the number of UAD plug ins that are being used in sequence on the send group or bus that the track is assigned to For example if three separate sends are used and each send return has one instance of UAD plug ins the TrackAdv plug in value for the audio tracks in sert would be one However if one send group bus is used that has three in stances of UAD Powered Plug Ins stacked up the TrackAdv Plugs value for the tracks inserts would be three Nofe The TrackAdv Plugs value on the track insert matches the total of UAD Powered Plug Ins used serially
207. ad plus all corresponding electronics Tape Type selects the active tape stock formulation Four of the most popular 2 magnetic tape formulas are modeled in the A800 plug in 250 456 900 and GP9 Each type has its own subtle sonic variation distortion onset and tape compression characteristics Generally speaking the lower the Cal Level for each for mula the higher the signal level required to reach saturation and distortion Cal Level automatically sets tape calibration fluxivity Cal 8 478 Level takes care of the setup one would need to make under Ta li equivalent hardware operation by setting unity gain from in put through output for the plug in The record repro and sync gain trims found on the A800 GAL channel cards are not present on the plug in Instead when Auto Cal on page 512 is enabled these controls are amalgamated into this single Cal Level gain control As tape formulas advanced their output level increased thus lowering rela tive noise floor 3 6 and 9dB output formulas were available in the 2 format Under normal use the machine would be calibrated to the tape s out put level However users would sometimes under calibrate to leave more headroom for a broader sweet or to prevent electronics from clipping There fore the user can go traditional and calibrate to the recommended levels or select a non corresponding calibration setting with Cal Level As an example if 456 i
208. addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels require the same values or unlinked when dual mono operation is desired The Link parameter is stored within presets and can be accessed via automation Unlink When set to unlink up position the controls for channels one and two are completely independent Unlink is generally used in mono mode When un linked automation data is written and read by each channel separately Note When unlink is switched to link channel 1 controls are copied to chan nel 2 Control offsets between channels are lost in this case Chapter 33 Neve 33609 Compressor Mono Stereo Link When set to link down position modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same po sition channel 1 amp 2 controls are ganged together in link mode When link is active automation data is written and read for channel one only In this case the automation data for channel one will control both chan nels Note When link is active changing channel two parameters from a control surface or when in controls only non GUI mode will have no effect The Neve 33609 can operate in true stereo or dual mono mode This switch determines the active mode In mono mode channels 1 and 2 are completely independent and the 33609 functions as a dual mono device each channel with its own
209. age is reduced unless UAD 2 DSP Loadlock on page 73 is enabled Note the Phase setting Phase on page 520 remains in effect even if EQ In is in the off position Trident A Range Latency WebZine Article The Trident A Range EQ uses an internal upsampling technique to facilitate its amazing sonic qualities This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information Note Compensating for Trident A Range EQ is not required if the host ap plication supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 An interesting article about the Trident A Range console and its revered EQ can be found in the Analog Obsession article of the Universal Audio Sep tember 2009 Webzine at e htto www uaudio com webzine 2009 september analog html UAD Powered Plug Ins Manual 522 Chapter 53 Trident A Range EQ ka kala aa bli 2 ul Ki lte bl ia AG si PU ii N ba ii a Fl of LG E a a sopa CET E E T r T e EG Ca CEER E TEUR E T E T Ee T par E E E E E a E E ee E F Pikit KANIN ASAN The Trident A Range Console featuring the Trident A Range EQ TRIDENT AUDIO DEVELOPMENTS All visual and aural references to the TRIDENT A RANGE EQ are trademarks being made with written permission from PMI AUDIO UAD Power
210. al 482 Chapter 49 SPL Transient Designer Figure 170 on page 483 displays the processed waveforms with maximum and minimal sustain to compare against the original waveform in diagram 4 Diagram 6 Processed Waveforms Sustain ui l Maximum Sustain NA N AYA yor WV ay Ainimum Sustain t ms Figure 170 SPL Transient Designer Processed Sustain SPL Sound Performance Lab and Transient Designer are registered trademarks of SPL Elec tronics GmbH Germany and are used under license Portions of this SPL Transient Designer man ual section is copyright SPL Electronics GmbH Germany and are used under license with kind permission from SPL UAD Powered Plug Ins Manual 483 Chapter 49 SPL Transient Designer CHAPTER 50 SSL E Channel Strip Large Format Mix Module The SSL 4000 is famous as the console employed on more Platinum selling records than any other With its wide range of VCA compression character istics and intuitive EQ rich with colorful band interdependencies it s easy to hear why Today working in close partnership with Solid State Logic UA proudly unveils the SSL E Series Channel Strip plug in for UAD 2 an exacting circuit emulation of this certified hitmaking machine The SSL E Series Channel Strip plug in allows UAD 2 users on Mac and PC to apply classic SSL 4000 EQ curves and dynamics control to their music This unique plug in is distinguished by its remarkably authentic sound and its
211. aligned with the screw slot dot for factory specification It would probably be more technically accurate to say that this control simply changes the knee width since no matter where it s set the ratio always ap proaches true limiting eventually However the knee becomes so broad that it becomes more practical to speak of the ratio changing because for reason able 225 dB amounts of compression this is the case This is a stepped attenuation control which always applies to left or right in put regardless of the AGC control setting The steps are approximately 1 dB apart with approximate unity gain coming at a value of 18 where the gain is 0 33 dB In Lat Vert mode left is the mono input and right is the stereo input These controls always apply to the L and R channels even when in Lat Vert mode The labels around the knobs are in dB and the controls are stepped 49 position controls with each step being separated by 0 5 dB This allows the two sets of controls for the interface to be linked If the controls are given an offset while unlinked and the controls are subsequently linked the offset is preserved up to the range of travel of the linked controls UAD Powered Plug Ins Manual 241 Chapter 21 Fairchild 670 CHAPTER 22 Harrison 32C EQ Overview The Harrison 32C is the EQ channel module from the prestigious Harrison 4032 console Countless hit records have been made with Harrison consoles with artists f
212. all the sound of the original delay system de sign and offers all the necessary features expected from a modern delay de vice The distinct sound of the single or double hose Coil is preserved regard less of delay setting and either sound is available at the flick of a switch The Cooper time Cube MkII also incorporates other enhanced tone shifting fea tures such as the Color switch that presents the user with the original A or leveled B frequency response plus tone controls and a 2 Pole High Pass Filter Lastly a switch is presented for soloing the Wet signal and the Send switch disables the signal being sent into the delay processor Cooper Time Cube Screenshot GAIN LI HP FILTER g e COOPER TIME CUBE Mk Il TRERLE SD MODEL 220 16 DIGITAL 1 e SY C hale DECAY PAN EcHo veal WET SOLO DELAY LI a 1 AO Si F l ao Q rrr SO AHAHA h OW go i 1 0 S WALI T E EE BASS E DECAY PAN EcHo vo POWER OFF 1 a oa G i O 0 Q9 0 UNIVERSAL AUDIO i Figure 55 The UAD Cooper Time Cube plug in window UAD Powered Plug Ins Manual 156 Chapter 13 Cooper Time Cube Design Overview The original URE Universal Audio Model 920 16 Cooper Time Cube hard ware see Cooper Time Cube Hardware on page 161 has two audio channels A and B Each channel is transduced to from a coiled length of plastic tubing which provides the acoustic sound columns that define
213. already have a my uaudio com account login with your email ad dress and password If your password is lost the store can email it to you 4 Your device will be automatically registered and added to your My Sys tems Computer group and your authorization file is generated 5 The authorization file should begin downloading automatically If not click the Download Authorization link to download the auth file The authori zation file is downloaded by the browser to the location specified in the browser preferences 6 Double click the authorization file The authorization is loaded onto the UAD device s and after a few seconds the Authorizations Updated Suc cesstully window appears Figure 3 Online UAD authorization is now complete and UAD Powered Plug Ins are ready for use UAD Powered Plug Ins Manual 32 Chapter 2 UAD Installation Authorizations Updated Your authorizations have been successfully updated Figure 3 Double click the downloaded UAD authorization file Offline Authorization If the UAD computer is not connected to the internet you will need to manually transfer the registration URL into the browser of a web enabled computer To download and apply the UAD authorization file if not connected to the internet 1 Install UAD version 5 or higher software and the UAD hardware using the procedures detailed in this chapter the system must be operating properly 2 Launch the UAD
214. alue are boosted or attenuated In Bell peak dip mode frequencies below and above the fre quency value are boosted or attenuated In Black mode the LF Bell Q is 1 3 and the Brown mode the Bell Q is 0 8 EQ Enable EQUALISER These three buttons determine the status of the EQ mod ule mt EQ In The EQIN button enables the EQ module The module is enabled when the green LED below the button is illuminated EQ to Sidechain DYN SC This control enables the EQ sidechain function When the EQ sidechain is ac tive signal output from the EQ module is removed from the audio path and is instead routed to control key the dynamics module The EQ sidechain is enabled when the amber LED below the button is illuminated Sidechaining is typically used for de essing and similar frequency conscious techniques To listen to the sidechain key simply disengage DYN SC to hear the equalised signal The sidechain dynamics EQ implementations are true stereo when used in a stereo in stereo out SISO configuration Note The EQ module must be active in conjunction with the EQ DYN SC but ton for the EQ sidechain to function Note there is another dynamics sidechain available in the Filters section Filters to Sidechain DYN SC on page 486 UAD Powered Plug Ins Manual 494 Chapter 50 SSL E Channel Strip Pre Dynamics PRE DYN During normal operation PRE DYN disengaged the audio signal is output from th
215. an other UAD plug ins See Compensating Upsam pled Plug Ins on page 107 for more information The Neve 33609SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Neve 33609 is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS NEVE s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 336 Chapter 33 Neve 33609 Compressor CHAPTER 34 Neve 88RS Channel Strip Overview In 2001 Neve launched the 88 Series A new large format analog console that represented the best of all Neve designs that came before it Considered the ultimate console for modern features and reliability it is also heralded as one of the best sounding consoles ever made by veterans of both the audio and film communities The 88RS has found a home in some of the finest rooms and scoring stages around the world including Ocean Way Abbey Road AIR The Village Sony Pictures 20th Century Fox and Skywalker Sound With a rich palette of modern sound sculpting tools the Neve 88RS Channel Strip captures the EQ and dynamics section from Neve s flagship console The controls comprise 12 dB per octave high and low cut f
216. ances the apparent loudness warmth and presence of individual tracks or program material without appreciably reducing dynamic range or peak level control Significant audio improvements can be achieved without the fatigu ing artifacts typically associated with traditional dynamic processors The plug in uses a proprietary softsaturation process that maximizes signal energy while minimizing undesirable distortion and aliasing A wide variety of sounds are available using relatively few controls The primary sonic pa rameter is the Shape control which can range from simply increasing the ap parent loudness at lower settings to dramatically improved clarity punch and musical tube like distortion at higher values The nature of the source material as well as the input levels to the processor also greatly affect the sonic character at the output The Limit function and 3 band mode enable further manipulation of signal levels for additional cre ative options Note See Operating Tips on page 419 for practical usage information The input signal first passes through the Input control page 415 then the In put Meter page 415 before arriving at the Bands divider page 416 After being optionally divided by the Bands parameter the signal is then split into the dry path and the wet saturation path The saturation path is processed by the Shape control page 416 then the wet and dry signals are combined with the Mix control
217. and delivers smooth low mid fre Mey quency peak equalization with a choice of two band widths The inner knob controls the band gain and the sad outer ring selects the frequency or band disable Low Mid Gain The equalization gain for the low midrange band is se lected with the inner knob of the dual concentric control The available range is approximately 18 dB Low Mid Frequency The low midrange band frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click directly on the silkscreen text to specify a frequency or disable the band Note You can also click the midrange symbol below the knob to cycle through the available values or shift click to step back one frequency UAD Powered Plug Ins Manual 317 Chapter 31 Neve 1081 Equalizer The available low mid band center frequencies are 220 Hz 270 Hz 330 Hz 390 Hz 470 Hz 560 Hz 680 Hz 820 Hz 1000 Hz 1200 Hz and OFF When OFF is specified the band is disabled UAD CPU usage is not re duced when the band is OFF Low Mid Q Select The High Q button switches the response of the low mid band from nor mal to a narrower bandwidth for a sharper EQ curve The band is in normal mode by default it s in high Q mode when the button is down darker Low Band The low band delivers smooth low frequency shelving or peak equalization The inner knob controls the band
218. anipulated in realtime The Tension switch emulates two different tension adjustments of this adjust ment screw LO The LO position emulates a loose tension adjustment With this setting re altime adjustments to the Echo Delay parameter have a faster slew rate re sulting in snappier pitch shifting effects HI The HI position emulates a tight tension adjustment With this setting real time adjustments to the Echo Delay parameter have a slower slew rate result ing in sluggish pitch shifting effects The Send switch disables the signal sent into the echo portion of the unit when set to OFF This control is sometimes affectionately re ferred to as the dub switch UAD Powered Plug Ins Manual 231 Chapter 20 EP 34 Classic Tape Echo This switch engages Sync mode for the plug in In Sync mode delay times are synchronized to and therefore dependent upon the mas ter tempo of the host application When Sync is toggled parameter units are converted between milliseconds and beats to the closest matching value Sync See Chapter 8 Tempo Sync for detailed information about tempo synchro nization Wet The Wet switch puts the EP 34 into 100 Wet mode When Wet is on it mutes the dry unprocessed signal Wet is optimal when the plug in is used on an effect group bus that is configured for use with channel sends When the plug in is used on a chan nel insert this co
219. anual 92 Chapter 7 Using UAD Powered Plug Ins UAD Devices with UAD 2 Satellite More Loading Notes Host CPU Loads Automation Because Firewire has significantly less bandwidth than the PCle protocol if UAD 2 Satellite is running with UAD 2 PCle card s in a multidevice system UAD plug ins will load on the UAD 2 card s before the Firewire device in or der to maximize Firewire bandwidth See FireWire Bandwidth vs UAD DSP on page 142 for more information UAD 2 Satellite loading e UAD DSP usage is proportional to the host application sample rate and sys tem PCI PCle bus speed Therefore more plug ins can be used simulta neously 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 e Bypassing individual components will conserve DSP on some UAD plug ins For example bypassing the compressor in the EX 1 when only the EQ is in use and or bypassing any of the unused bands of the EX 1 EQ will use less UAD DSP e The UAD DSP resources required by each successive UAD Powered Plug In instance will slightly decrease e A chart showing expected plug in counts can be found on our website htto www uaudio com support uad charts html e The host system memory and CPU are never used for Powered Plug Ins pro cessing However there will always be a small amount of load on the host CPU induced by data transfers and user interface operations This is un avoidable wh
220. anual 37 Chapter 3 UAD System Overview UAD 2 Family Solo Duo Quad UAD 2 PCle Cards UAD 2 SOLO Laptop Note Multiple UAD hardware types can be used concurrently in the same computer For details see Chapter 5 Using Multiple UAD Devices UAD 2 is our second generation UAD product line that offers many improvements over the original UAD 1 most notable is sam 2 significantly increased DSP horsepower A variety of UAD 2 models are available to suit various process ing and protocol needs Each model is defined by its number of DSP chips 1 2 or 4 and its connection protocol PCle ExpressCard or Firewire Up to four UAD 2 devices can be run concurrently in one system UAD 2 devices are designated as Solo Duo or Quad which indicates the number of SHARC DSP chips in each device Solo devices have one DSP Duo devices have two PROCESSOR DSPs and Quad devices have four DSPs Analog Devices G Each UAD 2 DSP provides approximately 2 5x the processing power of the UAD 1 therefore one UAD 2 Quad offers approximately 10 times the pro cessing power of UAD 1 When comparing the processing power of UAD 2 to UAD 1 a range is given because there are many variables that affect UAD 2 DSP loads such as plug in type host system etc Therefore a single direct comparison cannot be made PCI w UAD 2 PCl Express PCle cards are available in I s T and ee All siren e cards use the PCle x1
221. anunua nananana enaar n ete e nnn nee Important UAD 2 Satellite Notes 0 00 e nnn e ee PREV IS BASICS acs E owe edad es PANA 4 awd aoe ean aed assed HUAI NANG FireWire Bandwidth 0 000 eee cee eee beeen eens FireWire Bandwidth vs UAD DSP 2 2 2222 20 FireWire Bus Power 0 2 aa UAD Powered Plug Ins Manual 7 Table of Contents TABLE OF CONTENTS Chapter 12 Cambridge EQ cc cc cc www www ccc cern ooooooooo 145 BA AA 145 Cambridge EQ Screenshot 0 20 0 0 a 145 Cambridge EQ Controls e nnn e nnn nes 146 Low Cut High Cut Filters 0 00 nee e eens 149 EQ Bands 00 cece tee eben eden eee beeen bbe nebennnees 150 POrGIMeInic EG AA 151 SEE nach orcwausd oneeeueh ereweued oer E onaeeushanee sues emcees 154 Chapter 13 Cooper Time Cube 000000000 coco 156 Dual Mechanical Delay Line 2 00 06 156 Cooper Time Cube Screenshot 0 0 0 0 156 Design Overview 0 ccc tenn tenet eee ee 157 Cooper Time Cube Controls 00 000 n eee 157 Channel Controls 0 0 0 0 eee eee nnn nee eens 160 Cooper Time Cube Hardware 0 00 nen rr ann ru arrra nerna 161 Chapter 14 CS 1 Channel Strip 162 CA AA AA 162 EX 1 Equalizer and Compressor 00 ccc ccc eee nent ees 163 EX 1 Equalizer Controls oncvouss satwendsensecued ota snes oneaeush saeweusn crewed 163 EX 1 Compressor Controls 000 ccc ccc ene ruranan 164 EX 1M Overview
222. apter Windows Red Green LED Windows For maximum system stability and reduced possibility of data loss please ob serve these operational requirements when operating UAD 2 SOLO Laptop Important Close sessions and remove UAD 2 SOLO Laptop before sleep Before putting the computer into system sleep hibernate standby mode quit all UAD host software and remove the UAD 2 SOLO Laptop device Other wise unpredictable behavior and or loss of session data could occur Important Do not remove UAD 2 SOLO Laptop while UAD plug ins are loaded Removing the device when it is active could cause the system to crash Quit all UAD hosts before removing the device Use the ExpressCard 34 to ExpressCard 54 adapter with ExpressCard 54 slots The UAD 2 SOLO Laptop device uses the ExpressCard 34 form factor When the device is installed in systems with the wider ExpressCard 54 slot the enclosed ExpressCard 34 to ExpressCard 54 adapter should be used for the most reliable connection See ExpressCard 34 to ExpressCard 54 Adapter on page 116 for details Reinsert the UAD 2 SOLO Laptop if the LED flashes red green Occasionally the LED on the UAD 2 SOLO Laptop device may flash red and green after booting is complete and or when inserting the device after boot If this occurs simply remove then reinsert the device which should cause the LED to remain steady green UAD Powered Plug Ins Manual 118 Chapter 10 UAD ExpressCard Products
223. ars will say it sounds exactly like the 31102 but it still sounds great and is very us able in most situations The 31102 interface can be differentiated from the 31102 by color and the module name The 31102SE background is black instead of the 31102 s dark blue and the module name on the lower right of the interface panel in cludes SE The Neve 31102SE controls are exactly the same as the Neve 31102 Please refer to Neve 31102 and 31102SE Controls on page 322 for Neve 31102SE control descriptions UAD Powered Plug Ins Manual 325 Chapter 32 Neve 31102 Console EQ Neve 31102 Latency The Neve 31102 but not the 31102SE uses an internal upsampling tech nique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins The latency and its compen sation is identical to that of the other UAD Neve E s See Compensating Upsampled Plug Ins on page 107 for more information The Neve 31102SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Neve 31102 is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 SS Nwo One Neve 31102 EQ hardware module and 31102s installed in a Neve 8068 console All visual and aural references to the Neve 1073 1081 31102 88R
224. ate compressor amplifier and cabinet simulator Controls for each of these sub modules is described be low UAD Powered Plug Ins Manual 354 Chapter 35 Nigel Gate Comp Module Gate Level Display Gate Off On Button ATTACK RELEASE ERA 7715 be Mam bon st Figure 124 The Gate Comp module The Gate is the first sub module in the Preflex signal chain Its output is passed to the input of the Compressor The compressor output is then passed to the in put of the Amp module within Preflex A gate stops the input signal from passing when the signal level drops below a specified threshold value Gates are generally used to reduce noise levels by eliminating the noise floor when the main signal is not present but they are also useful for special effects The Preflex Gate is optimized for use with guitars The threshold is dynamic and the gate output has multiple soft knees and dynamic slope providing a more natural and less choppy sound The Compressor reduces the dynamic range of the signal based on the thresh old and ratio settings Guitarists often use compressors to increase perceived sustain on long notes and for special effects Refer to Chapter 5 for more de tails on compressor theory and operation Note that Nigel s compressor sounds different than the CS 1 EX 1 compressor it sounds more vintage This LED style VU meter displays the level of the signal at the input of Preflex For minimum d
225. ated This button has no effect when DYN IN is disabled The Expansion Meter uses green LED s left column to display the amount of downward expansion occurring in the expander gate module Higher values indicate more gain reduction The Compression Meter uses amber LED s right column to display the amount of gain attenuation occurring in the compressor limiter module Higher values indicate more dynamics compression UAD Powered Plug Ins Manual 490 Chapter 50 SSL E Channel Strip EQ EQ Type The UAD SSL E Channel Strip EQ module is divided into four frequency bands High Frequency HF blue knobs High Midrange Frequency HMF green knobs Low Midrange Frequency LMF yellow knobs and Low Fre quency LF orange knobs The high and low bands can be switched from shelving mode into bell peak dip mode The two midrange bands are fully parametric The EQ module can be disabled altogether or routed for dynam ics sidechain keying EQUALISER o different types of SSL EQ are available The EQ Type but 3 ton selects between the two types either Black or Brown The knob color of the LF band controls changes to reflect the cur rent setting BLK BRN The Black and Brown EQs sound different Black is a bit deeper due to its higher gain values while Brown is more gentle at extreme settings EQ Type Background The original E series equaliser section was the Brown Knob circuit This was standard on all early
226. ated with Universal Audio These trademarks and names are used solely for the purpose of describing certain timbres produced using Universal Audio s exclusive modeling technology Table 19 Amp Type List and Descriptions UAD Powered Plug Ins Manual 361 Chapter 35 Nigel Amp A Type Determines the amp type for the A section of the Amp Selecting an Amp Menu Type recontigures the amplifier characteristics and the function of the other Amp parameters Amp B Type Determines the amp type for the B section of the Amp Selecting an Amp Menu Type reconfigures the amplifier characteristics and the function of the other Amp parameters Amp Morph The Morph control is used to smoothly transform one amp type into another Slider creating new sounds never before possible Morph accomplishes this task by interpolating between amplifier component values of the A and B Amp types as the slider is moved Morph is NOT a blend or crossfade control Morph allows you to continuously shift between two completely different amp sounds in realtime with full automation And because the Color and Bent knobs also control multiple parameters simultaneously which is essentially a morph amazing new dynamically shifting timbres can be realized Cabinet Module Ve SRP ae Figure 126 The Cabinet module within Preflex The Cabinet module reproduces the sonic character of a guitar speaker and its enclosure as captured by a microphone The Cabin
227. audio track with a UAD 1 plug in on the audio track insert In this scenario the host application will automatically compensate for latency and no use of the UAD DelayComp or UAD Track Ad vance is required However if the audio track is sent to a send group bus and that send group bus has a UAD 1 plug in on it the audio track will be delayed in relation to the MIDI track because the host does not compensate for latency automatically on groups buses unless full path latency compensation is im plemented in the host If the MIDI track was an audio track you would use the UAD DelayComp on it to compensate for the latency But you can t put a UAD DelayComp on a MIDI track so what to do Enter the UAD 1 Track Advance plug in TrackAdv for short It operates just like the DelayComp plug in but backwards Instead of delaying unprocessed tracks it shifts them forward It does this by reporting to the host application that a track has a UAD plug in on it so the host compensates for the latency However the track audio is not actually processed by the UAD so the net re sult is that the audio plays early Note UAD TrackAdv is available for UAD 1 only Plugs 1 Samples T aai Figure 24 The UAD Track Advance plug in window Note The Track Advance plug in only works in hosts that support partial track inserts only automatic delay compensation UAD TrackAdv should be used whenever MIDI tracks are played alongside audio tr
228. authorization is loaded onto the UAD device s and after a few seconds the Authorizations Updated Suc cessfully window appears Figure 3 Online UAD authorization is now complete and UAD Powered Plug Ins are ready for use Failed to open page http my uaudio com systems authorize php sw 1 Click hold this URL icon in the browser s address bar then Gphttp imy uaudio com systems authorize php sv 2 Drag the icon to the Desktop and release to create a weblink shortcut for easier transfer Figure 4 To authorize a system that is not connected to the internet create a weblink shortcut on the UAD system for easier transfer of the URL to an online system Using Unlicensed Plug Ins Demo Mode To run unlicensed UAD plug ins after authorization see Demo Mode on page 50 To redeem vouchers or coupons or purchase additional UAD plug in licenses see UA Online Store on page 51 Verifying Installation The UAD Meter amp Control Panel displays the current resource loads of the UAD DSP hardware device in realtime It also contains the System Information panel where UAD software and hardware installation can be verified to en sure the system is working properly UAD Powered Plug Ins Manual 34 Chapter 2 UAD Installation To confirm proper UAD installation and operation 1 Launch the UAD Meter 8 Control Panel application see page 61 2 Open the System Information panel see page 63
229. bal control for all 5 bands and has no effect on the low and high cut filters Click the Parametric Type display to rotate between Types Il and Ill The filter algorithm is the same in all three parametric types The difference is in the dependency between the gain and Q parameters Each parametric type has its own response characteristics In Type mode the Q remains constant regardless of the gain setting In Type ll mode the Q increases as gain is boosted but remains constant as gain is attenuated In Type Ill mode the Q increases as gain is boosted and attenu ated See Figure 49 Figure 50 and Figure 51 UAD Powered Plug Ins Manual 151 Chapter 12 Cambridge EQ Parametric Q Type Type Il The Q bandwidth knob sets the proportion of frequencies surrounding the center frequency to be affected by the gain control The Q range is 0 25 16 higher values yield sharper slopes Note that the Q numeric value in relation to its knob position is warped i e not linear and varies according to the parametric type When set to Type I the bandwidth remains at a fixed Q regardless of the gain setting for the band there is no Q Gain interdependency In addition there is a finer resolution of the Q knob in the middle of its range This makes it eas ier to achieve subtle bandwidth changes Note that the Q value and knob po sitions do not change as the gain is modified See Figure 49 100 ae Sk 10k 20k
230. be powered by the Firewire bus it requires the included external power supply adapter for operation Important If insufficient power is available to UAD devices unpredictable behavior may result Table 2 UAD Power Requirements by Device Type UAD 2 Satellite Duo UAD 2 Satellite Quad The PCI specification provides for up to 25W per device however some host systems don t provide or require this much power When designing a com puter DAW system a common rule of thumb is to provide an extra 50 100 of headroom over the estimated maximum total power draw of all components in the system Don t skimp on the power supply unit When building a custom system a quality sufficiently rated PSU is critical for system stability Under rare conditions running multiple UAD cards may cause an IRQ conflict which can cause system instability or freezes If this occurs try moving the UAD card s to different slots and or contacting UA for technical assistance Multidevice DSP Loading DSP loading in a multidevice system behaves the same as in a single UAD 2 Duo or Quad system these devices have multiple DSPs and is managed au tomatically by the UAD software See DSP Loading Information on page 92 for details UAD Powered Plug Ins Manual 57 Chapter 5 Using Multiple UAD Devices Device Info Display Disabling Devices Host CPU UAD DSP and memory re sources used for each in cone KAG aaa stalled device and the
231. between the original signal without compres sion and the compressed signal The LA 2A and 1176LN display this value when their VU Meters are set to Gain Reduction UAD Powered Plug Ins Manual 254 Chapter 24 LA 2A and 1176LN Compression region 10 dB of a compression 2 1 compression ratio Output Level dB 30 20 10 O 10 Input Level dB Figure 88 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 88 the input level is increased by 10 dB while the output level increases 5 dB This is a compression ratio of 2 1 Lower compression ratios such as 2 1 result in mild compression A compression ratio of 1 1 yields no compression Note Compression ratios above 10 1 are commonly referred to as limit ing or peak limiting where amplitude peaks are reduced Compressors often let you set a threshold the point at which gain reduction starts to take place When the level of an audio signal is below this threshold there is no gain reduction As the level of the signal increases above the threshold level gain reduction and compression occurs The point at which a signal transitions into compression is commonly referred to as the knee In practical compressors this transition is more gentle than what is depicted in
232. ble to take effect Figure 12 The UAD Configuration panel DSP Load Without UAD Powered Plug Ins installed overloading the host system with na ease tive host based plug ins can cause dropouts and possibly system lockup Steinberg hosts for example provide a switch that allows you to trade la tency for stability when the system is overloaded Similarly the UAD DSP load cannot exceed 100 without unpredictable behavior UAD Powered Plug Ins Manual 71 Chapter 6 UAD Meter 8 Control Panel With the Limit DSP Load feature the UAD DSP can also be limited so the load cannot exceed 100 thereby increasing overall system stability in high load situations With very heavy UAD loads DSP load limiting may also improve host CPU performance There are many variables that affect DSP load sample rate buffer size pa rameter values mono stereo automation host system etc Although these variables are taken into account the resulting measurement cannot be abso lutely accurate This is due to variations in system configurations specifically PCI PCle bus loading which is impossible to predict Systems that are heavily loaded due to the presence of other devices or suboptimal configuration may cause additional DSP loading that cannot be predicted by the UAD plug in load calculator The DSP load limit should be reduced in this case It is possible for certain non typical conditions to be met where another UAD plug in can t be added e
233. bled state UAD Powered Plug Ins Manual 335 Chapter 33 Neve 33609 Compressor Neve 33609SE attack thresholddBu recovery ma Neve gain reduction 2 attack thresholddBu recovery ma gain atio gain a Ueber Ta a BOI TH 812 ay B1 d _ 8 10 is a fast Gd 400 N k i i PANG ia i ag 4 5 limi t alow LIMIT 2 ini GOMPRES5 2 Figure 116 The Neve 33609SE plug in window Overview The UAD Neve 33609SE is derived from the UAD Neve 33609 Its algorithm has been revised in order to provide sonic characteristics very similar to the 33609 but with significantly less DSP usage It is provided to allow 33609 like sound when DSP resources are limited Nobody with golden ears will claim it sounds exactly like the 33609 but it still sounds great and is very us able in most situations The 33609SE interface can be differentiated from the 33609 by color and the module name The 33609SE background is black instead of the 33609 s blue grey and the module name below the link switch includes SE Neve 33609SE The Neve 33609SE controls are exactly the same as the Neve 33609 Please Controls refer to the Neve 33609 section for Neve 33609SE control descriptions see Neve 33609 and 33609SE Controls on page 329 Neve 33609 Latency The Neve 33609 but not the 33609SE uses an internal upsampling tech nique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency th
234. budget and processing requirements The packages have different device types Solo Duo Quad and UA online store vouchers of varying value These flexible good as cash vouchers are used for purchas ing optional UAD plug ins 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 PCle and ExpressCard expansion slots Up to four UAD 1 cards can be run concurrently in one system Note All products in the UAD 1 family are discon tinued The UAD 1 was the first UAD product It uses PCI connectivity and can only be used in PCI or PCI X slots The UAD 1e uses PCI Express connectivity It can only be used in PCle slots UAD 1e cards are x1 PCle cards UAD Powered Plug Ins Manual 39 Chapter 3 UAD System Overview UAD Xpander The UAD Xpander is a UAD 1e card housed in an exter nal chassis that interfaces to the computer using an Ex pressCard expansion slot UAD Xpander has special instructions for installation connectivity and use See Chapter 10 UAD Express Card Products for complete details UMIYERSAL AUDIO DIGITAL XPANDER UAD Xtenda The UAD Xtenda is an optional ExpressCard to PCle adapter card that en ables the UAD Xpander and UAD 2 SOLO Laptop to be used in desktop computers that have PCle expansion slots The UAD Xtenda system provides a convenient way to
235. c graphic and Pultec EQs deliv ering a fundamentally different sounding EQ that is beyond compare The in credibly natural organic results of the Manley design method evidenced on albums such as Wilco s Yankee Hotel Foxtrot Amon Tobin s Foley Room and Tori Amos A Piano The Collection demonstrate how the Massive Pas sive s natural treatment of a signal lends itself to both radical tonal shaping as well as delicate vocal shading or subtle mastering enhancement Painstakingly modeled over a six month period and rigorously scrutinized for authenticity by Manley s engineering team Universal Audio s standard and mastering versions of the Massive Passive EQ plug in are included Both cap ture the behavior of the original hardware from the unusual filter curves to the multiple band interdependencies right down to the tube amplifier distor tion and all important transtormer inductor hysteresis Passive refers specitically to the tone shaping elements of the equalizer which use only resistors inductors and capacitors to create all frequency changes The Massive Passive utilizes older parallel concepts rather than non interactive series designs as defined by George Massenburg s original parametric EQ The Frequency controls intentionally interact with one an other as do the Gain and Bandwidth controls While this may result in the ap pearance of some unorthodox knob positions it is specifically these band in
236. c they apply to both channels Link Compress yamang The control signal sidechains of the gain reduction processors for ee ecg Channels 1 and 2 can be linked using the Link Compress function To activate Link Compress click the LINK COMPRESS text or LED on Ch1 on the left The feature is active when the LED is illuminated In typical use on stereo signals Link Compress should be active so the stereo imaging is maintained If the compressor is inactive Compressor Mode on page 198 or when FATSO is used in a mono in mono out configuration this control has no effect Important Unlike the other controls for channels 1 and 2 which are iden tical on the left and right sides of the interface the Link COMPRESS function is on the left side only not to be confused with Link CONTROLS which is on the right side only The parameter controls for channels 1 and 2 can be linked using Link Controls UGE ee i8 the Link Controls function To activate Link Controls click on the LINK CONTROLS text or LED on Ch2 on the right The feature is active when the LED is illuminated Note Although the left right Warmth and Tranny controls are linked when Link Controls is active the actual Warmth and Tranny processors are not ste reo linked This behavior is identical to the original hardware Controls Linked Link Controls is provided for stereo operation when both channels require the same values When enabled the right channel c
237. cals Low Diffusion is also useful in classical music or in adding a sense of depth to an overall mix Note that in Lexicon 224 lower frequencies are generally less diffuse Note If Immediate mode is active the Diffusion value is retained when changing programs Predelay produces a short delay between the sound source and the onset of reverberation Higher Predelay values increase the time before reverb onset The range of this parameter varies depending on the active program see Table 14 on page 274 for the available values The default value is program dependent Table 14 Lexicon 224 Predelay Ranges Program Predelay Range Predelay Range 1 Small Concert Hall B 24 152 6 Small Concert Hall A 24 152 2 Vocal Plate 0 107 24 265 3 Large Concert Hall B 24 152 8 Constant Density Plate A 5 185 4 Acoustic Chamber 25 255 9 Chorus A 0 253 5 Percussion Plate A 0 107 Note Predelay values are in milliseconds s When Immediate IMMED is enabled current parameter values are retained when a new program is selected When Immediate is inactive and a program is selected the Lexicon default factory pre set parameter values for the program are loaded and the control MMED sliders move to the preset values Enabling Immediate mode is convenient for quickly auditioning the various program algorithms using the same persistent parameter values Disabling Immediate mode is convenient for quickly auditioning the variou
238. cator il nia luminates You can use this button to compare the limiter compressor settings to that of the original signal or to bypass the module altogether UAD DSP load is re duced when this module is inactive unless UAD 2 DSP Loadlock on page 73 is enabled GAIN The Gain control adjusts the output level of the limiter com 10 O pressor module The available range is O dB to 30 dB Generally speaking adjust this makeup gain control after the desired amount of processing is achieved with the Threshold control The Gain control does not affect the amount of pro Normally the limiter and compressor operate with soft knee char acteristics This switch gives the limiter and compressor a hard knee instead To activate Hard Knee mode click the pull HN label text or the red indicator just below the Gain control Hard Knee mode is active when the red indicator illuminates Ty Threshold defines the input level at which limiting or compres PARE sion begins Signals that exceed this level are processed Sig C Ga lt F nals below the threshold are unaffected ky The available range is 20 dB to 10 dB A range of O dB to 30 dB is available when the 20 dB switch is engaged see L C Threshold 20 dB on page 345 UAD Powered Plug Ins Manual 344 Chapter 34 Neve 88RS Channel Strip L C Threshold 20 dB L C Ratio RAT L C Fast L C Release Note As the Threshold co
239. ccccsscscccseee 60 Overview aia cs ane ote eee AA 60 Launching the UAD Meter amp Control Panel Application 00 0 aa 61 Using the UAD Meter 0 0 0 6 ccc eet eee nn nent enn n eee 61 UAD Meter Elements 62 WAD ConkolPanel gency oaeqeussensmcnsn 4 ETEEN DOT DIDA aww DIDA DAYAAN 63 System Information Panel 64 Plug Ins Panel 22 67 o pile rol NAL AA ston nnreoueesneucusataeaeds 70 FireWire Panel o n nananana a 77 Help amp Support Panel 2 2 83 Chapter 7 Using UAD Powered Plug Ins ssssssssssooooooooooooo 84 OA ETTE cars Gn E E E E E E 84 Launching a UAD Powered Plug In 20 0 2 84 The UAD Plug In Window 22222 nannan nnana naaraan earannan rarae 85 BABY AA AA AA AA 86 LiveTrack Mode 2 222 88 Adjusting Parameters nnna nananana anann ururua araea 90 Se a e Tl AP E N NLA E E E E E E EE Coes ees arene een 91 DSP Loading Information nnna naana ccc enced tenn rrer 92 Ae el e E E E E E E E E EE EE EEE 93 saa BIKES CO lt oac2uusnocheeyse ea ran ren e aE a EEr n ENSE 94 Chapter 8 Tempo Sync 2 cc ccc ccc ccc ccc sr ccccsscscssscscsess 99 Overview 0 a a e bb db eb ebb bbb ebb bbb bbb bbb b bb bbnns 95 UAD Powered Plug Ins Manual 6 Table of Contents TABLE OF CONTENTS Tempo Sync Plug Ins 2 Available Note Values nnna 2 teen nett enn eee ees RGHOG DIMMS AA T E nas Baan Rese Entering Values Ha Oa ae e C AA Modes with Tempo Sync
240. ce and warmth By adjusting its Amplitude and Band edge controls the equal izer can be configured as shelf or parametric EQs as well as hybrids be tween the two Amplitude controls Amplitude control first and second bands third band he SONanGe aag Band Edge control Band Edge control second band third band Figure 155 RealVerb Pro Resonance panel To configure the reverb s Resonance as a parametric EQ 1 Drag the Band Edge controls horizontally for the second and third bands to the desired frequencies The first band is preset to 16 Hz The frequencies for all three bands are indicated in the text fields at the bottom of the Res onance panel 2 Adjust the amplitude of the bands from 60 dB to O dB by dragging their Amplitude controls either up or down The amplitude values for all three bands are indicated in the text fields at the bottom of the Resonance panel The shape of the EQ curve is displayed in the Resonance graph To configure the reverb s Resonance as a high shelf EQ 1 Drag the Amplitude control for the second EQ band all the way down 2 Drag the Amplitude controls for the first and third bands all the way up to equal values UAD Powered Plug Ins Manual 451 Chapter 45 RealVerb Pro Timing 3 Adjust the Band edge controls for the second and third bands so they are adjacent to each other To raise the frequency for the high shelf drag to the right with the Band edge control for
241. cho returns multitrack switching they all originated in Bill s imagination Murray Allen who purchased Chicago s Universal Recording from Putnam in 1972 elaborates Bill was a brilliant person highly talented with a great set of ears he says He was Duke Ellington s favorite engineer among many and at one time he had more singles in the top 40 than anybody else At the time if you needed something in sound he was the guy He designed systems for the Sands and other big showrooms in Las Vegas John Kennedy flew him out to ar range the sound for the broadcast of his inauguration He did it all Moving West United Recording Corp With his Chicago studio so successful Putnam s clients began urging him to open a facility on the West Coast and finally he was convinced In 1957 he sold his interest in Universal Recording started a new company called United Recording Corp and moved to Hollywood taking over a building at 6050 Sunset and starting construc tion on new studios Stereo was taking off and Putnam was determined to incorporate as many technological innovations into the complex as possible In 1958 Studio B was completed along with two reverb chambers The facility soon grew to three studios a mixdown room three mastering rooms including one with stereo and a small manufacturing plant all in 15 000 square feet The studios were busy around the clock with projects from Ricky Nelson to voice overs for Hanna Barber
242. ck the Power button to disable the processor Power is useful for comparing the processed sound to that of the original sig nal The SSL E Series channel has been used to mix more hit records than any other in history Its no nonsense feature and control set make it easy to get the sound you re looking for A useful approach to getting to know the SSL E is to start with a fresh mix where little to no EQ or dynamic mixing has been done yet Even better start you mix with the SSL G Bus Comp on the master fader as well which will give you the complete SSL sound For an even more authentic SSL experience ad just your DAW s default pan rule usually 3 to SSL s custom 4 5 rule There are two four band LF LMF HMF HF EQ options on the SSL E known as brown and black It is important to note that while only the LF bass knobs change color when switching EQ s ALL bands are affected Brown is the original SSL design with gentler Q and smaller gain and fre quency ranges It is the easier of the two to easily get a good musical sound LC and HC filtering is a gentle 12 dB Brown is the recommended starting place for those unfamiliar with SSL The black EQ is a later design with the option for narrower Q and broader gain and frequency ranges making it more useful for fixative EQ as sweetening The black EQ design changes were recommended by famed Beatles producer George Martin Each band is different from the brown design pl
243. ckstart Guide DVD e UAD Powered Plug Ins software CD ROM e Important Information Sheet To use the UAD Xpander your system must meet the minimum system require ments for UAD Powered Plug Ins see System Requirements on page 25 in addition to the UAD ExpressCard product specific requirements UAD Powered Plug Ins Manual 120 Chapter 10 UAD ExpressCard Products Software Installation Xpander Install Location UAD Xpander requires the following hardware and software e UAD Powered Plug ins software v4 7 1 or higher included e Available ExpressCard 34 or ExpressCard 54 expansion slot e Available PCI Express PCle slot for each optional UAD Xtenda card e Win Windows notebooks are supported under Windows Vista only Install Software First Software installation for UAD ExpressCard products is the exact same proce dure as those for UAD cards Install the software before the hardware Please refer to UAD Software Installation on page 27 for detailed procedures Software Updates The CD ROM in the retail package may not contain the latest UAD software Check our website for software updates e http www uaudio com support uad downloads If the UAD software is already installed the UAD Meter amp Control Panel has a convenient button that links to the updates page Check for Updates on page 64 When selecting a location to position the UAD Xpander during installation and use consider these points
244. clockwise to reduce the bass response Low Frequency The low frequency is selected with the outer ring of the dual concentric knob controls The ring knob pointer can be dragged with the mouse or click the shelving symbol above the knob to cycle through the available frequencies shittt click to step back one frequency The available low band center frequencies are 35 Hz 60 Hz 110 Hz 220 Hz and off When off is specified the band is disabled UAD DSP usage is not reduced when off pra ma The independent low and high cut filters are controlled by the dual concentric knobs to the right of the low band 38O The controls specify the fixed frequency of each cut filter 160 The knob pointers can be dragged with the mouse or click the respective cut symbols above the knob left sym bol for low cut right symbol for high cut to cycle through the available frequencies shift click to step back one fre quency High Cut The inner blue dual concentric knob controls the high cut filter The available frequencies for the high cut filter are 18 kHz 14 kHz 10 kHz 8 kHz 6 kHz and off When off is specified the high cut filter is disabled Low Cut The outer dual concentric ring controls the low cut filter The available fre quencies for the low cut filter are 45 Hz 70 Hz 160 Hz 360 Hz and off When OFF is specified the low cut filter is disabled Note Each cut filter is disabled when its respective knob position i
245. compressor and limiter Note To read and write automation data for both channels independently when in mono mode link mode must be disabled Stereo In stereo mode the left channel is fed to the channel one compressor and the right channel is fed to the channel two compressor The two compressors are constrained so that they both compress the same amount at any instant This prevents transients which appear only on one channel from shifting the image of the output Any big transient on either channel will cause both channels to compress The amount of compression will be similar to the amount of com pression for a transient which appears on both channels at the same time In stereo operation the controls for channels 1 and 2 are independent and can be set separately Generally the channel with the most processing oc curring controls the processing for the other channel For example if the same signal is fed to both channels in stereo mode and channel 1 has a lower threshold setting than channel 2 the channel 1 threshold value is used for both channels Similarly if channel 1 were disabled using In switches channel 2 settings would be used because more processing occurs with the channel 2 settings It s not always so simple though as in the following cases UAD Powered Plug Ins Manual 332 Chapter 33 Neve 33609 Compressor Headroom e f you feed the same signal into both channels you can have a lower thresh
246. control can be dragged with the mouse or click directly on the silkscreen text to specify a frequency or disable the Low band Note You can also click the low shelf symbol above the knob to cycle through the available values or shift click to step back one frequency The available low band center frequencies are 35 Hz 60 Hz 110 Hz 220 Hz and OFF When OFF is specified the band is disabled UAD CPU usage is not reduced when OFF This knob specifies the fixed frequency of the Low Cut filter This filter has an 18 dB per octave slope The available frequencies are 50 Hz 80 Hz 160 Hz 300 Hz and OFF When OFF is specified the low cut filter is disabled UAD CPU usage is not reduced when OFF Note You can also click the low cut symbol above the knob to cycle through the available values or shift click to step back one fre quency UAD Powered Plug Ins Manual 311 Chapter 30 Neve 1073 Equalizer Phase EQL Neve 1073SE PHASE in the In darker position the phase is inverted Leave the switch Qut lighter position for normal phase The PHASE button inverts the polarity of the signal When the switch is The equalizer is engaged when the EQL switch is in the In darker E position To disable the EQ put the switch in the Out lighter posi tion Click the button to toggle the state In the hardware 1073 the audio is still slightly colored even when the EQL switch is in th
247. control values The default values of the unique FATSO Sr parameters are Thresh old Tranny knobs at 5 and Filter Attack Release buttons off An in depth article with practical applications of the FATSO can be found in the Analog Obsession article of the Universal Audio July 2009 Webzine e htto www uaudio com webzine 2009 july analog html zl Empirical Labs INPUT sa Ls Lh Le Re Pe is DUTPUT B BA E V4 i i P 3 1 Mani i T Buss i The Empirical Labs EL7 FATSO Jr hardware unit All visual and aural references to the FATSO and all use of EMPIRICAL LABS s trademarks are being made with written permission from EMPIRICAL LABS Special thanks to Dave Derr for assistance with this project UAD Powered Plug Ins Manual 205 Chapter 17 Empirical Labs EL7 FATSO CHAPTER 18 EMT 140 Plate Reverb EMT s founder Wilhelm Franz 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 lush and distinctive tone of plate reverb that still endures as part of the fabric of modern music However plate reverb systems are large expensive require maintenance and need to be isolated trom external vibration therefore plates are usually found only in commercial Universal Audio s uncanny representation of that unmistakable sound can be found in the EMT 140 plug in Measured and analyzed by UA s DSP circuit m
248. controls the spacing between the reflections The Re cir control affects the amount of reflections that are fed back to the input and controls how many repeats you hear UAD Powered Plug Ins Manual 169 Chapter 14 CS 1 Channel Strip RS 1 Controls Sync Button Shape Pop up Menu Delay Knob Size Knob Delay Size Settings Interaction Recirculation RECIR Knob This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Determines the shape of the reverberant space and the resulting reflective patterns Table 9 Available RS 1 Shapes Sets the delay time between the original signal and the onset of the reflec tions Sets the size of the reverberant space from 1 99 meters and defines the spacing of the reflections You may notice that when Delay is set to its maximum value 300 ms and you move the Size control to its maximum value 99 the Delay value is decreased to 16 85 This occurs because the maximum delay time available to the plug in has been reached The available delay time is limited and it needs to be di vided among the Delay and Size values Therefore if the value of the Delay or Size setting is increased towards maximum when the other control is al ready high its complementary setting may be reduced Sets the amount of processed signal fed back into its input Higher values in crease the number of reverberations delays and intensity of the proce
249. ctable result see Figure 115 below Figure 115 Signal flow within UAD Neve 33609 The UAD Neve 33609 models all aspects of the original 33609 hardware including the desirable harmonic distortion characteristics These qualities are more prominent at higher input levels see Headroom on page 333 for more info When the compressor and limiter are both disabled some good coloration of the signal occurs just like the hardware If a true bypass is desired use the power switch Power on page 335 to disable the plug in UAD Powered Plug Ins Manual 328 Chapter 33 Neve 33609 Compressor Technical Article The article Ask the Doctors Modeling of the Neve 33609 compressor lim iter contains interesting technical details about the 33609 It is available at our online webzine e http www uaudio com webzine 2006 august index2 html Neve 33609 and 33609SE Controls Limiter Limiter Threshold Limiter Recovery Limiter In Attack a PAGOJEr TA Controls in this section only function aS an BOO when the limiter is enabled with the i yi i2 50 if fy a limit In switch the Power switch must T also be on ae Na i a iir slow LIMIIT 1 LE esholddBu recovery ma attack 4 le Note The compressor precedes the lim iter see Signal Flow on page 328 Threshold determines how much limiting will occur When the input signal ex ceeds the threshold level the signal above th
250. cts in spooky radio mysteries Putnam not only tinanced the record for a piece of the profits he came up with the idea of using the tiled men s room at Universal Recording to create that echo The Harmonicats song Peg O My Heart be came the first million seller smash with more than 1 400 000 copies sold and the rest was well history Landmark Recordings Bruce Swedien a teenager at the time recalls that the sound on Peg O My Heart was a seminal influence on him It was the first pop music recording where artifi cially controlled reverb was used for artistic effect he explains Many of the recordings that were done prior to that had reverb but it was part of the acoustics of the recording environ ment Bill s contribution to the art was that he literally came up with the design of the way the echo or reverb sound is sent from the recording desk and the way it s returned to the mix so that it can be used in a variable amount was a youngster in Minneapolis in the early 50s when first heard Peg O My Heart Swed ien continues And can remember it like it was yesterday It had an extraordinary effect on me didn t understand how the techniques were done but knew it had tremendous artistic im pact Putnam s engineering credits grew quickly at that time he worked with artists such as Patti Page Vic Damone and Dinah Washington and had a million selling record on his own Uni versal Records label w
251. d are nearly identical when set correctly However they may be tuned incorrectly to achieve a desired sound Sync EQ and Repro EQ are used as filters to shape the frequency response of the system in maintaining a flat response but they may be used on their own for high or low frequency adjustment Sync HF EQ Adjusts the high frequency content when Path Select page 507 is set to Sync When Path Select is not set to Sync the control has no effect Sync LF EQ Adjusts the low frequency content when Path Select page 507 is set to Sync When Path Select is not set to Sync the control has no effect Repro HF EQ Adjusts the high frequency content when Path Select page 507 is set to Re pro When Path Select is not set to Repro the control has no effect Repro LF EQ Adjusts the low frequency content when Path Select page 507 is set to Re pro When Path Select is not set to Repro the control has no effect The Noise controls allow the user to control the Hum and Hiss elements found on the original hardware Separate controls for Hum and Hiss are available and each can be adjusted for creative purposes Noise Hiss affects the signal at the tape head Hum is added after the tape circuitry Hum and Hiss values default to comparative lev els found on the original hardware The available range for both controls is 25 dB Note The global Noise Enable control page 511 must be ON for the Hum and Hiss parameters to ha
252. d or matched in any combination see The UAD Hardware on page 37 When multiple UAD devices are installed in the host computer the DSP and memory load of the devices are automatically balanced dynamically as UAD plug ins are loaded and unloaded With multiple devices there is no major difference in operating procedures except that more Powered Plug Ins can be loaded simultaneously in the session Mixed UAD The UAD drivers support up to four UAD 2 and four UAD 1 devices running in System the same host computer system concurrently The devices can be any combi nation of UAD 2 family and or UAD 1 family devices up to four of each for a total of up to eight UAD devices in one computer See If a UAD Powered Plug In is loaded on a device then that device is sub sequently disabled an error message will be displayed This occurs because a plug in is assigned to a device when it is first instantiated It stays assigned to the same device until it is de instantiated for example removed from the in sert slot on page 58 for additional details if combining these device types Plug In License Policy The Universal Audio End User License Agreement EULA on page 3 grants you the non exclusive right to use UAD Powered Plug Ins on a single computer at a single location Since you can run up to four of each device type UAD 2 and UAD 1 in the same computer each individual UAD plug in license will authorize all the de vices i
253. dB The available Ratio values are 2 1 default 4 1 and 10 1 Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before compression is ap plied The faster the Attack the more rapidly compression is applied to signals above the threshold The Attack range is from 0 10 milliseconds to 32 milliseconds The availability of relatively slow attack times as compared to other compres sors is one factor that can provide the in your face pumping quality that is so popular with large console VCA style compressors Release sets the amount of time it takes for compression to RELEASE gem cease once the input signal drops below the threshold level The Auto release characteristic for Precision Buss Compressor has a unique quality that is optimized for program material UAD Powered Plug Ins Manual 383 Chapter 36 Precision Buss Compressor Slower release times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set too large of a Release time compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals Fade The Precision Buss Compressor provides a Fade function that upon activa tion automatically reduces the plug in output to minimum within a specified time period This function enables extremely smooth sounding fade outs and fade ins plu
254. dEcho plug in contains three modules UAD Powered Plug Ins Manual 371 Chapter 35 Nigel Trem Fade Module Sync Button Threshold Thresh Knob Trigger LED a ee ADE THEESH FADE IN ONSET PATE REDTH bd Y MM ak ee Banal on MODE emi Figure 130 The Trem Fade module Trem Fade is a sophisticated envelope controlled modulation processor that can produce classic tremolo fade and other gain modulation effects Trem olo is achieved by modulating the amplitude volume of a signal with a low frequency oscillator LFO Trem Fade includes some new modes such as Shimmer and VariTrem that enable the production of new volume effects This button puts the plug in into Tempo Sync mode See Chapier 8 Tempo Sync for more information Sets the threshold level for the Trem Fade effect When the signal level ex ceeds the threshold the Trem Fade effect is triggered The range is O dB to 80 dB Note When Trem Fade is used within the complete Nigel plug in the thresh old detector is connected to the output of the Gate module This allows for op timal level tracking independent of the amplifier and other effect settings Once a Trem Fade effect is instigated by crossing the threshold level the ef fect will continue until the signal drops below the Threshold level For exam ple if a signal is faded in the signal won t fade in again until its level drops below the Threshold value The Trigger LED indicates
255. de can be active at a time Each program mode and its associated parameters are described in detail below Tip See Table 11 on page 217 for a matrix of controls that are available in each program mode UAD Powered Plug Ins Manual 217 Chapter 19 EMT 250 Electronic Reverberator Reverb Reverb program mode offers the same all time classic reverb algorithm that made the EMT 250 famous Decay Time Lever 1 Lever 1 controls the main reverb tail decay time The red LEDs on the left side of lever 1 indicate the current decay time the green LEDs on the right side of lever 1 are inactive The decay time range at 1 kHz is 0 4s to 4 5s selectable via 16 steps LF Decay Lever 2 Lever 2 controls the low frequency decay time at 300 Hz The red LEDs on the left side of lever 2 display the current value the green LEDs on the right side of lever 2 are inactive Four multipliers are available x 0 5 x 1 0 x 1 5 and x 2 0 The multiplier refers to a factor of the main decay time lever 1 Higher values upper lever positions generally result in more low frequency content in the reverb tail HF Decay Lever 3 Lever 3 controls the high frequency decay time The red LEDs on the left side of lever 3 display the current value the green LEDs on the right side of lever 3 are inactive Four multipliers at 6 kHz are available x 0 25 x 0 33 x 0 5 and max At the max position the HF decay factor is x 1 0 at approximately three
256. demo period can only be activated once and can not be stopped or restarted during this period We recommend you do not ac tivate demo mode until you have the time to thoroughly check out its sound and functionality See Demo Mode on page 50 for detailed information Not available for UAD 2 The plug in has not been ported to the UAD 2 and is available to run on UAD 1 devices only In this case the Run On menu is unavailable No UAD 1 devices found This is displayed for non ported UAD 1 plug ins when both device types were selected during software installation but only the UAD 2 is currently installed In this case the Run On menu is unavailable UAD Powered Plug Ins Manual 68 Chapter 6 UAD Meter amp Control Panel Run On Column xX UAD Control Panel System Info Plug ins Configuration Authorize Plug ins PLUG IN UAD Helios 69 UAD Neve 1081 UAD Neve 33609 UAD Neve 1073 UAD Roland RE 201 UAD Precision Multiband UAD Roland Dimension D UAD Roland CE 1 UAD Precision Equalizer UAD Plate 140 UAD Precision Limiter UAD LAZA UAD 1176LN UAD 1176SE i AD Pultec Pro UAD Fairchild UAD DreamVerb UAD Cambridge UAD RealVerb Pro UAD Pultec UAD C5 1 UAD Nige Figure 11 The UAD Plug Ins panel UAD Powered Plug Ins Manual START DEMO START DEMO START DEMO START DEMO START DEMO Authorized for all cards START DEMO START DEMO Authorized for all cards START DEMO START DEMO Authori
257. depending on the amp type When an amp type is selected Preflex is internally reconfigured Although the amp types are essentially factory programmed presets they are not simply a set of knob values As different amp types are selected the actual function and range of the amp knobs assume new characteristics The Color and Bent knobs have especially powerful functionality Each mod ities several amplifier characteristics simultaneously so they behave as super controls that can have a dramatic effect on your sound with just one knob turn These are generally the main controls you will reach for when you want to make major changes to the overall dynamic response timbre or distortion characteristics of Preflex UAD Powered Plug Ins Manual 358 Chapter 35 Nigel Knob Values Are Offsets Amp Types and Morph Amp Controls Amp EQ Groups Amp Pre EQ Knobs Knob settings do not change to new values when an amp type is selected This is because knob values are not absolute Instead they are an offset to the fac tory programmed amp type value For example if Post Lo EQ displays a value of 3 0 then 3 dB is added to the amp type internal preset value Of course knob settings do change when user settings are loaded The Amp submodule within Preflex is actually comprised of two independent amplifier processors Amp A and Amp B The amp types to be used are se lected with the Amp Type pull down menus The two amp types share
258. depicts the Morphing Panel Click the Morphing Mode button to enable Morphing mode When RealVerb Pro is in morphing mode the other RealVerb Pro spectral controls are grayed out and cannot be edited In mor phing mode two presets are selected using the pull down menus Once the desired presets are selected in the pull down menus the morphing slider is used to morph from one preset to the other UAD Powered Plug Ins Manual 456 Chapter 45 RealVerb Pro When in Morphing mode non user adjustable controls will change their ap pearance and will no longer be accessible When inserted on a Send effect the W button automatically turns on to keep the mix at 100 wet On an insert effect the Mix will change back and forth between the two mix values of each preset Preset Shape Material Levels Mute F O 0dB i Input Gain Positioning Mix om Dark Ambience Of 1 Realverb Pro CITI REA KA Eee EE N PS Acoustic Reverb Toolkit Figure 160 RealVerb Pro in Morphing mode UAD Powered Plug Ins Manual 457 Chapter 45 RealVerb Pro RealVerb Pro Preset Management Factory Presets Using Host Application anagement In the preset menu there are thirty factory presets that can be changed by the user Any modification to a preset will be saved even if you change presets If you want to return all the presets to their default settings select Reset all to Defaults at the bottom of the
259. designed to musically integrate frequencies and transients and increase the apparent volume of your source material in the same way classic analog equipment does It achieves this through an ingenious design and a creative feature set giving users the ability to impart the wonderfully warm and pleasing sonic characteristics of magnetic recording tape and class A transformer and tube circuits The Input control gives the ability to dial in har monic generation distortion while Tranny and Warmth allow the user to dial in just the right amount of tape and tube tone The FATSO also operates as a highly versatile compressor useful for mixing and stereo buss compres sion From tame to trashed the FATSO offers a wide palette of possibilities for adding character and cohesiveness to your DAW tracks FATSO Sr Dubbed the FATSO Sr UA has also worked closely with Dave Derr to bring you his never before available original concept of the FATSO bundled at no additional charge Adding his own custom mods that turn the original FATSO into an unbelievable powerhouse of tonal shaping possibilities the FATSO Sr offers a Tranny saturation control sidechain filtering and deeper com pression parameters including Threshold Attack and Release These special FATSO Sr mods are only available with Universal Audio s plug in version of this unique studio tool Note The additional controls in the FATSO Sr do not add to the DSP func tionality
260. devices See Mixing FireWire Speeds on page 139 for information on how to properly combine FireWire 400 and FireWire 800 devices on the same bus The desired speed of the FireWire link between the host computer and the UAD 2 Satellite is set here the actual link speed is shown in the Current Link Speed display To change the value click the down arrow to display the drop menu then select the desired value The setting cannot be changed when UAD plug ins are loaded Target Link Speed should be set to 800 when supported by the host computer However some FireWire devices may not always perform flawlessly Chang ing the Target Link Speed to 400 may actually improve performance and or stability on systems not optimized for FireWire 800 operation Tip Twice as many UAD 2 Satellite plug ins can be run at 800 versus 400 so configure the FireWire system to run at 800 if supported by the computer This parameter determines how much of the total available FireWire bus bandwidth will be reserved for UAD 2 Satellite plug ins Limiting the band width used by UAD 2 Satellite ensures that other FireWire devices on the same bus will have enough bandwidth to function properly To change the value click the increment decrement arrows click hold the current target value to display a drop menu or double click the value for di rect text entry The maximum available value is 85 Note The value cannot be changed when UAD plug ins are active
261. dif ficult to access in the original hardware However creative use of the param eter is encouraged by making it easier to access in the plug in Mode Enhancement has three control elements Enable Amount and Pitch Shift As in the original hardware lower values of Mode Enhance Amount and higher values of Pitch Shift increase movement and make the result more prominent Note The Mode Enhance Amount and Pitch Shift controls have no effect un less the Mode Enhance Enable control is active sm This button enables or disables Mode Enhancement for the active program Mode Enhancement is active when the button LED is lit The default state is ON for all programs MODE Tip This control just as with the original hardware resets the algo EMH rithm Therefore Mode Enhance Enable can be used to quickly kill the reverb tail while staying in the same program These two adjacent buttons control the amount of Mode Enhancement or technically speaking the amount of time between delay line updates Click the left lt but ton to decrement the value click the right gt button to increment the value The available range is 1 through 16 Lower values increase the effect lt MODE gt ENHANCEMENT a Pitch Shift is a secondary parameter of Mode Enhancement that controls the size of the delay line update steps Lower val ues produce smaller steps while higher values produce larger steps Click the left
262. dio may have Universal Audio may terminate your license if you materially breach these terms and conditions Upon termination by Universal Audio you will return to Universal Audio at your expense the Software including documentation and any copies thereof 8 United States Government Rights The Software and Documentation are provided with RESTRICTED RIGHTS Use duplication or disclosure by the Government is subject to restrictions as set forth in subparagraph c 1 ii of the Rights in Technical Data and Computer Software clause at DFARS 252 227 7013 or subparagraphs c 1 and 2 of the Commercial Computer Software Restricted Rights at 48 CFR 52 227 19 as applicable Manufacturer is Universal Audio Inc 1700 Green Hills Road Scotts Valley CA 95066 4926 USA 9 Export restrictions The Software is subject to United States export laws and regulations If you are subject to U S laws you must comply with these laws which include restrictions on destinations end users and end use For further information please see http www bis doc gov 10 Consent to Use Data Universal Audio may collect and use technical information about the Software and hardware devices you use in connection with the Software in a manner that does not personally identify you Universal Audio may use this information to improve our products or to provide customized services or technologies Universal Audio may also disclose this information to third parties s
263. duce the reverb time of a choir SPL Transient Designer Screenshot Transient Designer a pi iff a Ng 2 i CNF no aT sla a PAT MAAL ia Figure 164 The SPL Transient Designer plug in window UAD Powered Plug Ins Manual 473 Chapter 49 SPL Transient Designer SPL Transient Designer Controls Attack Sustain Gain Containing only two primary controls the UAD SPL Transient Designer is ex tremely simple to operate The technology behind the processor isn t as im portant as how it sounds However for those who desire a deeper under standing of the process a deeper explanation of the underlying technology is presented at the end of this chapter see Technology on page 480 Attack enables amplification or attenuation of the attack of a signal by up to 15 dB The Attack control circuitry uses two envelope gen erators One follows the shape of the original curve and adapts perfectly to the dynamic gradient The second envelope generator produces an envelope with a slower attack From the difference of both en velopes the VCA control voltage is derived Positive Attack values emphasize attack events negative values smooth out the attack envelopes of sound events For more information see The ATTACK Control Circuitry on page 480 STAN Sustain enables amplification or attenuation of the ae er sustain of a signal by up to 24 dB The Sustain control circuitry also uses two envelope generator
264. duction This control adjusts the amount of gain reduction as well as the relative threshold A Peak Reduction value of O yields no compression Rotate this con trol clockwise until the desired amount of compression is achieved to monitor the Peak Reduction set the VU Meter to Gain Reduction The Peak Reduction should be adjusted independently of the Gain control Meter This switch sets the mode of the VU Meter and also disables the plug in When set to Gain Reduction the VU Meter indicates the Gain Reduction level in dB When set to output the VU Meter represents the output level the output meter is not calibrated When in the Off position the plug in is disabled and UAD DSP usage is re duced Note UAD 2 only UAD 2 DSP usage is reduced only when DSP Loadlock page 73 is disabled If DSP LoadLock is enabled the default setting setting the switch to Off will not reduce DSP usage Stereo Phase coherent stereo imaging is maintained when the LA 3A plug in is used Operation on a stereo signal UAD Powered Plug Ins Manual 263 Chapter 25 LA 3A Compressor CHAPTER 26 Lexicon 224 Classic Digital Reverb History From the moment it was unleashed on the audio industry in 1978 the original Lexicon 224 Digital Reverb with its tactile slider based controller and fa mously lush reverb tail almost single handedly defined the sound of an en tire era It served as a major player in the sound of highly influential cla
265. during installation and use consider these points e The unit should be positioned on a secure stable surface and not moved during operation This will help prevent the disruption of signals from cables and or connectors if they are accidentally bumped or worse e For proper ventilation to prevent overheating place UAD 2 Satellite on a hard flat surface and do not cover the unit Allow air to circulate under neath the chassis Multiple UAD 2 Satellite units may be safely stacked e High levels of radio frequency radiation could interfere with proper opera tion If possible avoid placement near unshielded monitors radio transmit ters and similar equipment UAD Powered Plug Ins Manual 129 Chapter 11 UAD 2 Satellite Security Slot The Kensington Security Slot is on the rear panel This feature helps prevent theft when used with an optional locking cable such as the Kensington MicroSaver Security Cable Refer to the instructions that come with the optional cable External Power UAD 2 Satellite includes an external international DC power supply with Supply changeable AC connectors to match the AC socket in various countries Figure 28 International power supply with changeable AC connectors Figure 28 UAD 2 Satellite external DC power supply and changeable AC connectors To change the AC connector 1 Press and hold the button on the AC connector marked PUSH 2 Rotate the AC prongs counter clockwise to
266. e WebZine Article An article about the Neve 88RS console can be found in the Analog Obses sion article of the Universal Audio May 2007 Webzine Volume 5 Number 4 published on the internet at e htto www uaudio com webzine 2007 may index4 html Le cies mmm HAT fi aN ai ih Siam aa a a a saat ee ee ka Fae a al ate el a a al alate fee eee The Neve 88RS at Skywalker Sound in California All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS NEVE s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 351 Chapter 34 Neve 88RS Channel Strip CHAPTER 35 Introduction Nigel offers the latest generation of guitar processing technology integrated into a complete multi effects plug in solution Utilizing Universal Audio s exclu sive component modeling technology along with some very creative digital design Nigel delivers a complete palette of guitar tones along with most ev ery effect a guitar player might need all with minimal latency and no load on your host computer s CPU Nigel s Preflex advanced guitar amp modeling technology goes well be yond the usual pre amp amp cabinet emulators In addition to delivering a wide range of highly playable classic amp tones from the Clean 4 Warm California tube sound to more metal soaked British tones a bevy of original timbres simply not
267. e time shift with a low frequency oscillator LFO which results in the contin uously varying swooshing effect that is often associated with the process name This conventional phasor effect can be reproduced with outstanding results by moving lever 1 back and forth either manually or with automation Phase Lever 1 In Phase program mode lever 1 controls the delay time the phase time shift between the two signals that create the comb filter Phase values of Oms to 15ms are available selectable via 16 steps UAD Powered Plug Ins Manual 220 Chapter 19 EMT 250 Electronic Reverberator Chorus In Phase mode the green LEDs to the of right lever 1 are active but the panel markings O 300ms do not represent the actual phase delay time values In stead the LEDs indicate the relative value between 0 15ms Predelay Lever 4 Lever 4 can be used as a common predelay to both phase delays See Lever 4 Predelay on page 215 for more information Note Levers 2 and 3 have no effect in Phase program mode Front Rear The Front Rear Outputs switch is illuminated in Phase program mode Chang ing the switch setting will yield a different comb filter phase Due to the nature of the effect in Phase mode when the switch is in the Rear position and the Phase time lever 1 is at minimum and maximum values the signal is only out put on one side rightonly at minimum left only at maximum This behavior is
268. e wm The Speed parameter defines the attack and release char Mim acteristic of the enhancement process SPEED Fast In Fast mode the enhancement processor has a quick response time of 30ms which yields a more percussive bite and or a more aggressive sound Slow Slow mode has a slower response time of 180ms which can deliver a smoother sound overall The kHz Frequency parameter defines the cutoff fre quency for the enhancement process in Mode A and h Mode C Frequencies above this value are enhanced l kha il by the processor The available range is 1 00 kHz to 10 0 kHz a kHz FREQUENCY i E TS kaaa Maa ts Note kHz Frequency is disabled in Modes B D AIl Output controls the signal level that is output from the plug in The available range is 20 AB to O dB a OUTPUT Li 20 dh UAD Powered Plug Ins Manual 398 Chapter 39 Precision Enhancer kHz Generally speaking adjust the Output control after the desired amount of pro cessing is achieved with the Effect and kHz Frequency controls Output does not affect the amount of enhancement processing nor does it have any effect when the plug in is disabled Output Meter The Output Meter displays the signal level at the output of the plug in When the plug in is disabled with the plug in Power switch but not the host plug in enable switch the output meters still function The Power switch determines whether the plug in is active This is
269. e All UAD Xpander instructions apply regardless of whether the unit is attached to a notebook computer or a desktop computer via UAD Xtenda For optimum results specific steps must be followed when starting the UAD Xpander and host computer system Following this sequence ensures the Xpander electrical and UAD driver requirements are properly met 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 27 2 Ensure both the host computer and UAD Xpander are powered off 3 Ensure the UAD Xpander is properly connected see UAD Xpander Con nections on page 122 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 2 Boot the computer The UA logo glows blue indicating an electrical con nection has been established with the computer 3 Windows The UAD drivers are installed automatically by the New Hard ware Wizard during the first boot following initial software installation Mac The UAD drivers are loaded during boot 4 You can confirm UAD driver communication is established by using the UAD Performance Meter See Using the UAD Performance Meter to Check Installation in the QuickStart pdf The UAD Xpander startup sequence is complete After the UAD Xpander is
270. e Clicking the OFF screen label toggles between OFF and the previously set Input Gain value You can also click the Neve logo to toggle between OFF and the previous state UAD Powered Plug Ins Manual 315 Chapter 31 Neve 1081 Equalizer High Band High Mid Band The high band delivers smooth high frequency shelving or peak equalization The inner knob controls the band gain and the outer ring selects the frequency or band High Gain The equalization gain for the high band is selected with the inner knob of the dual concentric control Rotate the control clockwise to add the famous high end Neve sheen or counter clockwise to reduce the tre ble response The available range is approximately 18 dB High Frequency The high band frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click di rectly on the silkscreen text to specify a frequency or disable the band Note You can also click the shelving symbol above the knob to cycle through the available values or shift click to step back one frequency The available high band center frequencies are 3 3 kHz 4 7 kHz 6 8 kHz 10 kHz 15 kHz and OFF When OFF is specified the band is disabled UAD DSP usage is not reduced when the band is OFF High Peak Select The High Peak button switches the high band from a shelving EQ to a B peaking EQ The band is in shelf mode by default it i
271. e To disable audio processing use the CE 1 Power Switch Rate LED The yellow Rate LED blinks according to the current low frequency os cillator LFO rate When CE 1 is in Vibrato mode the LFO rate is de termined by the vibrato rate knob When in Chorus mode this LED is affected by the Intensity knob Note In Chorus mode the fastest LFO rate is slower than the slowest LFO rate in Vibrato mode Vibrato Chorus Vibrat This switch determines the operating mode of the plug in Click wit to switch between chorus and vibrato modes The active mode is black text The inactive mode has gray text The default mode is chorus UAD Powered Plug Ins Manual 461 Chapter 46 Boss CE 1 Chorus Ensemble Stereo Mode Switch Output Level Kno Chorus Intensity Knob mode 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 suwi 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 Note This switch has no affect in a mono in mono out or mono in stereo out configuration When CE 1 is used in a stereo input configuration the Stereo Mode switch af fects the output as follows D
272. e plug in product pages at the UA online store See UA Online Store on page 51 for purchasing details Configuration Panel The UAD Configuration Panel is where most of the global UAD settings and preferences are specified for all UAD devices Refer to Figure 12 on page 71 for the parameter descriptions The parameters that are displayed in the Configuration Panel are dependent upon the UAD hardware that is currently installed and the OS platform Win dows or Mac For example if you have only UAD 2 devices installed in a Windows system you will not see the UAD 1 or Mac parameters Note All UAD 2 parameters apply to UAD 2 PCle cards UAD 2 SOLO Lap top and UAD 2 Satellite unless otherwise noted UAD Powered Plug Ins Manual 70 Chapter 6 UAD Meter amp Control Panel UAD Control Panel System Info Plug Ins Configuration Firewire UAD 2 DSP Limit DSP load to OO DSP LoadLock Extra buffering UAD 1 DSP UAD 1 PCI Limit DSP load to 9856 MIN GMT 64 Reset AMD 8131 compatible HOST COMPATIBILITY w Enable CPU Optimization Sonar compatibility mode USER INTERFACE Controls Mode INFO Performance enhancements for all Windows platforms Host CPU usage is significantly reduced particularly when running larger numbers of plugins and or small ASIO buffer sizes Incidents of host CPU overloads with high graphical activity are also significantly reduced Reloading of audio session is required for feature disable ena
273. e 3 on page 33 UAD Powered Plug Ins Manual 48 Chapter 4 My uaudio com My Systems The UAD devices and plug ins that you own and can authorize can be found in your My Systems page at my uaudio com My Systems keeps track of which UAD devices are in which computer and the authorization status of each UAD plug in My Systems is managed automatically by my uaudio com and the UAD soft ware When Authorize Plug Ins is clicked devices in the host system are added to My Systems When an authorization file is downloaded it reflects the current state of My Systems System All the UAD devices installed in a single host computer system and the UAD plug in license status for those devices is referred to as a System formally known as Group on the My Systems page at my uaudio com When you click the Authorize Plug Ins button UAD devices in the host computer are au tomatically registered and added to a System The UAD hardware identification numbers for each UAD device in a single host computer are stored in the same System Authorization files generated at my uaudio com are constrained to only authorize the licensed UAD plug ins running on the UAD devices in the same System The same authorization file authorizes all the devices and plug ins in the host computer If you register a UAD device that is in a second host computer using the same my uaudio account a second System is automatically created at My Systems In acco
274. e Out position This is due to the fact that the signal is still pass ing through its circuitry Therefore the signal will be slightly colored when this switch is in the Out position UAD DSP usage is reduced when the EQ is by passed with this control unless UAD 2 DSP Loadlock on page 73 is en abled If a true bypass is desired use the OFF position of the Input Gain on page 310 control Figure 108 The Neve 1073SE plug in window Overview The UAD Neve 1073SE is derived from the UAD Neve 1073 Its algorithm has been revised in order to provide sonic characteristics very similar to the 1073 but with significantly less DSP usage It is provided to allow 1073 like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the 1073 but it still sounds great and is very usable in most situations The 1073SE interface can be differentiated from the 1073 by color and the module name The 1073SE is black instead of the 1073 s dark blue and the module name on the lower right of the interface panel includes SE UAD Powered Plug Ins Manual 312 Chapter 30 Neve 1073 Equalizer Neve 1073SE The Neve 1073SE controls are exactly the same as the Neve 1073 Please re Controls fer to the Neve 1073 section for Neve 1073SE control descriptions see Neve 1073 and 1073SE Controls on page 309 Neve 1073 Latency The Neve 1073 but not the 1073SE uses an internal upsampling techniq
275. e Threshold control The Gain control does not affect the amount of process ing The available range is 12 dB Note The Gain for each band can also be modified by control points in the EQ Display see Curve Control Points on page 428 Band For details about the band frequencies see Frequency Controls on Frequencies page 430 Band Enable amp For details about the band enable and solo controls see Dynamics Meters Solo on page 431 UAD Powered Plug Ins Manual 427 Chapter 43 Precision Multiband EQ Display Band Curves EQ Response Curve Control Points In the EQ Display the entire audio spectrum from 20 Hz to 20 kHz is dis played along the horizontal axis Gain and attenuation of the five band fre quencies up to 12 dB are displayed along the vertical axis Se ae 7 fj nar Le pa 0 Hr All ai R Figure 143 Precision Multiband EQ Display The Band Curves show the relative frequency and gain settings of the bands The sides of the colored curves are a representation of each band s frequency settings and the top of each curve represents the band s gain setting Note The currently selected band is displayed with a thicker bold line Dis abled bands see Band Enable amp Solo on page 427 are displayed with a thinner line The EQ Display also shows the processed EQ response dynamically as a light blue line across all bands if the Dynamic EQ display option is enabled see
276. e a desired effect Parameter values are easily moditied by dragging sliders rotating knobs clicking switches and buttons or by selecting values in a drop menu The functions of all parameters are detailed in later chapters The parameter adjustment style can be Circular Relative Circular or Linear For more information see User Interface Settings on page 76 Note To increase resolution when adjusting rotary controls in circular and relative circular modes increase the radius of the mouse relative to the knob while dragging i e move the mouse farther away from the knob while drag ging UAD Powered Plug Ins Manual 90 Chapter 7 Using UAD Powered Plug Ins Text Entry Scroll Wheel Keyboard Control Mac Shortcuts Parameter values can be modified directly with text entry To enter a param eter value using text entry single click the parameter value text The text value will highlight indicating it is ready to receive a new value Type in a new value then press Return Enter or Tab or click outside of the text box Press Esc if you want to revert to the prior setting without entering the new value Values entered via text entry are rounded to the closest significant digit If an entered value is out of range it will be ignored To enter time values the units must be specified m milliseconds and s sec onds Examples 400 milliseconds 0 400s or 400m 1 5 seconds 1 5s or 1500m If your mous
277. e available range is 1 through 16 As in the original hardware lower values make the result more prominent OPTIMIZATION Note The Decay Optimization Amount controls have no effect unless the De cay Optimization Enable control is active The Dry Wet and Solo parameters control the effect mix in the plug in These controls are not available in the original hardware f lt DRY WET SOLO Note The Mix controls are global parameters their ANEK state does not change when different programs are se lected UAD Powered Plug Ins Manual 277 Chapter 26 Lexicon 224 Solo When Solo is activated the Dry Wet mix is set to 10096 wet and the Dry Wet controls are deactivated Solo mode is optimal when using Lexicon 224 in the classic reverb configuration placed on an effect group bus that is configured for use with channel sends When Lexicon 224 is used on a channel insert Solo should be deactivated The default state is ON Note Solo is a global per Lexicon 224 plug in instance control Dry Wet These two buttons control the balance between the reverb processor and the source signal when Solo mode is inactive Click the DRY button to reduce the reverb amount click the WET button to increase the reverb amount The Dry Wet mix is indicated in the Numerical Display as a percentage A value of 50 produces an equal blend of the wet and dry signals Values greater than 50 emphasize the wet signal and values less than 50 e
278. e bands of AKA EAn Ls a e o bd at pa an a Pad a each channel are identical the control de gets Setar Reet NET E 0 BEN fe axe 9 eso p WI GB Ba scriptions for each band are only detailed GP OIE O ra Nar BO a F a i ae r ma a once lt r NN Important See Standard vs Mastering Versions on page 290 for the exact differences between the Massive Passive parameters This three position toggle switch determines whether the frequency band will be boosted cut or disabled altogether The amount of EELU boost or cut to be applied to the band is determined by the Band ut Gain control When Boost or Cut is selected its label illuminates green for Boost red for Cut When the switch is in the OUT position the band is disabled Note When set to OUT the other band controls have no effect UAD Powered Plug Ins Manual 290 Chapter 28 Manley Massive Passive EQ Shelf Bell Band Gain The Shelf Bell toggle switch defines the shape of the filter band A unique aspect of this control is that unlike other EQs where only the edge frequencies offer a shelving mode with Massive Passive all bands can be used in either mode for expanded sonic possibilities Note The Bandwidth control page 292 affects the slope of the band filters in both Shelf and Bell modes Shelf The two lowest leftmost bands can each be in Low Shelf mode the two high est rightmost bands can each be in High Shel
279. e compressors as opposed to being strictly associated with one channel of input output de pends on active mode These controls include Threshold Time Constant Bias Current Balance and DC Bias There are two sets of controls that always work on the left and right signals input level and output level In Lat Vert mode left is the mono input and right is the stereo input Controls on the main panel are all original Fairchild controls except for the meter select switch which was used to calibrate bias currents on the original hardware The hardware does not have provision for monitoring input output or gain reduction levels For the plug in the zero screw slot control has been disabled since the meter cannot become uncalibrated on the plug in Controls on the lower auxiliary panel are original controls modifications or additions as follows e The DC Bias controls are original controls but were on the back of the hard ware units e The sidechain link control is a common modification which had been per formed on the unit we modeled e The Controls Link is a plug in only switch e The output level controls are an addition for the plug in RIGHT em tik o LEFT OUT RIGHT OUT 6 b eu TAG i ang a a Fo Fi NA SIDECHAIN 2 conos 7 r i p Faciory See Faciory i ta ca a ad DC BIAS e UNLINK Se Ce 4 ee ad o 9 Some hosts use plug in parameter names in place of the graphical inte
280. e devices to the bus before activating UAD plug ins See Adding a device to the active bus on page 133 for details e As of UAD v5 9 0 and higher two UAD 2 Satellites can be used together in a single system See Chapter 5 Using Multiple UAD Devices for addi tional information e Select a suitable location for the unit See Satellite Install Location on page 129 UAD 2 Satellite units may be safely stacked e Do not bend sharp angles into or otherwise kink the FireWire cable The ca ble can be damaged by improper handling e UAD 2 Satellite contains no user serviceable parts Opening the unit will void the warranty Power Supply e UAD 2 Satellite requires external DC power It ships with an external power supply adapter that converts AC power to 12VDC 1 25A AC input into the adapter can be 100V 240V at 50 60 Hz several AC plug adapters are provided for international use e The power supply DC output connector is ring ground negative and tio hot positive UAD 2 Satellite is diode protected the unit will not be damaged if the wrong DC polarity or AC input is connected e The Quad Satellite draws a maximum of 7 watts the Duo draws 4 watts e The acceptable range of power input for UAD 2 Satellite is VDC 15VDC 1A 9 Watts minimum Note UAD 2 Satellite requires the external power supply It cannot be powered by the FireWire bus nor can it supply bus power to other FireWire devices UAD Powered
281. e dynamics module into the EQ module Activating PRE DYN reverses this routing so the EQ is ahead of the dynamics module instead Pre dynam ics is active when the red LED below the button is illuminated Global 1 0 Meters The vertical LED style metering provides a visual indication of the signal levels at the input and output of the plug in the meters are not calibrated The input meter is the left LED column and the output meter is the right LED column Note Each meter column represents the sum of the left and right channels it is not a stereo meter Input Input controls the signal level at the input to the plug in The de fault value is O dB The available range is 20 dB Increasing the input may result in more compression depending on the values of the Threshold and Ratio parameters Tip Click the O to return the control knob fo ifs center position Output Output controls the signal level that is output from the plug in The default value is O dB The available range is 20 dB Tip Click the O to return the control knob to its center posi 20 420 tion OUTPUT inverted when the button is depressed Leave the button out for nor mal polarity Phase 0 The Phase button inverts the polarity of the signal The signal is UAD Powered Plug Ins Manual 495 Chapter 50 SSL E Channel Strip Power Usage Notes The Power button determines whether the plug in is active Cli
282. e early reflections and reverberation surround the lis tener Positioning Mix 40 5 DP Fu 7 or Distance Sao Direct 100L N 100R 100 L f 100 F i IDOL 100 F L Um F Figure 157 RealVerb Pro Positioning panel To pan the direct dry signal 1 Drag the Direct slider left or right A value of lt 100 pans the signal hard left a value of 1005 pans the signal hard right A value of lt O gt places the signal in the center of the stereo field UAD Powered Plug Ins Manual 454 Chapter 45 RealVerb Pro Distance Wet Dry Mix Set the positioning for the early reflection or late field reverberation with any of the following methods 1 Drag the left and right slider handles to adjust the stereo width The length of the blue slider is adjusted For a full stereo signal drag the left handle all the way to left and right handle all the way to the right 2 Drag the blue center of the slider left or right to set the positioning of the sig nal If you drag all the way to the left or right the stereo width is adjusted For a mono signal panned hard left or right drag the slider all the way to the left or right RealVerb Pro allows you to control the distance of the perceived source with the Distance control in the Positioning panel see Figure 157 In reverberant environments sounds originating close to the listener have a different mix of direct and reflected energy than those originating further from the li
283. e enn cl CAN WebZine Article 0 0 20 cee ence tebe bene eben een eneees Chapter 35 Nigel 666 64 4 06 404406 606600 IANG NG AGA ANA Introduction 0 ccc ect e eben ete bebe b beeen bbe bne ben nnnes PreNeX PUG oa neue se oper eush enon chek NBA KTA EE enon DAA ABAKA Preflex Modules 0 0 00 cece cence tenet ene e eevee ene e ee vennneees UAD Powered Plug Ins Manual 12 314 314 314 315 320 320 321 321 321 322 325 326 327 327 328 328 329 329 330 331 336 336 337 337 338 339 339 340 343 346 349 350 351 352 352 354 354 Table of Contents TABLE OF CONTENTS Gate Comp Module 222222 eee een nnn nee 355 Amp Mod le AA 358 AASE E E E ELE EE T E EEEE 359 Cabinet Module nannaa anaa 362 Phasor Module onanan nanana 364 Mod Filter Module a nn nananana ea 367 TremModEcho plug in 2 371 Trem Fade Module 0 0 0 cc ccc cc ccc a 379 Mod Delay Module icesdenaxdvetnedbnostawa KAKA MAAN E OK MASA Kha AKOA NG 375 Echo Module 2222222 379 Chapter 36 Precision Buss Compressor coco ooo 381 OWEIVIEW saree AA AA AA AA 381 Precision Buss Compressor Screenshot a 382 Precision Buss Compressor Controls a 382 EM OESe loo nde onan ew ons bs Galen NLA Gen oes ee NGA ee as Ga new ee 386 WebZine Article 0 00 20 ence ene eben eben een eneees 386 Chapter 37 Precision De Esser 0o00 0000c occ ooooo 387 OVEIVICW
284. e has a scroll wheel it can be used to adjust knob and slider con trols if the host application supports this functionality Place the mouse cursor over any knob or slider control to increment or decrement the parameter value with the scroll wheel If you control click a control it selects that control for keyboard control This is useful for when you re in circular mode and you want to fine adjust a control Normally clicking on a control in this mode makes the value jump to where you clicked Control clicking will select the control so that you can use the key board to adjust it without making its value jump first Table 3 on page 92 lists the keyboard shortcuts that are available for modi fying parameter values When using keyboard shortcuts the last edited con trol will be modified or on Mac you can use control click to select a different control as the target for keyboard shortcuts without changing the control s value Note Not all host applications support sending keystrokes to plug ins UAD Powered Plug Ins Manual 91 Chapter 7 Using UAD Powered Plug Ins Table 3 Keyboard shortcuts Control Click Parameter Mac only Select parameter for keyboard control without changing its value Shift Drag Fine Control UpArrow Increment Fine RightArrow Shift PageUp DownArrow Decrement Fine LeftArrow Shift PageDown Shift UpArrow Increment Coarse Shift RightArrow PageUp Shift DownArrow Decrement Coarse S
285. e lowest frequency to be affected by the Mod Delay The available range is from 100 Hz to 6000 Hz Because the Sweep Lo frequency cannot be set higher than the Sweep Hi fre quency if the Lo value is increased beyond the Hi value the Hi value will in crease to match the Lo value Sweep Hi Knob Sets the highest frequency to be affected by the Mod Delay The available range is from 100 Hz to 6000 Hz Because the Sweep Hi frequency cannot be set lower than the Sweep Lo fre quency if the Hi value is decreased below the Lo value the Lo value will de crease to match the Hi value Sets the amount of modulation to be applied to the signal The maximum available range is O to 300 cents However the available range is dependent on the Rate setting Less Depth range is available is slower Rate settings Note The Depth knob is only visible in Chorus and Vibrato modes UAD Powered Plug Ins Manual 376 Chapter 35 Nigel Time Knob Recirculation Recir Knob Damping Knob LFO Type Menu Sets the modulation delay time The available range is from O to 125 millisec onds In Vibrato mode this setting will appear to have no effect if the Recir culation value is zero because the signal is 100 wet in Vibrato mode Note The Time knob is only visible in Chorus and Vibrato modes Sets the amount of processed signal fed back into its input Higher values in crease the intensity of the processed signal Recirculation allows bo
286. e mic to whisper and leans in for the big ending chorus try an 1176 followed by a DBX 165 Use the 1176 as a compressor and the DBX as a peak limiter it s guaranteed to be smooth as silk UAD Powered Plug Ins Manual 582 Chapter 54 History 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 need always use them on vocals use them on room mics on acoustic guitars sometimes in mix ing I ll sneak a little on a snare drum or a separated channel of a snare drum I m not one of those guys who leaves it on everything but I d have to say I ve used an 176 on everything at one time or another They have an equalizer kind of effect adding a coloration that s bright and clear Not only do they give you a little more impact from the compression they also sort of clear things up maybe a little bottom end gets squeezed out or maybe they are just sort of excitingly solid state or what ever they are The big thing for me is the clarity and the improvement in the top end The 1176 has that same kind of phenomenon where when you patch something through a Neve equalizer and you don t even engage
287. e or adapter How ever in this scenario Figure 37 any 800 megabitcapable device on the bus including UAD 2 Satellite will operate at a maximum of 400 megabits be cause FireWire bandwidth cannot exceed the maximum bus speed of the host computer FW400 Computer This FireWire bus runs 400 MB because the host computer is FW400 o QS B ULA ang 0M QO el a a L FW800 UAD 2 Satellite FW800 HD FW800 Audio Interface Figure 37 FireWire 400 bus all devices run at 400 megabits FireWire 400 devices on a FireWire 800 bus FireWire 400 devices can be connected to a FireWire 800 bus using a 6 pin to 9 pin FireWire cable or adapter In Figure 38 all FireWire devices will operate at a maximum of 400 megabits because the FW800 device is lo cated after the FW400 device in the daisy chain the FW400 device forces all subsequent devices to run at FW400 speeds FW800 Computer eis This FireWire bus runs 400 MB because first device in chain is FW400 O O opa lad 1 5 h FW400 Audio Interface FW800 HD amp FW800 UAD 2 Satellite Figure 38 FireWire 800 bus all devices run at 400 megabits not a recommended setup UAD Powered Plug Ins Manual 139 Chapter 11 UAD 2 Satellite It is possible to configure a FireWire bus to run at both FW400 and FW800 speeds simultaneously if the host computer bus is FW800 supporting maxi mum throughput for a mix of FW4004FW800 devices This is accomplished by putting any all
288. e product the document you are reading now is included in the software bundle The filename of the manual is UAD Manual pdf The User Manual is the primary product user documentation It is on the soft ware CD ROM and is also placed inside the Powered Plug Ins Documenta tion folder on the hard drive during software installation Installed Locations The ReadMe and Manual files are copied to the hard drive by the software in staller to the following locations e Start Menu gt All Programs gt UAD Powered Plug Ins gt Documentation e Startup Disk Applications Powered Plug Ins Tools Documentation UAD Powered Plug Ins is a cross platform solution for both Windows and Mac computers UAD 2 Satellite is Mac only The UAD hardware device can be installed into either plattorm it is the exact same hardware for both platforms Operation of the plug ins is practically identical regardless of the host system platform and application However certain platform specific instructions will differ according to the host system you are using Instructions in this guide that are platform specific are indicated with a head ing in red letters Instructions that are identical regardless of platform are not differentiated Instructions specific to the Windows platform use this red Windows heading Instructions specific to the Mac platform use this red Mac heading Unless specified otherwise for descriptive purposes within this manual UAD 2 m
289. e threshold is limited A smaller value results in more limiting The available range is from 4 dB to 15 dB in 0 5 dB increments If the compressor is enabled the Gain control in the compressor section Compressor Gain on page 330 will affect the input level into the limiter In this case the compressor gain can affect the limiter threshold response Recovery release is the time it takes for the limiter to stop processing after the signal drops below the threshold value The available values in milliseconds are 50 100 200 800 al and a2 The automatic settings a1 and a2 are program dependant The value for a1 can be as fast as 40ms but after a sustained period of high signal level the period is 1500ms The value for a2 can be as fast as 150ms but after a sus tained period of high signal level the period is 3000ms This toggle switch enables the limiter portion of the plug in The limiter has no effect unless this switch is in the In down position Attack determines how fast limiting will engage when the signal exceeds the limiter threshold The Fast setting is 2 milliseconds and the Slow setting is 4 milliseconds UAD Powered Plug Ins Manual 329 Chapter 33 Neve 33609 Compressor Compressor Compressor Threshold Compressor Recovery Compressor Gain Ratio Compressor In Pa ha recovery mg gain ratio F a 2 r a4 31 KE g Ds Pang a 16 a at A Nag 5T YON Ht F MF S f 3 00 a
290. e to capture high frequencies high frequencies tend to be reflected At 100 the reverberation produced is very sizzly and increasingly bright At 100 it is very heavy Keeping this in mind if you look at the graphics in the material control panel you can get a sense of how chosen materials material blend and thickness will affect the decay rate as a function of frequency Hard materials that have lots of small cavities Brick Gravel Plaster on Brick and soft materials Car pet Grass Soil tend to absorb high frequencies Flat somewhat flexible ma terials Heavy Plate Glass Hardwood Seats tend to reflect high frequencies Marble is the one material that tends to uniformly reflect all frequencies You probably noticed the artificial materials the top of the Materials menu These are materials designed to have predictable behavior and can be very handy for achieving a desired reverberation preset when you know what de cay rates you desire All these materials preferentially absorb high frequen cies they give the selected decay time at low frequencies and a much shorter decay time at high frequencies The frequency in each graphic is the transi UAD Powered Plug Ins Manual 449 Chapter 45 RealVerb Pro tion frequency the frequency at which the decay rate is halfway between the low frequency and high frequency values At 100 thickness the ratio of low frequency to high frequency decay times is 10 1 This means that the
291. e would be 2 Keep the Sample value at zero Situation You have a song with 2 vocals on audio tracks and a MIDI piano You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the infamous LA2A Result The vocal tracks play late in relation to the MIDI track Solution Put a TrackAdv with a plug in value of 1 on the track inserts of the vocal tracks Keep the Sample value at zero Situation You have a song with drums guitar and 2 separate vocals on au dio tracks and a MIDI bass line You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the 1176LN Result The vocal tracks play late in relation to the instrument tracks Solution Put a TrackAdv with a plug in value of 1 on the track inserts of the vocal tracks Keep the Sample value at zero Note that the DelayComp plug in is not need at all in this situation Compensating Upsampled Plug Ins Upsampled Compensation Notes Some UAD plug ins use an internal sample rate of 192kHz to achieve their sonic quality This upsampling results in a larger latency than other UAD plug ins Therefore they require more compensation to remain perfectly synchro nized with other tracks When using the DelayComp or TrackAdv plug in to manually compensate for an upsampled UAD plug in the latency value from Table 7 on page 109 must be entered as the Samples value in addition to the appropriate Plugs val
292. eans all UAD 2 family products Solo Duo Quad SOLO Laptop Satellite UAD 1 means all UAD 1 family products UAD 1 UAD le and UAD Xpander and UAD means all UAD 2 and UAD 1 family products Screenshots in this manual may be taken from the Windows and or Mac ver sion of the software and are used interchangeably when the content and functionality of the screenshot is the same on both platforms Slight variations in the appearance of a screenshot between operating systems are inevitable UAD Powered Plug Ins Manual 21 Chapter 1 Introduction 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 Online Documentation The technical support pages on our website offer a wealth of helpful informa tion that is not included in the documentation contained within the software bundle Please visit our support pages for important technical information in cluding the latest release notes host application notes and more The main UAD Powered Plug Ins support website is Support Website http uaudio com support uad Videos Our support website contains many helpful videos that explain how to install UAD hardware and software register and authorize the products obtain op tional plug ins and more e htto www uaudio
293. ec it takes for compression to cease once the input signal drops below the threshold level Faster release times are achieved by rotating the Release control clockwise Slower release times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set too large of a Release time compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals These four pushbutton switches to the lett of the VU Meter determine the com pression ratio Ratios of 20 1 12 1 8 1 and 4 1 are provided The 20 1 and 12 1 settings are typically used when peak limiting is desired while the 4 1 and 8 1 settings are used for general dynamic range compression UAD Powered Plug Ins Manual 259 Chapter 24 LA 2A and 1176LN All Buttons mode Meter Grit Just like the hardware version of the 1176LN it is possible to depress all the Ratio buttons simultaneously a well known studio trick In this mode the ratio is around 12 1 and the release happens faster and the shape of the release curve changes With lower amounts of compression the attack is delayed slightly as there is a slight lag before the attack attenu ated the signal That attack value remains at whatever the value is on the At tack control To enter All Button Mode Shift click any of the Ratio buttons All of the buttons will appear depressed To exit
294. ece ete eee beet eet ene e en eees 37 The UAD Software 22 2 cc cect eee ene e bbb e etn b been enn nnees 41 The DAW Environment 02 43 MUOG COM eese NAGA owe ose NAMA Seam WAND NG KA PIDO A AN WANT HANE EREE aW eiei 45 Authorization 0 0 0 ccc eect e eet e beeen been beeen eee b ebb ennnyes A5 Chapter 4 My uaudio com 0 occ coco 46 Optional Plug Ins AA 46 Authorization Overview 0 0 0 ccc cece eee eee ee eee tenet tenet eneees 47 Authorization Notes 0000 c cece eee ee ete ese bese bebe eee en been eees 49 Demo Mode 00 cece ect ce eect ence ene e ened bebe b ebb e tenn enan 50 UA Online Store 2 0 cee tenet ene e bbb t ene e bbe e nan 51 UAD Powered Plug Ins Manual 5 Table of Contents TABLE OF CONTENTS Buying Plug Ins 2 00 0 a 52 Transferring UAD devices and licenses eee eee eens 53 Chapter 5 Using Multiple UAD Devices ccccssscccccccssssess 54 NOVI W c5c0h ages eas ngeyereneeemneasuqes AA AA AA 54 Plug In License Policy 2 54 WAGI QUAN APA 55 Authorizing Multiple Devices 22 2 cent enn n eee ee nas 56 UAD 1 with UAD 2 000 neeaae 56 Power REQUIFEMEND s cs2 neu dace cede erent abe bate ea bs nee Onde bake onde eee Ree ows 56 Multidevice DSP Loading 2 57 Device Info Display ce een nee nent ene e nes 58 DIsclinng Devices AA PAA 58 OSU CE AA AA AA 58 Chapter 6 UAD Meter amp Control Panel cccccc
295. ed if the plug in is the same type or saved to any disk location Default Preset Locations When the load save functions are used the OS load save file dialogs de fault to the standard UAD preset location Although UAD presets can be loaded from and saved to any disk location using the default location is a convenient method to organize all your presets in one location When saving the Presets folder is created if it doesn t already exist A sub folder with the UAD plug in name is also created so presets for the same plug in are all in the same folder When loading presets the open file dialog looks inside the subfolder for that plug in UAD Powered Plug Ins Manual 87 Chapter 7 Using UAD Powered Plug Ins Windows Copy Paste Settings LiveTrack Mode Overview The default preset location is inside the Presets folder which is created within the folder specified during software installation For example if the default lo cation was selected when running the installer the location would be e C Program Files Universal Audio Powered Plugins Presets Note This default location can be changed during installation the new lo cation will be remembered as the default On Mac OS X systems the default preset location is e Startup Disk Library Application Support Universal Audio Presets Load Preset Settings can copied and pasted directly between Save Preset UAD plug ins within the compatibility guidelines
296. ed unless UAD 2 DSP LoadLock on page 73 is enabled This parameter determines the center frequency to be boosted or attenuated by the Gain setting The available range for each of the five bands is the same for both parametric and shelf modes The ranges are shown in Table 8 on page 151 UAD Powered Plug Ins Manual 150 Chapter 12 Cambridge EQ Table 8 Available ranges for the Band Frequency parameter Low Frequencies LF 20 400 Hz Low Mid Frequencies LMF 30 600 Hz Mid Frequencies MF 100 6 kHz High Mid Frequencies HMF 900 18 kHz High Frequencies HF 2k 20 kHz Note When operating at sample rates less than 44 1 kHz the maximum fre quency will be limited 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 The behavior of the Q parameter varies depending on the band mode and Knob the gain For this reason Q is detailed separately in the parametric and shelf mode sections see Parametric Q on page 152 and Shelf Q on page 154 Parametric EQ A band is in parametric mode when shelf mode is disabled see Shelf Enable Button on page 154 Three types of parametric EQ are available as deter mined by the Parametric Type selector oe Type a The Parametric Type selector changes the response of the band elector controls to reflect the behavior of various analog equalizers It is a glo
297. ed Plug Ins Manual 119 Chapter 10 UAD ExpressCard Products UAD Xpander Details Features Bundles Package Contents Xpander System Requirements Important The information in the remainder of this chapter apply to the dis continued UAD Xpander ONLY For UAD 2 SOLO Laptop instructions see UAD 2 SOLO Laptop Details on page 115 e Noiseless Fanless Alumi cool chassis design e Ultra fast 2 5Gbps ExpressCard 34 interface can be used in ExpressCard 54 slots e 44 1 192k DSP Audio Accelerator for notebook computers e Same DSP power as UAD 1 8 UAD le e Optional UAD Xtenda Kit 3m cable 4 PCle desktop ExpressCard adapter The UAD Xpander comes in three bundles Xpress Xpert and Xtreme The difference is only in the bundled UAD vouchers Each UAD Xpander comes free with UA s base set of 14 Mix Essential plug ins plus the UAD Xpander Xpress includes a 5500 voucher and the UAD Xpander Xpert a 51000 voucher which allows complete flexibility in choosing from UA s premium col lection of mixing and mastering plug ins available 24 7 at my uaudio com The UAD Xpander Xtreme includes every Powered Plug In up to and including those available in UAD software version 4 5 The UAD Xpander package should contain the following items e UAD Xpander Carry Case e UAD Xpander Chassis e UAD ExpressCard 34 ExpressCard 54 compatible e meter UAD Link Cable e AC Power Supply Unit with international adapters e UAD DSP Family Qui
298. ed Plug Ins Manual 523 Chapter 53 Trident A Range EQ CHAPTER 54 History Bill Putnam Sr The name M T Bill Putnam retains a unique status in the audio industry hall of fame it s leg endary even among those who are considered to be legends themselves Called the father of modern recording by no less a luminary than Bruce Swedien and a visionary responsible for motivating new thinking by respected studio engineer Tom Hidley Putnam was a true renais sance man in the world of sound and music As a record producer engineer inventor writer singer technician studio owner and businessman he excelled at combining his talents in a cre ative way A pioneer in recording studio acoustics Putnam is acknowledged to be the first per son to use artificial reverberation for commercial recordings He also developed the first multi band equalizers and with his company Universal Audio was responsible for the development of classic equipment like the 1176LN and UREI Time Align monitors He was involved in the early development of stereophonic recording and founded studios in Chicago Hollywood and San Francisco whose legacy still lives on today Early Interests Born in 1920 in Danville Illinois he was influenced by his father a businessman who also put on radio programs including a number one country music show Young Putnam s interests surfaced early in Boy Scouts he earned a merit badge in wireless building a cry
299. ed and more compression oc curs output level is typically re duced Adjust the Make Up control ig to modify the output to compensate if desired Make Up Make Up controls the signal level that is output from the plug in The range is O dB to 15 dB Generally speaking adjust the Make Up control after the desired amount of compression is achieved with the Threshold and Ratio controls Make Up does not affect the amount of compression Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before compression is applied The faster the Attack the more rapidly compression is applied to signals above the threshold Avail able Attack times are discrete values of O 1ms 0 3ms Ims 3ms 10ms and 30ms The availability of relatively slow attack times as compared to other compres sors is one factor that can provide the in your face pumping quality that is so popular with large console VCA style compressors Release Release sets the amount of time it takes for compression to cease once the in put signal drops below the threshold level Slower release times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set the Release time too long compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals UAD Powered Plug Ins Manual 499 Chapter
300. ed by the room shape and size RealVerb Pro lets you specify two room shapes and sizes that can be blended to create a hybrid of early reflection patterns There are 15 room shapes available including several plates springs and classic rooms room sizes can be adjusted from 1 99 meters The two rooms can be blended from O 100 All parameters can be adjusted dynamically in real time without causing distortion or other artifacts in the audio First shape S nape Second shape f Blending bar First shape selector Second shape pop up selector pop menu up menu First shape Second size control shape size SO control 80 m Figure 153 RealVerb Pro Shape panel UAD Powered Plug Ins Manual 446 Chapter 45 RealVerb Pro Material and Thickness To configure the room shape and size 1 Select a room shape from the first left pop up menu The selected shape appears in the left side of the Shape circle Adjust the room size with the top horizontal slider 2 Select a room shape from the second right pop up menu The selected shape appears in the right side of the Shape circle Adjust the room size with the bottom horizontal slider 3 Blend the early reflection patterns of the two rooms by dragging the Blend ing bar The relative percentages of the two rooms appear above their pop up menus Drag to the right to emphasize the first room shape drag to the left to emphasize the second room shape To use only one ro
301. ed when powered down the LED should glow steady green indicating the UAD drivers are loaded UAD 2 SOLO Laptop is ready for use Important The proper sequence must be followed before removing the UAD 2 SOLO Laptop device from the computer to avoid system instability and or data loss Note The UAD 2 SOLO Laptop device may be removed when the system is active as long as the steps below are followed To remove the UAD 2 SOLO Laptop device 1 Save your sessions and quit all UAD host software audio applications and the UAD Meter amp Control Panel 2 Remove the UAD ExpressCard from the expansion slot Done Note It is not necessary to power down the device in software using the Power Off Card function Mac Menu Bar or Safely Remove Hardware Windows Task Bar before removing the device After initial installation the UAD 2 SOLO Laptop should be registered and authorized it can run in demo mode for 14 days without authorization See Authorization on page 31 for full explanation and procedures Existing UAD Licenses If you already have UAD device s in a desktop system you can share those UAD licenses with UAD 2 SOLO Laptop This option is presented during ini tial device registration please consider your options carefully when register ing UAD Powered Plug Ins Manual 117 Chapter 10 UAD ExpressCard Products Important SOLO Laptop Notes Sleep Hot Removal ExpressCard 54 ad
302. ee Figure 140 below The meter range that is displayed in Normal and Zoom modes is dependent upon the meter Type setting see Type on page 409 UAD Powered Plug Ins Manual 411 Chapter 41 Precision Limiter GAIN REDUGTIE UNIVERSAL AUDIO umren EQ0CTION be ba METER OUTPUT HOLD n CLEAR T 700M 7 K 12 K 20 SOALE NORMAL MEE K 14 PK RMS Figure 140 Precision Limiter meter scale in PK RMS Zoom mode The main level meters in Normal mode and the gain reduction meter in both Normal and Zoom modes are linear level differences between LED segments is the same In PK RMS and K 20 Zoom modes however the main level meters use two different linear ranges for increased accuracy The ranges and response for each meter type and scale is detailed below PK RMS In Normal mode the meter range is 60 dB to O dB with a linear response of 0 5 dB per segment In Zoom mode the range is 18 dB to O dB with two dif ferent linear responses 0 2 dB per segment from 18 to 6 dB and 0 1 dB per segment from 6 to O dB K 20 In Normal mode the meter range is 40 dB to 20 dB with a linear response of 0 5 dB per segment In Zoom mode the range is 8 dB to 20 dB with two different linear responses 0 2 dB per segment from 8 to 15 dB and 0 1 dB per segment from 15 dB to 20 dB K 14 In Normal mode the meter range is 46 dB to 14 dB with a linear response of 0 5 dB per segment In Zoom mode the range is 10 dB to 14 dB with l
303. ee enn ene EP oA C OnO eenean ocewenes ANDY ADAN DOTOKDN GANG ones onewenehcaew once ees EP 34 Hardware History n nanana a UAD Powered Plug Ins Manual 9 Table of Contents TABLE OF CONTENTS WebZine Article 00 ccc a 233 Chapter 21 Fairchild 670 o s 6 6a GG GG GG es 6 0 we NGA 234 OVERVIEW o 6 areca nts a neces srs oe ws eee Ss ee ee oe ee ee ee eae 234 Fairchild Screenshot 0 a 235 2 Compressors 4 Modes 0 0 0 ccc a 235 Controls Overview 0 0 2222 ccc ect e ete ee tenet bbb t eben beeen 236 Fairchild Modes 0 0 c cece cece eect eect eect ebb b ebb en beeen eees 237 COMICS CA AA 238 Chapter 22 Harrison 32C EQ 000000000 vwocoooosooooooooo 242 OWEIVIEW nadan AND DANDAN NAA AE E E E AD NIAN NGE ENNA HA ME LOAN KAEDAD AKALA 242 Harrison 32C EQ Screenshot 2 242 Harrison 32C EQ and Harrison 32C SE Controls a 243 PICNISON 626 AA 245 niel nG KA eee et Se E ee ee ee ee ee eee ee ee 246 WebZine Article 0 0 0 20 cence eect eet ebb b ene e ben eees 246 Chapter 23 Helios Type 69 Equalizer ccccccccsccssssees 247 NENIEN wien sc Gen ne ee ee ee ee 247 Helios Type 69 Screenshot e aarre 247 Helios Type 69 Controls 20 0 cee een nnn nee enn n eee 248 Helios 69 Latency AA 251 WebZine Article 0 0 enn nen nee een ened nee eee 251 Chapter 24 LA 2A and 1176LN 1 1 cece ww www www er ccc nrc ccne 253 NAA 253 Compre
304. eful for comparing the processed signal to the original signal Click the button to disable the plug in iisa click it again to enable it When Power is in the Off unlit position plug in processing is disabled and UAD DSP usage is reduced Note UAD 2 DSP usage is reduced only when DSP LoadLock page 73 is disabled If DSP LoadLock is enabled the default setting disabling Power will not reduce DSP usage The Input Meter indicates the level going into the plug in On the original hardware the red Register LED illumi Meglere nates when digital full code is reached at 6 dB above O dB ode i e there is 6 dB of headroom on the hardware as the sga K meaning of O dB digital wasn t yet standardized in those days 12d The distortion characteristics of the A D converters are modeled therefore EMT 250 style clipping can be heard when the EMT 250 input is over driven UAD Powered Plug Ins Manual 224 Chapter 19 EMT 250 Electronic Reverberator Dry Wet Wet Solo Noise Webzine Article The Dry Wet slider control determines the balance between the original and the pro cessed signal The range is from 096 dry unprocessed to 100 wet processed sig nal only This control uses a logarithmic scale to provide increased resolution when se lecting lower values When the slider is in the center position the value is 15 Note If Wet Solo is active adjusting Dry Wet will have n
305. el The pro gram button LED indicates which program is active except in chorus mode When all eight program button LEDs are illuminated HEADROOAA dB 4 CLE CHORL5 PROG RA M 2 d A 5 r A SmHallB VorPlate LgHallB Chamber PercPlate SmHallA Room A Const Plate Figure 97 The Lexicon 224 Program Buttons When a program is loaded the original default Lexicon recommended fac tory settings for that algorithm are also loaded at the same time overwriting previous settings except when Immediate mode is active see page 274 for details Program settings can then be adjusted to taste using any available controls Program Descriptions on page 281 contains details about each program Important If the program is changed when Immediate mode is disabled settings from the previously selected program are lost To retain custom pro gram settings for future use save the settings as a plug in preset by using the UAD Toolbar or host application preset management techniques Reverb Time is the duration of the decay of the reverberant sound the reverb tail The reverb tail time is separated into two frequency component bands Bass and Mid The separation frequency of the two bands is defined by the Crossover control UAD Powered Plug Ins Manual 271 Chapter 26 Lexicon 224 Bass Mid Crossover The Bass slider defines the reverb decay time for the frequencies below the Crossover value Higher Bass values result i
306. el Up to 25 dB of hys teresis is available See Figure 120 on page 341 Hysteresis makes the gate less susceptible to stuttering by making the thresh old value dependent upon whether the gate is off or on Raising the threshold for rising signal levels prevents noise from turning the gate on while allowing a lower threshold for falling levels This prevents reverb tails from being pre maturely gated For example if the threshold is set at 50 and the hysteresis is set at 10 the level would have to rise above 40 dB before the signals pass and the gate would remain open until the level falls below 50 dB This control also activates expander mode Rotating Hysteresis fully counter clockwise switches the gate off and the 1 2 downward expander on Note Expander mode can also be activated by clicking the EXP label text near the knob When EXP is clicked again the knob returns to the previous value in gate mode GATE Hysteresis THR Ou Range Ode F Figure 120 Hysteresis in the Neve 88RS Gate fa Threshold defines the input level at which expansion or gat ing occurs Any signals below this level are processed Sig nals above the threshold are unaffected UAD Powered Plug Ins Manual 341 Chapter 34 Neve 88RS Channel Strip Gate Ex Threshol 40 dB Gate ExpR sala xpRange Gate Ex Release REL The available range is 25 dB to 15 dB A range of 25 dB to 65 dB is available when the 40 dB switch is e
307. el based Apple computers notably notebook and desk top all in ones such as iMac Mac Mini and MacBook Pro Once installed and configured UAD 2 Satellite is functionally similar to its UAD 2 PCle card counterparts The main difference between UAD 2 Satellite and UAD 2 PCle cards is differing architectures FireWire versus PCle See The UAD Hardware on page 37 and UAD 2 Family on page 38 for UAD hardware overviews Note Livelrack Mode is unavailable when UAD 2 Satellite is connected UAD 2 Satellite is available in two versions Duo and Quad The only differ ence between these two models is the number of processors inside the device and therefore the available DSP horsepower The Duo or Quad designator is silk screened on the bottom of the Satellite housing UAD 2 Satellite is designed for use with UAD Powered Plug ins the compan ion software package that includes the drivers plug ins and documentation Instructions in this chapter are specific to UAD 2 Satellite operations only and apply in addition to the other chapters To get the most from your UAD 2 Sat ellite please review the following additional information Important Information Important user information is presented on a printed document within the UAD 2 Satellite retail package This sheet provides late breaking details that are not included in this manual Please review the information carefully UAD Powered Plug Ins Manual 127 Chapter 11
308. ellite For general information about FireWire and how it is used with UAD 2 Satel lite and other FireWire devices see FireWire Basics on page 136 and FireWire Bandwidth on page 140 It is important to note that available FireWire bandwidth is unrelated to UAD DSP loads See FireWire Bandwidth vs UAD DSP on page 142 for details When power is applied to UAD 2 Satellite via the rear switch the UA logo on the front panel glows This power indicator does not represent the state of the UAD drivers or their link to UAD 2 Satellite the Rear Panel LED indicates the operational state UAD 2 Satellite UAD 2 Satellite has a UAD link indicator on the rear panel This LED provides information about the operational state of the device and its drivers For more details see UAD 2 LED on page 35 LUAD amp LINK 1394 394 UNIVERSAL AUDIO INC 400 B00 1 800 2 DESIGNED IN CALIFORNIA ASSEMBLED IN CHINA Figure 31 UAD 2 LED on Satellite rear panel After initial setup and before first use UAD 2 Satellite should be registered and authorized it can run in demo mode for 14 days without authorization See Authorization on page 31 for full explanation and procedures UAD Powered Plug Ins Manual 132 Chapter 11 UAD 2 Satellite Existing UAD If you already have another UAD device you can share those UAD licenses Licenses with UAD 2 Satellite This option is presented during initia
309. em Up is selected and Onset has a value of 2 seconds the Tremolo rate will gradually increase for 2 seconds Two VariTrem modes are available Vari T Up gradually increases the Trem olo rate and Vari T Dn gradually decreases the Tremolo rate Note If the Depth value is zero and or the Threshold value is set too high in VariTrem mode you will not hear the VariTrem effect Enables or disables Trem Fade You can use this switch to compare the Trem Fade settings to that of the original signal or to disable Trem Fade am plitude processing UAD DSP load is not reduced when Trem Fade is disabled with the On Off button The Trem Fade amplitude processor remains active even when its au dio is disabled so it can be used as a modulation source when using Trem as the LFO Type in the Mod Delay module UAD Powered Plug Ins Manual 374 Chapter 35 Nigel Mod Delay Module Lae BELAY Te ats mio ar osi Sn Mer PELAT T Le LO SWEEP HI RECIR DAMPING aa no MODE Fror Figure 131 The Mod Delay module The label and function of the second two knobs depend upon the Mode menu selection The Mod Delay is a short digital delay line that includes a low frequency os cillator The Mod Delay produces lush chorus flange and vibrato effects Because the Trem Fade amplitude processor can be used to control the Mod Delay sophisticated envelope controlled flange chorus and vibrato modula tions can be achieved Sync Button
310. emo s tutorials in depth webzine arti cles FAQ s and enhanced support so you can really get the most out of your UAD 2 Developing the UAD 2 as well as Universal Audio s entire line of quality au dio products designed to meet the needs of the modern recording studio while retaining the character of classic vintage equipment has been a very special experience for me and for all who have been involved We hope that you will enjoy using your UAD 2 and Powered Plug Ins as much as we do Thanks for your support of Universal Audio Sincerely Bill Putnam Jr CEO Owner F EL UAD Powered Plug Ins Manual 18 Chapter 1 Introduction Features UAD 2 Only UAD 2 Satellite is Mac Only e High bandwidth x1 PCI Express card PCle 2 0 compatible e UAD 2 Solo low profile half height short PCle card e UAD 2 Duo Quad full height short PCle card e UAD 2 Satellite Duo or Quad in FireWire enclosure w power supply e 1 2 or 4 Analog Devices SHARC floating point processors e Averages 2 5X Solo 5X Duo 10X Quad the power of UAD 1 e Multi device support for up to 4 UAD 2 s and 4 UAD 1 s in one computer e Cross Platform for Mac OS X 10 5 10 6 Windows XP Vista 7 32 x64 e Supports VST RTAS and Audio Units plug in formats e 44 1 48 88 2 96 176 4 192 kHz sample rate support for all plug ins e Drivers optimized for modern multi thread and multi processor architectures e Real time and faster than real
311. en Cambridge EQ is dis abled the response curve is grey UAD Powered Plug Ins Manual 146 Chapter 12 Cambridge EQ Zoom Buttons Curve Control Bats The vertical scale of the Curve Display can be increased or reduced with the Zoom buttons This function allows the resolution of the Curve Display to be changed for enhanced visual feedback when very small or very large amounts of boost or cut are applied Four vertical ranges can be selected with the Zoom buttons 5 10 20 and 40 dB 5k 10k 20k Figure 46 Vertical resolution of the Response Curve can be changed with the Zoom buttons There are five control bats on the curve display Each bat is color coded and corresponds to each of the five EQ bands The position of the bat on the curve display reflects the frequency and gain of its corresponding band even if the band is disabled 10 jok 20k Figure 47 The Curve Control Bats can be used to control EQ band frequency gain and Q The gain and frequency of an EQ band can be modified simultaneously by dragging its bat with the mouse If a band is disabled when its bat is touched for the first time the band is enabled Note To modify the Q of a band with its bat hold down the Control key while dragging vertically When a band is enabled the EQ curve usually touches the bat However be cause the EQ curve always displays the actual frequency response of Cam bridge EQ if two bands are close toge
312. en Fade is clicked again after 20 seconds it will take 20 sec onds to fade back in Tip Shifttclick the Fade button to instantly return the level back to O dB this feature cannot be automated General Usage Notes The SSL G Bus compressor has been used to put the final touch of cohesive ness or glue to more mixes than any other compressor in history Its true use fulness and beauty is usually in its subtle ability to make your mix pop just a little more with a subtle increase in energy and excitement The SSL G is designed with the 2 bus in mind and the control set adjusts the L R simultaneously The ratios attack and release settings are also specially tailored for bus use and give just the right variety of options to make it useful for a wide variety of source material Attack and release times allow the com pression behavior to be tuned to the tempo and feel of the song to some de UAD Powered Plug Ins Manual 501 Chapter 51 SSL G Bus Compressor WebZine Article gree and the Auto setting provides a program dependent multi stage re lease for the greatest degree of transparency Use the 2 1 for the most transparent sound and 10 1 for tougher more audible sound or 4 1 for in between Usually this processor is meant to be used with minimal gain reduc tion In most cases setting the threshold for 1 2 dB average gain reduction is most common with occasional transients that go beyond the average
313. en using any DSP device e When LiveTrack Mode is active host CPU load is increased See LiveTrack Mode on page 88 for details Every UAD Powered Plug In parameter can be automated if this feature is sup ported by the host application Each host application has its own particular methods for automation Consult the host application documentation for spe cific instructions on using automation with the application UAD Powered Plug Ins reduce their DSP load when bypassed or disabled but not their memory load This feature allows for automatable load balancing of DSP power and keeps the track delay constant to avoid on off clicks Note If there is not enough DSP available when automating the plug in may not turn on When this occurs DISABLED is displayed in the UAD Toolbar UAD Powered Plug Ins Manual 93 Chapter 7 Using UAD Powered Plug Ins External MIDI Control UAD Powered Plug In parameters can be controlled by an external MIDI con troller if this feature is supported by the host application Each host applica tion has its own particular methods for external MIDI control Consult the host application documentation for specific instructions on using external MIDI control with the application analog ears digital minds UAD Powered Plug Ins Manual 94 Chapter 7 Using UAD Powered Plug Ins CHAPTER 8 Tempo Sync Overview The time based parameters of several UAD Powered Plug Ins can be synchro nized to
314. encies is affected As Bandwidth is rotated clockwise bandwidth is decreased Q is increased and a narrower range of frequencies is affected At the narrowest settings Bandwidth fully clockwise the maximum boost cut gain of 20 dB is available As Bandwidth is broadened the available band gain is decreased down to about 6 dB of boost cut at the widest fully counter clockwise settings The effect of the Bandwidth control in Shelf mode is shown in Figure 102 on page 293 Shelf Mode In Shelf mode rotating Bandwidth counter clockwise decreases the slope in creases the overshoot of the shelf and Gain adjustments are more gentle As Bandwidth is rotated clockwise the shelf slope steepens overshoot is de creased and Gain changes will be more obvious UAD Powered Plug Ins Manual 292 Chapter 28 Manley Massive Passive EQ As Bandwidth is increased in Shelf mode a bell curve begins to be intro duced in the opposite direction For example if the Shelf is boosted a dip is created at higher Bandwidth values At maximum Bandwidth this curve is pronounced The effect of the Bandwidth control in Shelf mode is shown in Figure 103 below Bells 100 ha CB shell 100 5mall Signal AC 7 Frequency Hz 10 000 31 623 100 000 3 16 225 1 000 3_162k 2 0 000 10 000 I 40 53 1m 149 108m 34 335m 62 17 Im Figure 102 Effect of Bandwidth control on response curve in Bell mode EO shelf B amp c2 Small Signal
315. encoded in this way It also has application for psychoacoustic processing since the stereo panning will change dynamically in this mode Lat Vert processing provides maximum usable level and efficient use of avail able groove space in phonograph mastering This results in higher volume re cordings with longer playing times Note The terms lateral side to side and vertical up and down refer to the mechanical modulations in a vinyl record groove that are transduced into electrical audio signals by the phonograph stylus and cartridge In this mode the left channel is fed to one compressor and the right channel is fed to the other The two compressors are constrained so that they both com press the same amount at any instant This prevents transients which appear only on one channel from shifting the image of the output Any big transient on either channel will cause both channels to compress The amount of com pression will be similar to the amount of compression for a transient which ap pears on both channels at the same time Also the attack and release times for the two compressors will be the same and attack and release behavior will be the average of the settings for the two channels Mono transients should have an effective attack time of about one half the attack time for tran sients on only one of the two channels UAD Powered Plug Ins Manual 237 Chapter 21 Fairchild 670 Stereo coupled mono stereo Modes Table G
316. ency setting for the high band is boosted or attenuated The available range is 12 dB in incre ments of 0 5 dB fine control or 1 0 dB coarse control Modulation Controls The EMT 140 reverb time can be modulated by a low frequency oscillator using rate and depth controls The effect is subtle but it can increase dispersion and reduce ringing on some source ma terial such as loud signals with sudden endings and percussive content Mod Rate Mod Rate controls the rate of reverb time modulation The avail able range is from 0 01Hz to 1 0 Hz Mod Depth This parameter controls the amount of reverb time modulation The available range is from O 10 cents UAD Powered Plug Ins Manual 210 Chapter 18 EMT 140 Plate Reverb Output Meter Blend Controls Predelay Mix Wet Solo sa The vintage style VU Meter represents the plug in 8 output level It is active when the Power switch is on and slowly returns to zero when Power is switched off The amount of time between the dry signal and the onset of the PRE DELAY reverb is controlled with this knob The range is 0 0 to 250 mil liseconds This control uses a logarithmic scale to provide increased resolu 0 LI tion when selecting lower values When the knob is in the 12 25i o clock position the value is 50 milliseconds MIY ca DAY WET The Mix control determines the balance between the original and the processed signal The range is from Dry
317. ency values Note You can also click the high cut low cut symbols below the knob to cycle through the available values or shift click to step back one frequency High Cut The inner blue dual concentric knob controls the high cut filter The available frequencies for the high cut filter are 18 kHz 12 kHz 8 2 kHz 5 6 kHz 3 9 kHz and OFF When OFF is specified the high cut filter is disabled UAD CPU usage is not reduced when OFF Low Cut The outer silver dual concentric ring controls the low cut filter The available frequencies for the low cut filter are 27 Hz 47 Hz 82 Hz 150 Hz 270 Hz and OFF When OFF is specified the low cut filter is disabled UAD CPU us age is not reduced when OFF The Phase PH button inverts the polarity of the signal When the KI switch is in the In lit position the phase is reversed Leave the switch in the Out unlit position for normal phase 1 The equalizer is engaged when the EQ switch is in the In lighted position To disable the EQ put the switch in the Out unlit position Click the button to toggle the state In the hardware 1081 the audio is still slightly colored even when the EQ switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Therefore the signal will be slightly colored when this switch is in the Out position UAD DSP usage is reduced when the EQ is by passed with this co
318. eness and the difficulties in maintaining such a unit With its 14 transformers 20 vacuum tubes 6 rack space encompassing girth and weighing in at 65 pounds the Fairchild 670 is truly the heavyweight champion of compression Originating from the early 1950 s the design of the 670 uses a single push pull stage of amplification with an extremely high control voltage The Fair child 670 is a variable mu tube limiter Variable mu limiters are unique in that they use tubes for gain reduction and not just as amplifiers The audio path is quite simple and compression happens directly in the audio path rather than sending out to a separate compression circuit The unit can be used as a limiter or compressor depending upon personal taste and program material It can go from a 2 1 ratio as a compressor to a peak limiter with a 30 1 ratio The unit can also be adjusted to operate any where between these two extremes using the Threshold and DC Bias controls The UAD Fairchild was created by meticulously modeling down to the com ponent level as usual a carefully selected hardware unit Our golden unit was the Fairchild 670 SN 505 at Ocean Way Recording in Hollywood The Fairchild was advertised as The World Accepted Standard for Level Control back in the 1950 s when it was originally sold It is still revered for its extremely smooth artifact free sound and now Universal Audio has made it easily accessible to you And you don t
319. enshot 518 Trident A Range Latency 522 Trigger LED 372 Type 152 Type Il 152 Type Ill 153 Type Menu 369 370 373 377 U UA Online Store 51 UAD 115 128 UAD Bandwidth Allocation 79 UAD Control Panel 63 UAD Drivers 42 UAD Environment 37 UAD ExpressCard Products 113 UAD Hardware 30 37 119 UAD Meter amp Control Panel 42 60 UAD Nomenclature 21 UAD Plug In Window 85 UAD Software 41 UAD Software Installation 27 UAD Toolbar 86 UAD 1 Family 39 UAD 1 Hardware 30 119 544 INDEX UAD 1 Host Compatibility 74 Wah Pedal Mode 369 370 UAD 1 PCI 73 Webzine 22 UAD 2 DSP 72 Welcome 17 UAD 2 Family 38 Wet 189 UAD 2 LED 35 Wet Solo Button 211 UAD 2 Satellite 127 Wet Dry Mix Knob 168 171 UAD 2 Satellite Notes 134 When to use TrackAdv 105 UAD 2 Satellite Operation 132 Width 389 UAD 2 SOLO Laptop 115 128 Width Knob 211 UAD 2 SOLO Laptop Important Notes 118 Windows 21 UAD Xpander 38 40 UAD Xpander Details 120 X UAD Xpander Important Notes 126 Xpander Connections 122 UAD Xtenda 38 39 40 119 Xpander Notes 126 UAD Xtenda Installation 119 Xpander Operation 122 Unlicensed Plug Ins 34 Xpander System Sleep 125 134 Upsampled Plug Ins 107 Upsampling Values Table 109 Z Use Host Mode 76 Zoom Buttons 147 User Documentation 42 User Interface Settings 76 User Manual 21 Users Forum 22 Using Powered Plug Ins 60 84 100 122 132 Using the Meter 61 Using the UAD Meter 61 Using UAD Powered Plug Ins 84 Usin
320. entials My Profile is where product registration details such as name and mailing address are stored and edited Your email subscription preferences are also set here so you can choose whether or not to receive email announcements for our webzine and promotional offers Your email address is your my uaudio com account identifier and login You can change the email address and the my uaudio com login on the My Pro tile page 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 pur chase with several payment options or use the voucher credit that was ap plied during device registration UAD Powered Plug Ins Manual 52 Chapter 4 My uaudio com Purchase Procedure 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 To purchase and authorize an optional UAD plug in 1 Login to your Account at my uaudio com Your email address is your login 2 Click the Products menu and browse the available plug in selections 3 Add the items you whish to purchase to your shopping cart a Click the shopping cart icon when ready to proceed to checkout The pay ment page appears 5 Select payment method credit card Paypal personal check or voucher 6 Add any promotional discount coupons the
321. ents Warning Like most resonant filters VAD Moog Filter has the potential to create unpredictable sonic results that can result in unexpected jumps in out put amplitude Depending on the source material input levels and parameter values the filter output can suddenly get extremely loud with the potential to damage speakers and or hearing This condition is particularly susceptible when the simultaneous conditions of high gain low filter cutoff and high res onance values are applied and or when the LFO sweeps into these condi tions Use caution and or low monitoring levels when dialing in extreme parameter values to avoid speaker and or hearing damage Note UAD Moog Filter does not support sample rates above 96 kHz on UAD 1 cards UAD Powered Plug Ins Manual 300 Chapter 29 Moog Multimode Filter Moog Filter Screenshot Figure 105 The UAD Moog Filter plug in window Moog Filter Controls The Moog Filter is true stereo with separate filters for the left and right chan nels The dual filters share the same controls The only time the left and right filters diverge is when Filter Spacing or LFO Offset are not zero Drive controls the amount of saturation gain before the filter Drive is where much of the sonic juice in the UAD Moog Fil ter originates Drive can change the signal from clean to J slightly overdriven to extremely distorted particularly when used in conjunction with the Boost switch see Boost
322. equired if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 WebZine Articles Several interesting articles related to the Moog Multimode Filter are available in the UA WebZine e htto www uaudio com webzine 2008 september power html e htto www uaudio com webzine 2008 september analog html e htto www uaudio com webzine 2008 august index4 html The venerable Dr Robert Moog is a registered trademark of Moog Music and is used under license with kind permission UAD Powered Plug Ins Manual 308 Chapter 29 Moog Multimode Filter CHAPTER 30 Neve 1073 Equalizer Overview Designed by the Rupert Neve company in 1970 perhaps no other studio tool is as ubiquitous or desirable as the Neve 1073 channel module Without ex aggeration Neve consoles such as the 8014 where the 1073 originated have been used on a majority of popular recordings of the late 20th century and the 1073 easily tops the shortlist of audio design masterpieces The 1073 is famous for adding an unmistakable sheen and clarity of pres ence to elements in the mix that is deemed unattainable with any other unit Modeling the 3 band EQ and high pass filter in painstaking detail and thor oughness Universal Audio s Neve 1073 EQ will deliver the same sonic ex perience expected from its analog cousin with exacting detail Bundled to
323. er made its debut at the 1969 New York AES show Marking a departure from the tube design of the LA 2A Lev eling Amplifier the solid state LA JA offered a new sound in optical gain re duction with faster attack and release characteristics that were noticeably dif ferent from its predecessor Immediately embraced as a studio workhorse the LA 3A is still widely used today Engineers and producers the world over fa vor the LA 3A for its unique compression characteristics and sonic signature Modeled from a unit in UA s vintage collection our digital emulation of the LA 3A faithfully captures the hardware s sound working magic on vocals guitars and drums LA 3A Screenshot PEAK RECLE TE 5 OFF f OUTPUT LA 3A COMP 7 LIM AUDIO LEVELER GR Figure 94 The LA 3A plug in window UAD Powered Plug Ins Manual 262 Chapter 25 LA 3A Compressor LA 3A Controls Background For detailed information about compressors see Compressor Basics on page 253 Comp Lim This switch changes the characteristics of the compressor I O curve When set to Compress the curve is more gentle and presents a low compression ra tio When set to Limit a higher compression ratio is used Gain The Gain knob adjusts the output level by up to 50 dB Make sure to adjust the Gain control after the desired amount of compression is achieved with the Peak Reduction control The Gain control does not affect the amount of com pression Peak Re
324. ercentage 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 Clicking this button will generate a detailed system profile and prompt you for a location to save the text file to disk This file contains an even greater level of detail than the System Information panel which can be useful for trouble shooting or if UA Customer Support requests this document when providing assistance The profile lists the version strings of the individual UAD software compo nents installed device type s with serial and hardware ID numbers host com puter information and detailed authorization status for all UAD plug ins The Plug Ins panel Figure 11 on page 69 displays the current authorization status of all UAD plug ins This is also where you can activate plug in Demo Mode UA Online Store on page 51 and configure UAD plug ins to run on a specific device Use the scrollbar to view plug ins that are not visible in the list This important button links directly to your ac count at the UA online store to automatically gen erate and download an authorization file for Authorize Plug ins your UAD plug ins If you do not already have an account you are redirected to the registration page to create one Important UAD plug ins require authorization before they can be used For detailed information see Authorization Overview
325. et of the original hardware including Threshold Compression Ratio and Output Gain Just like with the hardware LED threshold indicators are provided in the plug in as well the Input Output Gain Change VU meter for which the unit is famous dbx 160 Screenshot THRESHOLD COMPRESSION OUTPUT Cus BELA Aes i o AF T E P E i Ci J z boo il sii e al T z HE i 1 b Tal i r q is Pi i a L a PLF u H 10 1 oo ae Gm dbx 160 a Za COMPRESSORI LIMITER Figure 65 The dbx 160 plug in window UAD Powered Plug Ins Manual 172 Chapter 15 dbx 160 Compressor Limiter dbx 160 Controls Threshold Compression The minimal controls on the UAD dbx 160 make it very simple to operate Knob THRESHOLD a ALOE The Threshold knob defines the level at which the onset of compression occurs Incoming signals that exceed the Threshold level are compressed Signals below the Thresh old are unaffected The available range is from 55 dB to O dB The numbers on the graphical in terface indicate volts as on the original hardware As the Threshold control is decreased and more compression occurs output level is typically reduced Adjust the Output Gain control to increase the out put to compensate if desired Below When the input signal is below the compression threshold value the Below LED illuminates No compression is occurring when Below is lit Above The Above LED illuminates
326. et receives its input sig nal from the Preflex Amp output The Cabinet output is the final Preflex signal output The Preflex Cabinets are emulations of actual guitar speaker enclosures that were captured by a Shure SM57 microphone then meticulously analyzed as usual by our team of rocket scientists A wide variety of cabinets are in cluded using several speaker types configurations and microphone place ment techniques Cabinet Type Each cabinet type has a unique sound and frequency response characteristic Menu Select the desired speaker from the Cabinet Type pull down menu Abbrevia tions used in the Cabinet Types list for the soeaker enclosure and mic tech niques are detailed in Table 20 The Cabinet Types list itself is in Table 21 UAD Powered Plug Ins Manual 362 Chapter 35 Nigel Cabinet Abbreviations Cabinet Type List Note For the following descriptions of the Cabinet models and other refer ences that you may find throughout this manual please be aware that Celes tion Greenback Oxford Blue Marshall Fender Line 6 Pod SansAmp Shure ADA Utah and any other manufacturer model name description and designations are all trademarks of their respective owners which are in no way associated or affiliated with Universal Audio These trademarks and names are used solely for the purpose of describing certain timbres produced using Universal Audio s exclusive modeling technology Table 20 Cabinet Abbreviation
327. eter it is only used to select the active channel for other parameters in the graphical user interface For this reason the parameter is not exposed for external con trol surfaces or automation nor is it saved in sessions or presets Predelay Lever 4 Lever 4 can be used as a common predelay to both channels the predelay time is added to the delay times of both channels See Lever 4 Predelay on page 215 for more information Front Rear In Delay mode the Front Rear Outputs switch is not illuminated the sound is identical in both pairs of outputs When moved to the Rear position the plug in output is summed to mono See Front Rear Outputs on page 215 for more information Phase program mode creates a comb filter curve that results from the addition and subtraction of two signals with a small time shift between them The comb filter changes the amplitude of the source signal s harmonic overtones result ing in interesting tonal variations Tip Phasing is most apparent when the plug in is set to 100 wet or when Wet Solo page 225 is active In the EMT 250 the input is fed to two delay processors one with a fixed de lay time of 15ms and the other which is variable from O 15ms controlled by lever 1 By changing this variable time shift the phase shape of the comb tilter and therefore the timbre of the output signal is changed Note Unlike many phasors the EMT 250 does not modulate the variabl
328. etric Type Ill response UAD Powered Plug Ins Manual 153 Chapter 12 Cambridge EQ Shelf EQ Shelf Enable Button Shelf Type Button Shelf Q Each band can be switched from parametric mode to shelf mode by clicking the shelf enable button The button is off by default To enable shelving on any band click the shelf button The button is green when shelving is enabled Additionally the control bat associated with the band has a horizontal shelf indicator line in the response curve display see Figure 53 on page 155 when shelf mode is active When a band is in shelf mode and its Q is above the min imum value a resonant peak occurs in the filter response The Shelf Type button affects where this resonant peak oc curs in relation to the shelf frequency Its purpose is to emulate the response curves of classic high end analog mixing consoles It s yet another tool to help you find the exact sound you are looking for The Shelf Type button places the resonant peak at A the edge of the stop band Figure 52 on page 155 B the edge of the passband Figure 53 or C at the edge of the stopband and the passband Figure 54 When a band is in shelf mode the Q knob sets the resonance of the band The range of the Q knob is 0 10096 when in shelf mode Note When a band is in shelf mode the Gain setting will affect the Q of the band When the Q is at its minimum value there is no resonant peak The resonance
329. f glitching during playback is increased Note Changes to this setting do not take effect until all open sessions con taining UAD plug ins are reloaded Force Logic to use live mode for tracks with UAD plug ins When UAD plug ins and Logic 7 2 1 and higher are used together and this setting is checked all Logic tracks with UAD plug ins are forced into Logic s live mode and latency is reduced Reduced latency is useful for tracking when Logic s Software Monitoring feature is active Note Logic s live mode is unrelated to UAD 2 s LiveTrack Mode When this setting is active UAD 1 latency is twice the hardware I O buffer and UAD 2 latency is the same as the hardware I O buffer In Logic versions prior to 7 2 1 and later versions when live mode is disabled UAD latency is determined by the larger of the audio interface hardware I O buffer size and the Process Buffer Range setting within Logic When Logic s live mode is NOT active and this setting is NOT enabled the minimum Process Buffer Range setting Small in Logic 7 corresponds to 512 samples meaning the minimum possible UAD latency is 1024 samples for UAD 1 or 512 samples for UAD 2 the current latency is displayed in the UAD Meter System Information panel Latency can be further reduced by us ing LiveTrack Mode UAD 2 only UAD Powered Plug Ins Manual 75 Chapter 6 UAD Meter amp Control Panel User Interface Settings On multi processor mach
330. f mode Shelf slopes generally boost or cut towards the highs or lows thus the high shelves and low shelves The two middle shelves are almost the same as the outer ones but just have other interleaved frequency choices Bell Bell curves focus their boost and cut at a given frequency the Frequency on page 294 and the further away the signal is from that frequency the less boost or cut is applied This control determines the amount of EQ gain to be applied to the band The range is from zero gain flat at the fully counter clock amp wise position to the maximum value at the fully clockwise posi Oem tion Whether the gain is applied as a boost or cut is defined by the Boost Cut Out switch page 290 iim gift mm Fi _ ty i sy L F jb F i i l The range for the standard version is continuously variable at up to 20 dB the range for the Mastering version is up to 11 dB in 16 steps in both ver sions the maximum value depends on the Bandwidth control Important When Gain for the band is set to zero the other band controls have no effect Unlike most EGs this control is not flat at the center position with the gain cut or boosted by moving the control to left or right of center This design allows the band gain to operate at twice the knob resolution as that of a conven tional dual purposed control as well as facilitating a quicker and more ac curate return to zero UAD Powered Plug Ins Manual
331. f this latency is not compensated the processed audio will not be perfectly synchronized with unprocessed audio Fortunately most audio plug in host applications automatically compensate for this latency when plug ins are used on track inserts by simply turning on the Plug in Delay Compensation PDC or similar Preferences setting Many hosts even provide Full Plug in De lay Compensation throughout the entire signal path including sends groups and buses UAD latency and plug in delay compensation is managed automatically by host applications that implement plug in delay compensation Additionally latency can be reduced to undetectable levels in the UAD 2 by bypassing host buffering altogether see LiveTrack Mode on page 88 Host PDC Implementation Table 6 on page 101 lists the current implementation of plug in delay com pensation in the officially supported UAD host applications The displayed version number is the version in which PDC was implemented higher versions also have PDC Important Delay compensation is fully automatic and requires no user in tervention when UAD Powered Plug Ins are used in hosts that support Full plug in Delay Compensation UAD Powered Plug Ins Manual 100 Chapter 9 UAD Delay Compensation Table 6 Host Application plug in delay compensation Implementations rupe Pitom Pariaipoo Platom stenberg Cubase SX2 _Win Mac Loge5 670 Win Mac C Stenborg Nuendo2 wame ooo
332. ferent computers If you click this option you will need to use the other computer the system with the existing UAD devices to com plete the linked registration process Option 2 Standard Registration Use this option if you do NOT want to link your UAD 2 SOLO Laptop and or UAD 2 Satellite to the UAD plug in licenses of an existing UAD system in your My Uaudio account This option will create a new UAD system even if you are an existing UAD user Important If you click this option you will need to purchase new UAD plug in licenses for the UAD 2 SOLO Laptop and or UAD 2 Satellite UAD Powered Plug Ins Manual 55 Chapter 5 Using Multiple UAD Devices Authorizing Multiple Devices When you buy an optional plug in your purchased license is valid for all the UAD devices in the computer The license is tied to the specific UAD devices in the System see page 49 when the license was purchased For example if you have two devices when you purchase a plug in your authorization file will authorize both devices If you have one device during purchase then later acquire another device s you will need to download a new authorization file containing the licenses for the new device s However there is no charge for the new au thorization file containing the additional licenses Your purchase buys li censes for all the devices in the same computer Authorize Plug ins Each individual device must be authorized in order to r
333. ff value are filtered Highpass Ea Frequencies below the cutoff value are filtered Spacing inversely offsets the filter cutoff values for the left and right channels In other words positive Spacing values increase the right channel cutoff while lowering the left channel cutoff and vice versa Spacing is borrowed from Bob Moog s Voyager instrument and separates the hard panned filters by up to three octaves Unlike the original however both filters are moving away from each other in pitch rather than one fixed tilter plus one adjustable filter pitch Positive or negative values enable posi tioning the de tuned filters from left to right low to high or high to low Spacing can create great stereo spacial effects When the filter is in Mono mode both filters are still heard Tip Click the knob label SPACING to return the value to zero UAD Powered Plug Ins Manual 304 Chapter 29 Moog Multimode Filter LFO Amount Rate Rate LED LFO Reset Free Sync Value Wave Offset The LFO low frequency oscillator modulates the filter cutoff frequency Sev eral waveform shapes are available The LFO can be synchronized to the tempo of the host see Free Sync below Amount controls the depth of the LFO filter cutoff modulation A higher value will have a broader filter sweep Rate controls the speed of the LFO The available range is from 0 03 Hz to 25 Hz in Free mode or 16 1 to 1 64 to in Sync mode
334. fically to UAD 2 SOLO Laptop are in the UAD 2 SOLO Laptop Details section beginning on page 115 UAD Xpander Instructions Because UAD Xpander is based on the prior UAD 1 platform and is now a discontinued product it has different instructions than UAD 2 SOLO Laptop For UAD Xpander instructions skip ahead to UAD Xpander Details on page 120 UAD Xtenda Instructions UAD Xtenda information can be found on page 19 UAD Powered Plug Ins Manual 114 Chapter 10 UAD ExpressCard Products UAD 2 SOLO Laptop Details Features Package Contents SOLO Laptop System Requirements Software Installation Important The information in these sections apply to UAD 2 SOLO Laptop ONLY For UAD Xpander instructions see UAD Xpander Details on page 120 e UAD 2 Solo in a self contained compact ExpressCard 34 package can be used in ExpressCard 54 slots with included adapter e 44 1 192k DSP Audio Accelerator for notebook computers e Ultra fast 2 5Gbps ExpressCard 34 interface e No external cables or power supply necessary e Same potent DSP power as UAD 2 Solo The UAD 2 SOLO Laptop package should contain the following items e UAD 2 SOLO Laptop ExpressCard e ExpressCard 34 to ExpressCard 54 Adapter e UAD DSP Family Quickstart Guide DVD e JAD Powered Plug Ins software CD ROM e Important Information Sheet e Universal Audio Full Line Catalog To use the UAD 2 SOLO Laptop your system must meet the minim
335. figured properly see Chapter 2 UAD Installation UAD Powered Plug Ins Manual 50 Chapter 4 My uaudio com Demo Notes UA Online Store 2 Launch the UAD Meter 8 Control Panel application page 61 3 Select Plug Ins from the Control Panel Menu page 63 The UAD Plug Ins panel Figure 11 on page 69 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 e UAD 2 only In addition to the Plug Ins panel Demo mode can also be ac tivated directly from the UAD Toolbar see page 86 e UAD 1 only Demos cannot be started if any UAD 1 plug ins are running If they are a message instructing you to quit the host application is dis played e Manipulating the computer s system date and time will result in a decreased demo period The UA online store at my uaudio com Figure 6 is where optional UAD plug in licenses and other UA products can be purchased Vouchers and pro motional coupons are also redeemed here All UAD device registrations and plug in authorizations are managed here My uaudio com can be accessed from most pages at www uaudio com by clicking the link in at the upper left of a webpage The direct URL for the my uaudio com online store is htto my uaudio com Hardware UAD 2 Plug ins Home gt Store Figure 6 Accessing the UA
336. g UAD Xpander 123 V VariTrem Mode 374 Verifying Installation 34 Video Documentation 22 Video Documentation QuickStart DVD 22 Vouchers 47 VSTi 103 VU Meter 467 W Wah 368 UAD Powered Plug Ins Manual 545
337. ges depending on the program mode UAD Powered Plug Ins Manual 214 Chapter 19 EMT 250 Electronic Reverberator Lever 4 Predelay Mono Stereo Operation Front Rear Outputs Each unique parameter in the plug in retains a distinct value but only the pa rameters that are active in the current program mode are visible in the graph ical user interface All parameters are always visible in Controls View see Controls View on page 86 even when they are not active in the current program mode Important The value of lever parameters that are not active in the current program mode are not saved in sessions or presets The unsaved parameters are marked with an asterisk in Table 11 on page 217 When switching between program modes that have different parameters mapped to the same control parameter values are retained within each mode controls jump back to the prior value that was set in each respective mode In all program modes lever 4 controls the predelay the initial delay before other processing occurs of both channels left and right Predelay times of Oms 20ms 40ms and 60ms are available in 4 steps The green LEDs on the right side of lever 4 display the current predelay value The EMT 250 hardware unit has one mono input For accurate emulation when the plug in is used in a stereo in stereo out configuration stereo signals at the plug in input are summed to mono before processing the dry signal is passed in stereo
338. gether come two versions The 1073 EQ with absolute sonic accuracy and the 1073SE EQ for high instance counts Neve 1073 Screenshot Figure 107 The Neve 1073 plug in window Neve 1073 and 1073SE Controls Each feature of the UAD Neve 1073 and 1073SE interfaces are detailed be low UAD Powered Plug Ins Manual 309 Chapter 30 Neve 1073 Equalizer Input Gain High Shelf Midrange Band The Input Gain control sets the level at the input of the plug in The range is from 20 dB to 10 dB When the Input Gain knob snaps to the OFF position plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP LoadLock on page 73 is enabled Note Clicking the OFF screen label toggles between OFF and the previously set Input Gain value You can also click the Neve logo to toggle between OFF and the previous state The High Shelf knob offers approximately 18 dB of smooth tixed frequency shelving equalization at 12 kHz P4 Rotate the control clockwise to add the famous high end Neve sheen or counter clockwise to reduce the treble re sponse The midrange band is controlled by dual concentric knobs delivering smooth semi parametric midrange equalization bandwidth as the gain is adjusted At higher center fre quencies the Q goes up for a more focused peak The inner knob controls the band gain and the outer ring selects the fre quency or band disable These two controls are de
339. gnificantly reduced partic ularly when running larger numbers of plug ins and or small buffer sizes In cidents of host CPU overloads with high graphical activity are also signifi cantly reduced The default value is ON We recommend leaving this setting enabled on all Windows systems Important If UAD 2 plug ins are already loaded when the setting is changed the host application must be restarted for the change to take effect Nofe Due to differing architectures this mode is not available with UAD 1 UAD Powered Plug Ins Manual 74 Chapter 6 UAD Meter amp Control Panel Windows a Sonar Compatibility Mode Tick the Sonar Compatibility Mode checkbox to improve UAD 1 plug in per formance when used with Cakewalk Sonar This mode should be disabled when using different hosts otherwise audio degradation could occur Release all DSP resources on Audio Unit bypass Some Audio Unit hosts dynamically bypass plug ins when they are not being used during playback for example when no audio is present at the current playback position During this dynamic bypassing UAD plug ins stay loaded on the device which reduces glitches in playback This setting affects the Audio Units platform only Checking the Release all DSP resources on AudioUnit bypass option will unload UAD plug ins from the device during dynamic bypassing When the option is checked UAD DSP usage may be reduced during dynamic bypassing but the possibility o
340. guration It does not illuminate when used in a mono in mono out configu ration Note Link is an indicator only it does not control any plug in parameter On Power The On and Power switches determine whether the plug in is ac tive Click the On or Power switches to change the state On and Power illuminate when the plug in is active When the plug in is inactive processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP LoadLock on page 73 is enabled Note The On and Power switches perform the exact same function WebZine Article An interesting article about the SPL Transient Designer is available in the Ask The Doctors section of our November 2007 WebZine e htto www uaudio com webzine 2007 november index2 html UAD Powered Plug Ins Manual 475 Chapter 49 SPL Transient Designer Acknowledgement Applications Drums 2 Percussions In addition to creating an amazing piece of hardware Sound Performance Lab also wrote an extensive user manual for the Transient Designer Because Universal Audio has full license to make use of the Transient Designer technol ogy SPL has graciously authorized us to use their documentation as well The remainder of this chapter is excerpted from the SPL Transient Designer RackPack User Manual and is used with kind permission from SPL All copy rights are retained by SPL The SPL Transient Designer is ideally suited for use in professional recording
341. h Universal Audio s proprietary smoothing algorithm all param eters can be adjusted with automation or in real time without distortion pops clicks or zipper noise DreamVerb provides two graphic menus for selecting preset room shapes The shapes can be blended according to the demands of your mix Room ma terials are selected with two graphic menus containing preset Materials A third menu specifies the air density for further spectral control As with the room shapes the materials and air can be blended as desired DreamVerb also includes intuitive graphic control over equalization timing and diffusion patterns To maximize the impact of your recording we put in dependent control over the direct path early reflections and late field rever beration in your hands Capitalizing on the psychoacoustic technology that went into the design of RealVerb Pro we have incorporated some of these principles into Dream Verb Our proprietary Stereo Soundfield Panning allows you to spread and control the signal between stereo speakers creating an impression of center and width The ability to envelop your listener in a stereo recording is an en tirely new approach to reverb design UAD Powered Plug Ins Manual 175 Chapter 16 DreamVerb Screenshot p Fikering EARLY TIMING 3 Materials Cry Air 29 Resonance E rr KK JJ PITASION LATE TIMING y Positioning Direct 1001 100 F Early tool p mo E 100 R Late tool
342. h flipped phase against an unprocessed track high frequencies will leak through However the latency through the dry side of the wet dry mix and the latency when the plugin is bypassed via the EMT 250 Power switch page 224 do not have this issue and will be fully compen sated by the DAW UAD Powered Plug Ins Manual 216 Chapter 19 EMT 250 Electronic Reverberator Program Mode Controls The details of each unique program mode are below followed by descrip tions of the global controls which affect all program modes Control Table 11 displays the parameter that each control is mapped to for each of Functions the EMT 250 program modes See Variable Control Functions on page 214 for details Table 11 The variable control functions of the EMT 250 Reverb Decay LF Decay HF Decay damping Predelay Output Pair Delay Coarse Delay Time Fine Delay Time Selects L R channel Predelay Stereo Mono for time adjustment Coarse Delay Time Fine Delay Time HF Decay damping Predelay Input Mute Note The parameter values of lever positions marked with an asterisk are not saved in sessions or presets Program Mode The Program Mode buttons define which of the available program modes is active The six program modes are Reverb REV Delay DEL Phase PHAS Chorus CHOR Echo and Space SPC Click a Mode button to activate that program mode the button is illuminated for the currently active mode only one mo
343. h text entry 1 8T is displayed because an eighth note triplet is equivalent to one twelfth of a measure if in 4 4 time When a parameter note value is out of range of the current tempo note value the note value is displayed in parentheses on a red background Figure 22 L DELAY R DELAY syne a AP ee a Figure 22 Tempo Sync note value display Modes with Tempo Sync The UAD DM 1 and UAD DM 1L plug ins and DM 1 within CS 1 have a Mode menu see Mode Pop up Menu on page 167 that switches the plug in operation between delay chorus and flanger mode In these plug ins when the Mode is set to DualDelay and PingPong the delay Time and mod ulation Rate parameters are simultaneously available for Tempo Sync However when the plug in is set to a Chorus or Flanger mode only the Rate is available for Tempo Sync This enables the more typical and musical cho rus flange effect by only syncing the modulation Rate to the tempo while the delay time remains constant In UAD Nigel and the submodules within Nigel there are several ModFilter modes that cannot be tempo synchronized Additionally ModDelay does not sync to tempo when the LFO is set to one of the Trem types In these cases the Sync enable switch is greyed out and cannot be enabled Additionally the UAD Nigel TremFade Fade In and Onset parameters have a setting of None which allows you to set these parameters to the corre sponding normal None
344. h the gain of a circuit is automatically adjusted using a pre determined ratio that acts in response to the input signal level A compres sor limiter rides gain like a recording engineer does by hand with the fader of a console it keeps the volume up during softer sections and brings it down when the signal gets louder The dynamic processing that occurs at ratios be low 10 or 12 to one is generally referred to as compression above that it s known as limiting Modern day compressors offer a great degree of programmability and flexi bility older devices such as the 1176LN and the LA 2A are more straighttor ward in their design Perhaps it is this fact that has contributed to their appeal ing sound and the longevity of their popularity Compressor Basics Before discussing the LA 2A and 1176LN plug ins this section will cover some compressor basics A compressor automatically adjusts the gain of a signal by a predetermined ratio In a sense a compressor rides gain much like a recording engineer does by hand with a fader keeping the vol ume up during softer sections and bringing it down when the signal gets louder UAD Powered Plug Ins Manual 253 Chapter 24 LA 2A and 1176LN Figure 87 depicts the input and output characteristics of a compressor and perfect amplifier When operated within its specified range an amplifier pro vides a constant amount of gain regardless of the input signal level In Figure 87 the s
345. hardware the audio is still slightly colored even when the EQ switch is in the Cut position This is due to the fact that the signal is still passing through its circuitry Because the plug in emulates the hardware in every regard the signal will be slightly processed when this switch is in the Cut position If a true bypass is desired use the Line switch instead is in the Inverted up position the phase is reversed Leave the switch in the Normal down position for normal phase R The Phase switch inverts the polarity of the signal When the switch This control adjusts the signal output level of Helios Type 69 This may be necessary if the signal is dramatically boosted or reduced by the EQ settings The available range is 20 dB to 10 dB Level Adjust The Line switch determines whether the plug in is active This is use ful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load load is not re UAD Powered Plug Ins Manual 250 Chapter 23 Helios Type 69 Equalizer duced if UAD 2 DSP Loadlock on page 73 is enabled Click the switch to toggle the state the switch is illuminated in green when the plug in is active Helios 69 Latency The Helios 69 uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled P
346. hat con nects via FireWire as opposed to PCI PCle or ExpressCard see Chapter 1 UAD 2 Satellite for details Note The FireWire Panel is only displayed if UAD 2 Satellite is connected FireWire System The FireWire System parameters pertain to the configuration of the FireWire bus These settings affect UAD 2 Satellite performance and can also affect ex ternal FireWire audio interface and hard drive performance if they are con nected to the same FireWire bus The primary function of the FireWire System settings is to reduce the UAD 2 Satellite FireWire bandwidth allocation and or link soeed when other FireWire devices are on the same bus or if other performance issues arise Note The FireWire System settings cannot be changed when UAD plug ins are loaded Quit all UAD plug in host software to make changes to these set tings Important FireWire device connection methods can affect the FireWire bus speed See FireWire Bandwidth on page 140 for details UAD Powered Plug Ins Manual 77 Chapter 6 UAD Meter amp Control Panel Current Link Speed Loki more information about FireWire and using it with paan EGO see 7 A IB mi X e Afe A Daa aal R ARA JIA UE NA Sse ae REA KANA HA nea q V Mi ra D NG i l S AON AN YQ s C Iira v Vi ra NEN A l a TI V ag al V VI ws LM NAVINI NI he A NI Yw II Y y Hy ts WA VV IMA VJe b b n mg A ll F A PA f E YN
347. have to let it warm up for 30 minutes before use UAD Powered Plug Ins Manual 234 Chapter 21 Fairchild 670 Fairchild Screenshot LEFT LEFT CHANNEL LEFT LEFT L METERING INPUT GAIN THRESHOLD TIME CONSTANT 3 p GR Kang ak wy Oy iy KL Po AL s Ma fa 2 o F A La o F a Jl d ae N o g ZERO BAL LEFT LAT Cs Gs RIGHT ff vem 4 RIGHT RIGHT CHANNEL RIGHT DJ 1 METERING INPUT GAIN THRESHOLD JI Gk A 010 5 yy ry s a h 6 RIGHT CO F a F Pa N pi a TIME CONSTANT Pr 3 4 Bo ry Co 4 z na r 3 hn e A Nag a La p JI y o gi Gs LA AAO CALIF MODEL B70 Do LEFT RIGHT i hk e LEFT OUT mang OUT ji ia NG ainecuan E conos Mo Pa Faciory a wa Factory W i Cal Cal Su fee A OG DC BIAS DC BIAS UNLINK a rn Fi NM Cr PB a Figure 82 The Fairchild plug in window 2 Compressors 4 Modes There are two compressors within the Fairchild 670 They can be used as dual L R dual mono stereo or they can be linked together and used on ei ther the L R or mono stereo signals The mode in which the compressors operate is determined by the combina tion of the AGC switch and the Sidechain Link switch See Fairchild Modes on page 237 for detailed mode information UAD Powered Plug Ins Manual 235 Chapter 21 Fairchild 670 Controls Overview Parameter Labels Cal Cal a et Eh A Most of the controls are associated with one or the other of th
348. havior When set to infinite the Numer ical Display will continue to show the last modified parameter value When set to infinite and a program is changed the average decay time is displayed until a parameter is modified Note The last used state of the Display Hold parameter is retained when a new Lexicon 224 plug in is instantiated Power The Power switch is a bypass control Click the switch to change the Power state When bypassed plug in processing is disabled and the Display Panel and all button LEDs are dimmed UAD Powered Plug Ins Manual 280 Chapter 26 Lexicon 224 Program Descriptions P1 Small Concert Hall B P2 Vocal Plate P3 Large Concert Hall B P4 Acoustic Chamber P5 Percussion Plate A P6 Small Concert Hall A P7 Room A This program emulates the sound of a small concert hall with moderate initial density and moderately non uniform decay It is optimized for reverb times of 1 5 to 5 seconds for longer decay times P3 Large Concert Hall B is recom mended instead The most natural sound is obtained when Bass and Mid are relatively close to the same setting This program uses the exact same algo rithm as P3 Large Concert Hall B This is a plate reverb emulation optimized for voice It has low initial density and coloration resulting in a clear bright sound This program uses the exact same algorithm as P5 Percussion Plate A but with slightly different inherent diffusion This
349. he Ask The Doctors section of our December 2007 Web2Zine e hitp www uaudio com webzine 2007 december index2 html UAD Powered Plug Ins Manual 386 Chapter 36 Precision Buss Compressor CHAPTER 37 Overview The Precision De Esser seamlessly and accurately removes sibilance from in dividual audio tracks or even composite mixes via its intuitive interface and sophisticated yet transparent filter processing The Threshold knob dials in the amount of sibilance reduction while the two position Speed button gives control over the envelope attack and release of the detector The Frequency knob sweeps a continuous target frequency range from 2 16 kHz allowing repairs on a large range of voices or even overheads and hi hats while the Solo button allows the user to isolate and monitor the target sibilant frequencies The Width control offers a variable 1 6 to 1 2 3 octave bandpass filter that is perfect for complex program ma terial adapting technology from the TEC nominated Precision Multiband The Width control also switches into a more traditional highpass filter more com monly employed when tailoring individual voices For even greater transpar ency the Split feature gives the user the option to compress only the sibilant range or may be turned off to compress the entire spectrum for more tradi tional de essing Precision De Esser Screenshot sa THRESHOLD Jet FREQUENCY POT GAIN REDUCTION o Ald E 8 1 z sl
350. he Diffusion control is active in this program Diffusion acts upon the third and fourth pair of stereo voices producing a cluster of tightly spaced echoes whose shape is governed by the Diffusion control The Lexicon 224 is one of the few processors that has diffusion on chorus voices this feature is a pri mary factor in its distinctive character Note The Bass Mid Crossover and Treble Decay behaviors are unavail able in P9 Chorus A Instead each of these sliders controls the level of a ste reo voice pair When Lexicon 224 is used in a mono in mono out MIMO configuration the hardware outputs that are used for the plug in are listed in Table 15 on page 283 These software assignments are per the guidelines in the original hardware manual and cannot be modified UAD Powered Plug Ins Manual 282 Chapter 26 Lexicon 224 Table 15 Lexicon 224 Outputs Used With Monophonic Output Program Program Output s A 1 Small Concert Hall B 3 Large Concert Hall B 4 Acoustic Chamber 5 Percussion Plate A Default Table 16 below lists the default values of all available parameters for each a atii program Table 16 Lexicon 224 Default Parameter Values ronson ny ne ron cy more Shi opt Decay delay Opt 1 Small Concert Hall B 3 0 z w a as we or Program N N NIN N O amp D 3 Large Concert Hall B Co 4 Acoustic Chamber 5 Percussion Plate A NI N N N 6 Small Concert Ha
351. he bottom and one in the middle that snap into place on the SOLO Laptop de vice To install the ExpressCard 34 to ExpressCard 54 Adapter 1 Line up the bottom two tabs on the adapter with the corresponding holes on the SOLO Laptop device The wide end of the adapter aligns with the non con nector end of the ExpressCard 2 Snap in the middle tab and the adapter will click into place Done To remove the adapter snap it off by holding the SOLO Laptop device and gently bending the adapter down Note The UAD 2 SOLO Laptop device may be inserted before or after the system is booted Important Install the UAD software before inserting the device To install the UAD 2 SOLO Laptop device 1 Ensure that UAD v5 3 1 or higher software is already installed and that the system was restarted after software installation 2 Ensure that all audio plug in host software is quit UAD Powered Plug Ins Manual 116 Chapter 10 UAD ExpressCard Products Removing the SOLO Laptop SOLO Laptop Authorization 3 Slide the UAD 2 SOLO Laptop ExpressCard fully into the host computer s ExpressCard 34 expansion slot or ExpressCard 54 expansion slot with the adapter until it is firmly seated 4 The LED on the SOLO Laptop will initially flash red green indicating the hardware is powered by the computer but the UAD drivers are not yet loaded Within a few seconds of inserting the device or after startup is complete if insert
352. he center frequency of the de esser 405k W When in bandpass mode or the cutoff frequency of the BEB Je esser when in highpass mode For bandpass use the value is set to the center of the undesirable fre quency range that is to be reduced For highpass use the value is set below the frequency range that is to be reduced Used in conjunction with the Width control Width on page 389 a broad range of de essing is possible The available range is 2 kHz 16 kHz The Solo button isolates the de essing sidechain the signal defined by Frequency and Width Solo makes it easier to hear the problem fre quencies to be attenuated Click the button to active Solo mode The button is red when Solo is active UAD Powered Plug Ins Manual 388 Chapter 37 Precision De Esser Width Split Note When Solo is active changes to the Threshold and Split controls cannot be heard s a WIDTH Width controls the bandwidth of the de essing w Png act 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 un desirable frequency ranges are broader When Width is rotated fully clockwise High Pass mode is activated In High Pass mode Frequency Frequency on page 388 defines the cutoff fre quency of the high pass f
353. he upper por tion to activate or click drag up down on the switch FATSO Sr Controls These controls are unique to the p HOLD ssor Controls sx FATSO Sr However because the eee Tan A additional controls in the FATSO ee ee Sr do not add to the DSP function ality of the FATSO Jr both plug ins use the same amount of UAD DSP Threshold ea This knob enables manual threshold control of the TH Lvl F FATSO compressor Higher values lower the pression threshold Generally speaking set the amount of desired signal saturation with Input first then adjust Threshold as desired UAD Powered Plug Ins Manual 202 Chapter 17 Empirical Labs EL7 FATSO Filter HP SIDE FILT Attack Filter regulates the cutoff frequency of the filter on the compres sor s control signal sidechain When active frequencies below pati the filter value are not passed to the sidechain Values of 60 r Hz 120 Hz 240 Hz 480 Hz and Off are available The filter PA slope is 6 dB per octave When the compressor is disabled Fil ter has no effect and its LED turns off When the compressor is enabled Filter returns to its original value Tip Removing low frequency content from the sidechain can reduce exces sive gain reduction and or pumping on bass heavy audio signals without reducing bass content of the audio signal itself Note The Filter parameter affects the control signal sidechain of the com pressor only It d
354. hift LeftArrow PageDown Control Click parameter Windows Toggle initial editor setting the value when the Modifier Click parameter Mac editor window was last opened Modifier key set in Configuration Window Control Shift Click parameter Windows Revert to initial editor setting the value when the Modifier Shift Click parameter Mac editor window was last opened Modifier key set in Configuration Window DSP Loading Information The UAD devices feature either one UAD 1 amp UAD 2 Solo two UAD 2 Duo or four UAD 2 Quad on board DSP chips for processing Powered Plug Ins In UAD 1 only systems when there is more than one UAD 1 in the system the UAD 1 device that has the lowest resource usage will receive the next Pow ered Plug In load Note that an individual UAD 1 plug in cannot be split across two or more UAD 1 processors For example let s say you have a two UAD 1 devices installed the UAD Meter displays 90 you load another UAD plug in that requires 6 DSP yet you get a plug in unable to load message This would occur if both devices are already at 95 the meter shows the total available DSP not the per de vice DSP so a 6 plug in can t load Multi DSP UAD 2 systems use significantly enhanced load balancing routines UAD 2 plug ins are always allocated as efficiently as possible which is not necessarily on the DSP with the lowest resource usage UAD Powered Plug Ins M
355. higher instance counts Harrison 32C EQ Screenshot Figure 83 The Harrison 32C EQ plug in window UAD Powered Plug Ins Manual 242 Chapter 22 Harrison 32C EQ Harrison 32C EQ and Harrison 32C SE Controls Power Power LED Phase Cut Filters Note Knob settings when compared to the graphical user interface silk screen numbers may not match the actual parameter values This behavior is identical to the original hardware which we modeled exactly When the plug in is viewed in parameter list mode see Controls View on page 86 the actual parameter values are displayed The Power switch determines whether the plug in is active Click the button to toggle the state When the Power switch is in the Off lighter position plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP LoadLock on page 73 is en abled The Power LED is illuminated when the plug in is active The Phase button inverts the polarity of the signal The signal is inverted when the button is engaged darker Leave the button in active lighter for normal phase In addition to the four band EQ the Harrison 32C offers two cut filters one each for low and high frequencies The slope of the cut filters is 12 dB per oc tave Cut Enable The high and low pass filters are en gaged with the Cut Enable switch The Cut Filters are active when the In switch is engaged darker When the Cut Filters a
356. ht side of lever 2 display the cur rent value the red LEDs on the left side of lever 2 are inactive UAD Powered Plug Ins Manual 222 Chapter 19 EMT 250 Electronic Reverberator Space Note Levers 1 and 2 both control the echo time but these parameters are not individually exposed for external control surfaces and automation In stead a single echo time parameter is exposed and levers 1 and 2 in the plug in interface are both updated to match the value HF Decay Lever 3 Lever 3 controls the high frequency damping in Echo mode The red LEDs on left side of lever 3 display the current value the green LEDs on the right side of lever 3 are inactive Four multipliers are available x 0 25 x 0 33 x 0 5 and max Higher values upper lever positions result in more feedback Predelay Lever 4 Lever 4 is used as a predelay to the echo processor in this mode The predelay time is added to the echo times but not to the HF decay feedback loop See Lever 4 Predelay on page 215 for more information Front Rear The Front Rear Outputs switch is not illuminated in Echo mode the same monophonic signal is generated at the front and rear outputs However the Front Rear Outputs switch has a special function in Echo mode In the Front position the program behaves normally In the Rear position the input to the echo processor is muted while still allowing the echo output to be passed This feature is useful for adding echo t
357. http www uaudio com eula This Agreement is between Universal Audio Inc and you IMPORTANT PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING THIS SOFTWARE By using the Universal Audio software Universal Audio Software you accept these terms The Universal Audio Software may be distributed with software or components from third parties Third party Software that are subject to different terms which can be found at http www uaudio com eula and also the provisions of Section 11 below If you do not accept these terms do not use the software provided with this installation Instead return the Universal Audio Software or Third Party Software to the reseller for a refund or credit If you cannot obtain a refund from the reseller or if you purchased your software license directly from Universal Audio Inc Universal Audio contact Universal Audio for information about Universal Audio s refund policies Please visit the Web sites listed at the end of this document for contact details This Universal Audio End User License Agreement Agreement is a legal agreement between you either an individual or a single entity as an end user and Universal Audio for the Universal Audio Software accompanying this Agreement which includes computer software updates and any bug fixes subsequently delivered and associated media printed materials and online or electronic documentation The Universal Audio Software is licensed
358. hythm section plays late in relation to the vocal tracks Solution Send the output of the vocal tracks but not the rhythm tracks or the Precision Multiband return to a different group bus Then enter the numbers into the formula 15 360 1 024 15 Now put one DelayComp with a Plugs value of 10 and another DelayComp with a Plugs value of 5 on the group bus that contains the vocal tracks The latency of both groups buses is now the same so the playback timing is cor rectly aligned Here s another example with the same track setup but with a session sample rate of 48kHz and an I O buffer size of 1024 samples Use the formula to ar rive 16 896 2048 8 25 When a non whole number results from the formula the Samples parameter must be used in addition to the Plugs parameter The Samples value to use is the fraction in this case 0 25 times the UAD latency from the UAD System Info window in this case 2048 Therefore in this example the total Samples value is 512 To finish the example Insert one DelayComp with a Plugs value of 8 and a Samples value of 128 and three more DelayComps with a Plugs value of O and a Samples value of 128 each on the group bus that contains the vocal tracks The four Samples values sum to 512 samples which is 0 25 of one Plugs value 2048 x 0 25 512 The latency of both groups buses is now the same so the playback timing is correctly aligned Note You can keep it simple Use the Precision
359. ial with frequent peaks However if you set the Release time too long the gain reduction imposed by loud sec tions of audio may initially reduce the level of subsequent sections of audio with lower signals Available Release times are continuously variable between 0 1 seconds and 4 seconds Attack defines the duration between the input signal reaching the thresh old and processing being applied by the compressor Attack time is nor G mally 30 milliseconds slow mode in Controls View When Fast Attack is enabled attack time is 3 milliseconds Fast Attack is active when the F ATT LED is illuminated To toggle Fast At tack click the LED or its label text The gate expander module operates in either gate or expansion mode as determined by the Dynamics Select button Two attack speeds and a continu ously variable release time are available in both modes The Select button cycles through the three modes available in the gate expander module Expand Gate 1 and Gate 2 Expand EX In Expand mode the module applies downwards expansion at a fixed 1 2 ra tio with the amount of gain reduction determined by the Range control Ex pand Range on page 489 UAD Powered Plug Ins Manual 488 Chapter 50 SSL E Channel Strip Expand Threshold Expand Range Expand Release Gate 1 G1 In Gate 1 mode signals below the Expand Threshold are attenuated by the Expand Range amount Gate 1 is authentic to
360. ianissimo to fortissimo are treated the same way Both ATTACK and SUSTAIN control circuitries operate simultaneously and don t affect each other The ATTACK control circuitry uses two envelope generators The first one gen erates a voltage Env 1 that follows the original waveform The second enve lope generator creates the envelope Env 2 with a slower attack envelope Figure 165 on page 480 illustrates the original curve and the two created en velopes that control the ATTACK processing Envelope generator Env 1 fol lows the original waveform Env 2 is generated with reduced attack Diagram 1 Generated Envelopes Attack Fag 1 Ara ANN N u Env 2 slower attack Original Waveform Figure 165 SPL Transient Designer Attack Envelopes UAD Powered Plug Ins Manual 480 Chapter 49 SPL Transient Designer Figure 166 on page 481 shows the difference between Env 1 and Env 2 that defines the control voltage of the VCA The shaded area marks the difference between Env 1 and Env 2 that controls the control voltage of the VCA The am plitude of the attack is increased if positive ATTACK values are set Negative ATTACK values reduce the level of the attack transient Diagram 2 Calculated Control Voltage Attack U mY Difference Env 1 En 2 Equals YCA Control Yoltage tf ms Figure 166 SPL Transient Designer Attack Control Voltage Figure 167 on page 481 displays the processed waveforms with maxi
361. ic meaning it lets off quickly at first and then slows This release curve is a big part of the FATSO s compressor sound Note Threshold attack and decay values can be modified in the FATSO Sr Buss Buss mode green LED is a very gentle 2 1 type ratio with slow attack fast re lease and very soft knee One to four dB of gain reduction is typical for this compressor type Five or more dB of Buss compression is hitting it hard G P General Purpose mode yellow LED is medium attack slow release type that sounds pretty invisible while able to maintain a consistent RMS level The slow release will not pull things into your face unnaturally UAD Powered Plug Ins Manual 196 Chapter 17 Empirical Labs EL7 FATSO Tracking Tracking mode green and yellow LED is an 1176 type compressor that is great for tracking instruments and vocals during the recording process or dur ing mixdown Spank Spank mode red LED is a radical limiter type compressor that was specifi cally designed to emulate the nice squeeze of the older SSL talkback compres sors from the 70 s amp 80 s but with quite a bit of higher fidelity Note that Spank s aggressive nature will tend to dominate when combined with any of the other modes FATSO Controls General notes about FATSO controls are below followed by a detailed de scription of each channel specific control the global controls and the FATSO SR controls Mono Stereo The FATSO is a two cha
362. icantly less DSP usage It is provided to allow Harrison like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the full version but it still sounds great and is very usable in most situations The Harrison 32C SE interface can be differentiated from the Harrison 32C by knob color and the module name The Harrison 32C SE blue knobs instead of the Harrison 32C s ivory knobs and the module name on the upper right of the interface panel includes SE Harrison 32CSE The Harrison 32C SE controls are exactly the same as the Harrison 32C Controls Please refer to the Harrison 32C section for Harrison 32C SE control descrip tions see Harrison 32C EQ and Harrison 32C SE Controls on page 243 UAD Powered Plug Ins Manual 245 Chapter 22 Harrison 32C EQ Harrison 32C Latency The Harrison 32C but not the Harrison 32C SE uses an internal upsampling technique to facilitate its amazing sonic accuracy This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsam pled Plug Ins on page 107 for more information The Harrison 32C SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Harrison 32C is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100
363. ice de rives its operating electricity from the FireWire bus itself without a power sup ply of its own See FireWire Bus Power on page 143 for details Important UAD 2 Satellite cannot be bus powered and it does not supply bus power from its FireWire ports to other devices The most common FireWire devices are available in two speeds FireWire 400 IEEE 1394a which supports transfer speeds up to 400 megabits per second and FireWire 800 IEEE 1394b which supports up to 800 megabits per second It s usually possible to determine the speed of the FireWire device by the type of FireWire connector it uses see FireWire Connectors below UAD Powered Plug Ins Manual 136 Chapter 11 UAD 2 Satellite FireWire Connectors Hubs and Chains Note UAD 2 Satellite is a FireWire 800 device See Mixing FireWire Speeds on page 139 for more information about using FW800 and FW400 devices on the same FireWire bus FireWire 400 and FireWire 800 devices use different connectors Figure 32 below The connectors are not interchangeable this helps to differentiate be tween the two device speeds FW 800 9 pin FW 400 6 pin FW 400 4 pin Figure 32 FireWire 800 and FireWire 400 6 pin and 4 pin connector types FireWire 400 connectors FireWire 400 devices typically have two types of connector 4 pin and 6 pin The small 4 pin FireWire 400 connector is common on digital camcorders and Windows notebook computers The 6
364. identical to the original hard ware The Lexicon 224 display panel Figure 96 below consists of four display el ements Numerical Value LED Value Stereo Level Meters and Overflow in dicator Exactly what is displayed here is dependent on the parameter being edited if any and the state of the Display Hold switch page 280 Figure 96 The Lexicon 224 Display Panel Numerical Value The three character Numerical Value Display shows the value of parameters as they are being edited The value of the edited parameter is displayed for 1 5 seconds unless the Display Hold switch is set to infinite in which case the last edited parameter value continues to be displayed UAD Powered Plug Ins Manual 269 Chapter 26 Lexicon 224 If Display Hold is set to 1 5 the default value after parameters are edited the value displayed here reverts after 1 5 seconds to a reverb time which is related to the combined Bass and Mid slider values This relationship is based on approximations designed by the original Lexicon engineers the actual de cay times may not match the displayed value Value LED The Value LED shows the units of the numerical value being displayed tor a particular control For parameters in the time domain the sec seconds or ms milliseconds LED is lit For parameters in the frequency domain the Hz Hertz or kHz kilohertz LED is lit For parameters that have no units value e g
365. idual HF loss due to Bias optimization and system filtering It is used to tune HF con tent into the incoming signal prior to the tape non linearity The control pro vides a 12dB per octave boost filter and affects saturation characteristics Note This filter is prior to the tape record circuit while the other EQs Sync Repro are for tape playback only Bias is defined as an oscillator beyond the audible range applied to the audio at the record head allowing for adjustment of the record behavior Ideal bias voltage settings provide maximum record sensitivity and low distortion Inten tionally overbiasing is a common technique especially for tape compres sion of drums giving a warmer gently saturated sound Underbiasing can also be used to add distortion and other nonlinear responses similar to gate chatter or cold solder joints extremely low voltages may even cause audio to drop out entirely Bias voltage HF Record EQ and fixed Emphasis EQ CCIR NAB AES work together to provide a linear response to the recorded signal Sync and Repro Playback EQ Controls are available for tape playback cali bration They affect the signal coming out of the tape circuitry UAD Powered Plug Ins Manual 514 Chapter 52 Studer A800 With the hardware machine these controls enable compensation for any tape frequency loss or head wear Under hardware use the Sync and Repro playback heads are calibrated to normal operating standards an
366. ied relative to its original value In this mode you can click anywhere on the knob to make an adjustment orig inating at the original value You don t have to click on the current knob po sition Use Host Mode When Use Host Mode is checked the control mode set within the host appli cation preferences is used if this feature is supported by the host This setting forces the host to override the control mode set in the UAD user interface set tings UAD Powered Plug Ins Manual 76 Chapter 6 UAD Meter 8 Control Panel Note When Use Host Mode is checked the UAD Meter user interface set tings have no effect unless control mode is NOT supported by the host Mac Toggle initial value modifier Ga Holding the specified modifier key while clicking a parameter control will tog 7 gle between the value of the control when the editor was opened and its last edited value This feature is not supported under Windows This parameter also affects the select click modifier For a complete list of keyboard shortcuts see Shortcuts on page 91 Info Display This area displays helpful text about parameters in the Configuration panel Hover the mouse over a Configuration setting to view the informational text FireWire Panel The UAD FireWire Panel Figure 13 on page 78 is where settings specific to UAD 2 Satellite are configured FireWire settings do not apply to UAD PCI PCle devices The UAD 2 Satellite is an external UAD device t
367. ift at the out put This switch determines whether the plug in is active When the Power switch is in the Off position plug in processing is disabled and UAD DSP usage is re duced unless UAD 2 DSP LoadLock on page 73 is enabled VU Meters There are two calibrated VU meters one for each channel What the Meter displays is determined by the Meter Switch UAD Powered Plug Ins Manual 238 Chapter 21 Fairchild 670 AGC Mode Threshold 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 If the meter select switch is set to IN or OUT then that meter will reflect the level of the right or left input or output signal however the meters are not cal ibrated Zero On the hardware unit this screw adjusted the meter pointer to compensate voltage fluctuation and tube wear Because the meter in the plug in cannot go out of calibration this control is permanently disabled This control determines whether the two compression channels will receive L R or mono stereo as the input
368. igher values in crease the number of delays and intensity of the processed signal Recirculation allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If Recirculation dis plays a positive value all the delays will be in phase with the source If it dis plays a negative value then the phase of the delays flips back and forth be tween in phase and out of phase UAD Powered Plug Ins Manual 379 Chapter 35 Nigel Damping Knob Mix Knob Mode Menu Echo On Off Button This low pass filter reduces the amount of high frequencies in the processed signal Higher values yield a brighter signal Turn down this control for a darker sound Damping also mimics air absorption or high frequency rolloft inherent in tape based delay systems This control determines the balance between the delayed and original signal Values greater than 50 emphasize the wet signal and values less than 50 emphasize the dry signal A value of 100 delivers just the processed wet signal and a value of 0 delivers just the source dry signal A value of 50 delivers equal signals Mix allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If a positive value is dis played then all the delays will be in phase with the source With a negative value the delayed signal is flipped 180 degrees out of phase with the source
369. ignal level of a perfect amplifier is represented with a constant output gain of 10 dB In this example a signal with an input level of 30 dB results in an output level of 20 dB which is an increase of 10 dB Similarly an input level of O dB results in an output level of 10 dB the gain stays fixed at 10 dB regardless of the input level In contrast to an amplifier whose function is to present a constant gain a compressor varies its gain in response to the level of the input signal Large in put signals result in less gain thus reducing or compressing the dynamic range of the signal In Figure 87 a compressed signal with an input level of 30 dB results in an output level of 20 dB indicating a gain of 10 dB How ever with input levels of 20 dB and 10 dB the compressor exhibits gains of 5 dB and O dB respectively thereby illustrating that the gain decreases as the input signal increases This increase in output level by 5 dB for every 10 dB is defined as a compression ratio of 2 1 reduced from 10 5 Perfect Amplifier Compression Output Level dB 710 30 20 10 O 10 Input Level dB Figure 87 Input and output characteristics of a compressor and perfect amplifier The amount of compression or gain reduction typically expressed in decibels dB is defined as the amount by which the signal level is reduced by the compressor Graphically this can be represented see Figure 88 by the difference in output levels
370. iguration stereo inputs are summed to mono This can be useful for sonic variation such as when the plug in is used in an aux iliary ettect send configuration The default position in is stereo mode Click the pushbutton switch out to en able Mono mode This switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load load is not re duced if UAD 2 DSP LoadLock on page 73 is enabled Click the pushbutton switch to change the Power state The Power LED is illuminated when the plug in is active This LED style meter indicates the level of the signal at the output of the plug in When the Dimension Mode is OFF but the Power switch is ON audio is not processed but the Output Level meter is still active UAD Powered Plug Ins Manual 465 Chapter 47 Roland Dimension D CHAPTER 48 Roland RE 201 Space Echo Overview In 1973 Roland created the Space Echo system that utilized multiple play heads to create warm highly adjustable echo effects which added wonder ful tape character and chaos to performances and recordings The Space Echo can be heard on numerous recordings from 70 s space rock like Pink Floyd and David Bowie to countless Reggae and Dub albums to more recent bands like Portishead and Radiohead Universal Audio has been entrusted by Roland to re create the highly beloved RE 201 unit
371. ill use a fraction of the UAD DSP that UAD Moog Filter would require for the same instance count See DSP Loading Information on page 92 for additional notes Important FireWire bandwidth is unrelated to UAD DSP loads UAD Powered Plug Ins Manual 142 Chapter 11 UAD 2 Satellite FireWire vs PCle The maximum possible data throughput even at FireWire 800 speeds is only a fraction of what is possible with PCle Therefore if very high UAD plug in counts are required UAD 2 PCle cards provide an alternate solution FireWire Bus Power Bus Powering Example Some FireWire devices can be bus powered which means the device de rives its operating electricity from the FireWire bus itself without a power sup ply of its own This operating current when available is supplied via two con ductors in FireWire cables and ports 4 pin FireWire 400 cables and ports cannot supply bus power Although bus powering is part of the FireWire specification it is an optional feature Not all FireWire devices are designed to use it nor are all devices de signed to supply it for a variety of reasons For example a device may re quire more current than can be supplied by bus power or a device may be unable to provide enough current to its FireWire ports UAD 2 Satellite cannot be bus powered nor does it supply bus power from its FireWire ports to other devices Therefore when using a FireWire device that requires bus power it is impo
372. ilter instead of the center frequency of the bandpass filter High Pass mode is useful when you want to attenuate all frequencies above the cutoff frequency The available range is 0 15 about 1 6 octave to 1 61 about 1 2 3 oc taves plus High Pass mode Note UAD DSP usage is slightly decreased when Precision De Esser is in High Pass mode versus bandpass mode unless UAD 2 DSP Loadlock on page 73 is enabled Split determines if attenuation compression is applied to the sidechain signal only or to the entire audio signal 7 OFF SPLIT a In normal use Split should be enabled causing only the ess spectrum as de fined by Frequency and Width i e the sidechain to be attenuated This pro vides the most precise de essing control Split can be disabled which causes the entire input signal to be attenuated instead of just the ess sidechain which results in more traditional compres sion However the sidechain still controls attenuation when Split is off Click the Split button to change the mode Alternately you can click hold the LED area and drag like a slider to change the value Note UAD DSP usage is slightly decreased when Split is disabled unless UAD 2 DSP LoadLock on page 73 is enabled UAD Powered Plug Ins Manual 389 Chapter 37 Precision De Esser Gain Reduction Power Operating Tips GAIN REDUCTION The Gain Reduction meter provides a visual indica fiili tion of how
373. ilters Figure 177 Trident A Range band control layout UAD Powered Plug Ins Manual 519 Chapter 53 Trident A Range EQ Trident A Range EQ Controls Phase Low Pass Filters High Shelf High Mid Band The Phase button inverts the polarity of the signal The signal is in verted when the button is engaged darker Leave the button inactive lighter for normal phase Phase is independent of the EQ IN setting Three low pass filters are available and they can be used simul taneously in any combination The available cutoff frequencies are 15 kHz 12 kHz and 9 kHz with a slope of 12 dB per oc tave Each filter is active when its button is engaged darker Each low pass filter adds to the others For example engaging the 15K filter will rolloff frequencies above 15 kHz but engaging 9K as well will also attenuate frequencies above 15 kHz even more than if 15K was used by itself Note See Figure 177 on page 519 and Figure 178 on page 521 when re ferring to the band parameters below The high shelf offers Trident A s famous high frequency shelving EQ High Shelving Frequency The edge frequency of the high shelf filter is specified by this knob Four shelf edge frequencies are available 15 kHz 12 kHz 10 kHz and 8 kHz High Shelving Gain The gain for the high shelf filter is specitied by the horizontal slider control The available range is 15 dB The gain value is zero when the slider is in the
374. ilters a four band EQ plus limiting compression gate and expansion The middle EQ bands are fully parametric while the flexible high and low bands provide the user with two fixed Q types and the ability to switch to shelving EQ The VCA ype Limit Comp provides a 0 01 to 3s release Auto Release and a continuously variable ratio control with a fixed fast or slow attack time The Gate Exp provides 0 01 to 3s release times fast or slow attack times plus Threshold Range and Hysteresis to tailor your gate or expansion effect to the perfect response for any source Additionally the user may engage the P DYN button to reorder the signal chain so that the EQ is first With the SC EQ button the user may engage a sidechain feature to achieve frequency dependent compression for such use ful tasks as de essing UAD Powered Plug Ins Manual 337 Chapter 34 Neve 88RS Channel Strip Neve 88RS Screenshot GATE EXP LIMIT COMP EQUALISER CUT FILTERS kHz7 5 18 n A A o x BP a ee TIN mt 315 34 5 PA A Hz mO 240 G 50 a 150 GLOBAL 20 T730 Flag f La a Pa r n 7a OUTPUT 40 0 Ca pull 2 NG 5 FAST ke Li Ha POWER Figure 117 The Neve 88RS plug in window UAD Powered Plug Ins Manual 338 Chapter 34 Neve 88RS Channel Strip Neve 88RS Controls Overview Signal Flow Dynamics The UAD Neve 88RS controls are divided into four main sections dynamics EQ cut filters and global Each sec
375. imal when the plug in is used on an effect group bus that is configured for use with channel sends When the plug in is used on a channel insert this control should be deactivated Note Wet Solo is a global per plug in instance control Its value is saved within the host project session file but not within individual preset files The Power switch determines whether the plug in is active It s useful for com paring the processed sound to the original signal The VU Meter provides a visual indication of the output level of the plug in the meter is not calibrated The meter needle drops to minimum when the plug in is disabled with the Power switch UAD Powered Plug Ins Manual 159 Chapter 13 Cooper Time Cube Channel Controls Delay A B Decay A B Pan A B The channel controls affect each channel of the processor independently The control functionality is identical for each channel A indicates the left chan nel and B is the right channel DECAY ECHO VOL GS e O ek Figure 57 The channel controls Delay controls the delay time for each channel of the processor The selected value is shown in the Echo display Echo A B on page 158 The available delay range for each channel is 5 milliseconds to 2 5 seconds 2500ms When Sync is active beat values from 1 64 to 3 1 can be se lected Table 5 on page 96 When the beat value is out of range the value is displayed in parenthesis This occurs i
376. in ear response of 0 2 dB per segment K 12 In Normal mode the meter range is 48 dB to 12 dB with a linear response of 0 5 dB per segment In Zoom mode the range is 12 dB to 12 dB with lin ear response of 0 2 dB per segment UAD Powered Plug Ins Manual 412 Chapter 41 Precision Limiter Hold The meter Hold Time switch determines how much time will pass before the peak values for the main meter and the gain reduction meter are reset It af fects both the peak LED s and the peak text display Values of 3 seconds 10 seconds or Infinite indicated by the lazy 8 symbol can be selected Clear The meter Peak Clear switch clears the meter peak value display It affects both the peak LED s and the peak text display Precision Limiter Latency The Precision Limiter has a 1 5ms look ahead window to ensure clipping does not occur This look ahead function results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information Note Compensating for Precision Limiter is not required if the host applica tion supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 UAD Powered Plug Ins Manual 413 Chapter 41 Precision Limiter CHAPTER 42 Precision Maximizer Overview Signal Flow The Precision Maximizer is a dynamic impact processor that uniquely en h
377. in P9 Chorus A In this program the display is not updated when the Depth slider is moved Diffusion In most programs Diffusion affects how quickly the echo density in the reverb builds up over time In the original hardware this parameter was usually referred to as Shift Depth changing the diffusion value re quired holding down the shift button while adjusting the REVERB DIFFUSION depth amount n Click the left lt decrement button to decrease the Diffusion value click the right gt increment button to increase the value The available range is O 71 the numbers are arbitrary The default value is program dependent Table 16 on page 283 lists the default values for each program Note Diffusion is unavailable in PA Acoustic Chamber Zero is the least dense setting Density increases as the Diffusion value is in creased but setting Diffusion higher than 40 can actually sound less dense The fastest density buildup is achieved with Diffusion values near the middle of the range approximately 32 37 UAD Powered Plug Ins Manual 273 Chapter 26 Lexicon 224 Predelay Immediate Higher Diffusion values are frequently desirable when the material has a lot of percussion Higher Diffusion can also contribute to a smoother sounding re verb With low Diffusion values the early reverb will be grainy and sparse but will produce a clear bright sound that is very useful with strings horns and vo
378. in latency for each device 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 re sulting latency in samples and milliseconds The buffering methods used by UAD 2 and UAD 1 drivers are different for the two device types which is why the latency differs between the devices Note Displayed latency does not reflect the actual lowered latency value when LiveTrack mode page 88 is active Hardware Section Device Status Device Enabled UAD 2 The displayed latency is the audio I O interface buffer size when Extra Buffering page 73 is off When Extra Buffering is on the displayed latency is the audio I O interface buffer size plus 64 samples UAD 1 The displayed latency is twice the audio I O interface buffer size Note The displayed sample latency number does not include the extra sam ples produced by upsampled UAD plug ins For more detailed information about the extra samples and latency see Compensating Upsampled Plug Ins on page 107 Detailed information about each UAD device and its DSP is displayed in the Hardware area Figure 10 on page 65 If you have several devices in stalled use the scrollbar to see the other devices For each installed device type UAD 2 and UAD 1 a small picture of the hardware and its status is displayed When the device displays Status OK the hardwa
379. in the Bandwidth Metering section of the FireWire Panel UAD 2 Satellite page 81 when UAD plug ins are NOT running The value indicated in orange is the percentage of FireWire bandwidth that is used by all the devices except UAD 2 Satellite 5 Subtract the Used by other devices percentage from 100 and enter the difference as the UAD Bandwidth Allocation Done UAD Bandwidth If all the FireWire devices on the bus except UAD 2 Satellite use 20 of the abi ng available FireWire bandwidth from steps 1 through 4 above enter 80 as P the UAD Bandwidth Allocation 100 20 80 Tip If FireWire performance issues occur try leaving a bit of unused FireWire bandwidth headroom so the total usage for all devices is less than 100 To leave 5 of the bandwidth available for headroom in the example above you d enter 75 for UAD Bandwidth Allocation 20 bandwidth without UAD 2 Satellite 75 for UAD 2 Satellite 95 total FireWire band width Plug In The Plug In Calculator displays the maximum number of stereo UAD plug ins Calculator that can be run on UAD 2 Satellite with the current FireWire System settings at a given sample rate Note The Plug In Calculator is for informational purposes only it does not actually affect UAD FireWire or DSP performance in any way UAD Powered Plug Ins Manual 80 Chapter 6 UAD Meter amp Control Panel Bandwidth Metering Used by UAD When a UAD plug in is loaded on UAD 2 Satell
380. indow UAD Powered Plug Ins Manual 400 Chapter 40 Precision Equalizer Precision Equalizer Controls Control Grouping Modes Stereo Mode The easy to use Precision Equalizer features stepped controls throughout for easy recall Both the left and right channels feature four bands of EQ grouped in two overlapping pairs There are two bands for low frequencies L1 and L2 and two for highs H1 and H2 There is also a shelving or peak notch filter available for each band along with five peak notch Q re sponses per band The high pass filter is a far reaching 18 dB per octave which enables precise filtering of power robbing sub harmonic content or other creative uses The Precision Equalizer also features flexibility in auditioning There are three separate EQ configurations allowing selection of two complete sets of stereo parameters or the Dual mode when disparate channel adjustments are neces sary In addition parameter values can be easily transferred between param eter groups using the Copy buttons The L and R equalizer sections are independent groups of parameters each controlling one side left or right of the stereo source signal The L and R controls are linked except when in Dual mode In Dual mode control groups L and R can be independently adjusted The Mode switches define the operating mode of Precision Equalizer The currently active mode is indicated by a blue light Each mode is detailed below
381. ines Live Mode forces all plug ins on tracks with UAD plug ins and any aux buses fed by those tracks to run on one processor only To allow host based native plug ins to run on all processors under these conditions deactivate this setting Note Changes to this setting do not take effect until all open sessions con taining UAD plug ins are reloaded Controls Mode This setting determines how UAD Powered Plug In parameter knobs respond to adjustment Three control modes are offered Circular Relative Circular and Linear Select the desired mode from the drop menu Note To increase resolution when in adjusting rotary controls in circular and relative circular modes increase the radius of the mouse relative to the knob while dragging i e move the mouse farther away from the knob while drag ging in a circular motion Linear slider In Linear mode the knob is adjusted by dragging horizontally or vertically instead of by rotating This behavior is similar to moving a physical fader Circular jump In Circular mode the software knobs behave similar to physical rotary knobs Values are changed by clicking on the knob then rotating in a circular direc tion When the edge of the knob is clicked the parameter value jumps to the mouse position Relative Circular grab Relative Circular mode operates similar to Circular mode but the knob value does not jump to the mouse position when clicked Instead the knob value is modif
382. ins and allows Logic Audio users to con serve UAD DSP resources EX 1M requires half the processing power compared to that of EX 1 when used on a mono audio track within Logic Audio Therefore EX 1M should be used on monophonic audio tracks within Logic whenever possible to conserve UAD resources UAD Powered Plug Ins Manual 165 Chapter 14 CS 1 Channel Strip DM 1 Delay Modulator L DELAY o ag E e a ag SO re A DELAY THE LATE DELAY MODULATOR F rai KA at a ENABLE A F a LFO TYPE Pa a T8 Mb F _ olen _ i bi Magat r ka BYPASS 00 ree DAMPING Ta TO AND mix i a 24 0 aA Figure 62 The DM 1 Delay Modulator plug in window DM 1 Controls Sync Button L Delay Knob R Delay Knob The DM 1 Delay Modulator provides stereo effects for delay chorus and flange This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Sets the delay time between the original signal and the delayed signal for the left channel When the Mode is set to one of the delay settings the maximum delay is 300 msec When the Mode is set to one of the chorus or flange set tings the maximum delay is 125 msec Sets the delay time between the original signal and the delayed signal for the right channel When the Mode is set to one of the delay settings the maxi mum delay is 300 msec When the Mode is set to one of
383. installation registration and authorization you re ready to use UAD Powered Plug Ins Visit our support site for the latest technical information and additional infor mation not included with the software or to contact technical support about any technical difficulties e htto www uaudio com support uad Our support website contains many helpful videos that explain how to install the hardware and software register authorize and use the product obtain optional plug ins and more e htto www uaudio com support uad videos html Software Removal To remove all UAD software from the computer Windows 1 From the Windows Start Menu at select e Start gt All Programs gt UAD Powered Plug Ins gt Remove UAD Powered Plug Ins Mac 1 Launch the UAD Powered Plug Ins Installer application Click through the Ga splash screen and license agreement 2 When you get to the install screen select Uninstall from the drop menu 3 Click the Uninstall button The software is removed 4 Drag the UAD Meter amp Control Panel icon out of the Dock UAD software removal is complete Important Power down the computer before removing any UAD cards UAD Powered Plug Ins Manual 36 Chapter 2 UAD Installation CHAPTER 3 UAD System Overview The UAD Environment The complete UAD Powered Plug Ins environment consists of many compo nents These components are e One or more UAD DSP hardware devices e The UAD device dri
384. installed and powered up properly with the com puter system see Startup Sequence on page 123 the UAD Powered Plug Ins software is ready to be used Refer to other chapters in this manual for software operating instructions Note All UAD Xpander operations except for hardware setup and startup sequence are identical to the UAD 1 UAD 1e UAD 2 cards When power is applied to the UAD Xpander via the rear switch the UA logo on the front panel glows The color of the logo indicates the power state UAD Powered Plug Ins Manual 123 Chapter 10 UAD ExpressCard Products Hot Swapping Disconnect e When UAD Xpander power is on but there is no electrical connection to the computer such as when the computer is off the UA logo glows red e When power is on and there is an electrical connection to the computer the UA logo glows blue Figure 25 Figure 25 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 is not supported Hot swapping refers to the ability to discon nect the UAD ExpressCard while the notebook computer is active or sleeping and reconnect it at a later time without rebooting Note For proper functionality you must reboot the computer with the Xpander connected every time the UAD ExpressCard has been removed
385. io determines the amount of gain reduction or expansion for the band For example When a band is set to Compress a value of 2 expressed as a 2 1 ratio reduces the signal by half with an input signal of 20 dB being re duced to 10 dB The available range depends on the value of the Type parameter as follows e Ratio range in Compress mode is 1 1 to 60 1 e Ratio range in Expand mode is 1 1 to 1 4 e Ratio range in Gate mode is 1 1 to 8 1 UAD Powered Plug Ins Manual 426 Chapter 43 Precision Multiband Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before processing is applied The faster the Attack the more rapidly processing is applied to signals above the threshold The available range is 50 microseconds to 100 milliseconds Release Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level Slower release times can smooth the transition that occurs when the signal dips below the threshold especially use ful for material with frequent peaks However if you set too large of a Release time processing for sections of audio with loud signals may extend to lengthy sections of audio with lower signals The available range is 20 milliseconds to 2 seconds Gain The Gain control adjusts the output level of the band Generally speaking ad just the Gain control after the desired amount of processing is achieved with th
386. io tool Universal Audio went to great lengths to preserve this Bucket Brigade chorus with all its unique design elements and sonic characteristics With only four pushbutton dimension set tings the Dimension D is the ultimate in functional simplicity D Screenshot Figure 162 The Roland Dimension D plug in window UAD Powered Plug Ins Manual 464 Chapter 47 Roland Dimension D Roland Dimension D Controls Dimension Mode Multiple Buttons Input Mode Switch Power Switch Power LED Output Level The Roland Dimension D is very simple device to operate it has only three controls Power Mono and Mode Each control is detailed below The Dimension Mode determines the effect inten sity Four different modes are available Mode 1 is the most subtle effect and Mode 4 is maximum Intensity DIMENS MODE EI j J z fer ea True to the original hardware multiple Dimension Mode buttons can be en gaged simultaneously for subtle sonic variations of the four main modes To engage multiple Dimension Mode buttons press the Shift key on the computer keyboard while clicking the Mode buttons The original Roland Dimension D has an input switch on the back See that puts the unit into mono in stereo out mode We have included this function and moved the switch to the front for your processing convenience When in Mono mode the input to Dimension D is monophonic even when used in a stereo input conf
387. ion to the dry tracks Solution Send the output of all the tracks including the dry vocal tracks but NOT the RealVerb Pro return to a different send group bus and put one UAD DelayComp with a Plugs value of 1 on this send group bus that con tains the dry tracks Keep the Sample value at zero Situation You have a song with bass drums guitar and 2 vocal tracks You want a smoother vocal blend so you put both vocal tracks on a group bus for compression with the infamous LA2A Result The vocal tracks play late in re lation to the instrument tracks Solution Send the output of the unprocessed instrument tracks but not the vo cal tracks or LA2A return to a different group bus and put one DelayComp with a Plugs value of 1 on this group bus that contains the unprocessed tracks Keep the Sample value at zero Note Check out our UAD DelayComp Examples on the UAD Powered Plug Ins CD ROM or download them from our website for real world examples formatted for several popular host applications UAD Powered Plug Ins Manual 104 Chapter 9 UAD Delay Compensation UAD 1 Track Advance Overview When to use TrackAdv The previous discussions on delay compensation see Latency amp Delay Com pensation on page 100 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
388. irection available for drag ging If the cursor is moved to where two bands crossover the crossover frequencies can be adjusted without changing the gain or center frequency In this case the cursor changes to a left right arrow when hov ered over the hot spot to indicate the direction avail able for dragging Note Frequencies can also be adjusted by using the Frequency Value param eters see Frequency Values on page 430 429 Chapter 43 Precision Multiband Frequency Controls Frequency Values The crossover frequency xF between the bands and the center frequency cF of the Mid bands is shown at the bottom of the EQ Display see EQ Display on page 428 The frequencies for each band can be modified by entering the values directly and by manipulating the colored band curves All band frequency values are always displayed Values can be input directly using text entry see Text Entry on page 9 1 If a value is entered that is outside of the minimum and maximum allowable value the entry field will not accept the change and the value for the entry tield will remain unchanged For the center frequencies if a value is entered that is still within the accept able min max range but the center frequency can not reach the input value because it would require a change to the width then the nearest allowable value is set If a lower or greater center frequency value is desired i e the original center
389. istic to match the signal if desired Sweep Lo Knob Sets the lowest frequency to be affected by the Mod Filter The available range is from 50 Hz to 4000 Hz Because the Sweep Lo frequency cannot be set higher than the Sweep Hi fre quency if the Lo value is increased beyond the Hi value the Hi value will in crease to match the Lo value UAD Powered Plug Ins Manual 368 Chapter 35 Nigel Resonance Res Knob Output Knob Mod Type Menu Sweep Hi Knob Sets the highest frequency to be affected by the Mod Filter The available range is from 50 Hz to 4000 Hz Because the Sweep Hi frequency cannot be set lower than the Sweep Lo fre quency if the Hi value is decreased below the Lo value the Lo value will de crease to match the Hi value Sets the amount of filter intensity for the Mod Filter A higher value will deliver a sharper more pronounced effect Adjusts the signal output level of the Mod Filter This may be necessary if the signal is dramatically boosted or reduced by the other settings within the mod ule The range is from 20 dB to 40 dB Determines the source of the filter modulation There are three main Mod Types LFO Envelope and Wah Pedal Each Mod Type is described below LFO Mode Three LFO modes are available Sine Square and Random The only differ ence between the three LFO modes is the waveshape of the Low Frequency Oscillator Random LFO is chromatically tuned for maximum musicality When
390. istortion and maximum signal to noise the input level should be as high as possible The signal is at O dB just before the red LED is illu minated Enables or disables the Gate module within Preflex The Gate is engaged when the button indicator is bright red Use this switch to compare the Gate settings to the original signal or bypass the entire Gate section to reduce UAD DSP load UAD Powered Plug Ins Manual 355 Chapter 35 Nigel Gate Fast Button Gate Threshold Knob Boost Button Compressor Threshold Knob Compressor Ratio Knob The Fast control reduces the release time of the gate It has no effect on the at tack time When enabled the gate will release 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 Sets the threshold level for the gate Any signals that exceed this level are passed into the module Signals below the threshold level are increasingly at tenuated A Threshold of 96 dB means the gate is always open The range is O dB to 96 dB In typical use it s best to set the gate threshold value to just above the noise floor of the desired signal so the noise doesn t pass when you are not play ing but below the desired signal input level so the signal passes as you play The
391. it down with Bill and he d reason it out in the most amazing way There s a great story about when stereo was coming on The record companies really weren t that interested everyone was cost conscious They didn t want to spend any more money and they were saying that stereo was a waste of time mo But Bill could see the potential and around 1959 i UAD Powered Plug Ins Manual 527 Chapter 54 History he started recording everything with feeds to two con trol rooms one for a stereo mix one for a mono mix In late 58 59 and 60 everything Bill did was re corded in both stereo and mono When stereo hit big around 61 none of the record companies had any catalog 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 5200 000 a month in the United Western Complex which is like a million dollars a month now So the record companies came to Bill and said We ll pay you for the tape And he said No you can t pay for the tape but if you repay me all the stu dio time that was used in the last two and a half years you have a deal And they did They wrote him a check for the whole thing It s recollections like these that bring home Putnam s visionary and entrepreneurial style An un disputed leader in music recording and in recording technology with innumerable accolades to his credit it s his son Bill Putnam who
392. itch is off black instead of grey the other resonance controls have no effect This switch has no effect on the direct signal path Each of the five bands has its own amplitude gain control The amplitude range of each band is 30 dB to 20 dB To adjust the amplitude of bands 2 3 and 4 grab the control bat for the band and drag vertically or use the direct text entry method For bands 1 and 5 drag the horizontal line these do not have a control bat Bands 2 3 and 4 have an Edge control This parameter effects the band width of the band To adjust the band edge grab its control bat and drag hor izontally or use the direct text entry method The effect of the band edge on the filter sound can depend upon the settings of the adjacent bands For example the sonic effect of this parameter is more pronounced if the amplitude of adjacent bands is significantly different than that of the band whose edge is being adjusted UAD Powered Plug Ins Manual 178 Chapter 16 DreamVerb Shelving The simplest and often most practical use of the equalizer is for low and or high frequency shelving This is achieved by dragging the left most or right most horizontal line the ones without control bats up or down which boosts or cuts the energy at these frequencies Drag these control handles up or down for shelving EQ Figure 69 DreamVerb Resonance Shelving Bands Shape Panel The parameters in the Shape panel in conjunction with
393. itch on the rear panel The unit may be powered on before connecting without consequence UAD 2 Satellite connections are complete You are now ready to use UAD 2 Satellite See UAD 2 Satellite Operation on page 132 Additional connection methods are detailed later in this chap ter eR Important The proper sequence must be followed before disconnecting UAD 2 Satellite UAD 2 Satellite from the computer to avoid unpredictable behavior and or p p data loss To disconnect UAD 2 Satellite 1 Save your sessions and quit all UAD host software audio applications and the UAD Meter amp Control Panel 2 Disconnect UAD 2 Satellite from the FireWire port Done Note UAD 2 Satellite may be disconnected when it and or the computer is powered as long as the steps above are followed UAD Powered Plug Ins Manual 131 Chapter 11 UAD 2 Satellite UAD 2 Satellite Operation About FireWire Power Indicator Rear Panel LED UAD 2 Satellite Authorization After UAD Powered Plug Ins software v5 8 1 or higher is installed page 27 and UAD 2 Satellite is properly connected to the computer via FireWire page 129 the system is ready for use Refer to other chapters in this manual for software operating instructions All UAD 2 Satellite operations except for hardware setup are similar to the operation of other UAD 1 UAD 1e UAD 2 devices See Important UAD 2 Satellite Notes on page 134 for exceptions specific to UAD 2 Sat
394. ite by the host software the Plug In Calculator is automatically adjusted using the session sample rate Current Link Speed and UAD Bandwidth Allocation values Max Stereo Plug Ins The maximum number of stereo UAD plug ins that can run on UAD 2 Satellite based upon the FireWire System settings and a given session sample rate is displayed here The number changes if when the Target Link Speed UAD Bandwidth Allocation or At the following sample rate parameters are mod ified The UAD instantiation count at the current settings could exceed this number If used in true mono configurations Note that some host software uses stereo plug in processing even when used on a mono track At the following sample rate This parameter selects the sample rate used by the Plug In Calculator To change the value click the down arrow to display the drop menu then select the desired value When a UAD 2 Satellite plug in is loaded by the host software the session sample rate is entered automatically In this scenario the parameter cannot be modified until the host is quit Note The At the following sample rate parameter is only used by the Plug in Calculator it does not affect the actual sample rate of the UAD system or the host software Bandwidth Metering pertains to the FireWire bus that the UAD 2 Satellite is at tached to The items displayed in this area are for informational purposes only there are no settings here that can
395. ith Jealous Heart by Al Morgan A number of firsts occurred at Univer sal the first use of tape repeat the first vocal booth the first multiple voice recording the first 8 track recording trials and experiments with half speed disc mastering Universal was becoming famous doing recordings for the Chicago based labels VeeJay Mer cury and Chess It was a hub for rhythm and blues recordings including cuts for Muddy Wa ters Willie Dixon Bo Diddley Little Walter and Chuck Berry Jazz artists recorded by Put nam included Stan Kenton Tommy Dorsey Count Basie Dizzy Gillespie Ella Fitzgerald Sarah Vaughn Nat King Cole and the mas ter Duke Ellington Putnam was also produc ing records for Decca as well as writing songs and lyrics UAD Powered Plug Ins Manual 525 Chapter 54 History With all this success Universal Recording went through several incarnations with the dream version completed in 1955 At that time it was the most advanced and largest independent re cording facility in the country attracting top producers like Nelson Riddle Mitch Miller and Quincy Jones 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 The processes and designs which we take for granted the design of modern recording desks the way components are laid out and the way they function console design cue sends e
396. ith heavy kick drum All this makes the EP 34 more than just a delay but an instrument that can be played by manipulating the controls while in chaotic oscillation Just like the hardware faster than tape path speeds can also be achieved leading to sonic boom tape squeal effects again adding to chaotic but musical at tributes of the original hardware The EP 34 also has other warts and all arti facts of tape such as self chorusing due to speed variations caused by random friction in the tape path plus pinch roller wow and flutter The EP 34 includes the metering and unusual but uniquely musical tone controls found on the EP 4 but removes its undesirable in line noise reduction circuit that users often electronically disabled Maestro removed this circuit soon after the product s release Extras not found on the original hardware include Tempo Sync Input Select allows for a cleaner sound LO or a dirtier sound HI Tension the Echoplex has an adjustable tension nut underneath the delay time slider for a snappy or sludgy response time Echo Send identical in function to RE 201 dub switch Wet Solo Pan wet signal only and Power plug in bypass EP 34 Tape Echo is not affiliated with sponsored nor endorsed by any companies currently using the Echoplex name The EP 34 Tape Echo name as well as the EP 3 and EP 4 model names are used solely to identify the classic effects emulated by Universal Audio s product UA
397. ive and negative values The polarity refers to the phase of the feedback as compared to the original signal If Recirculation displays a positive value the feedback will be in phase with the source If it displays a negative value then the feedback will be out of phase This control determines the balance between the processed and the original signal Values greater than 50 emphasize the processed signal and values less than 50 emphasize the original signal A value of 100 delivers just the processed wet signal and a value of 0 delivers just the source dry sig nal Mix allows both positive and negative values The polarity refers to the phase of the processed signal as compared to the original signal If a positive value is displayed then the processed signal will be in phase with the source With a negative value the processed signal is flipped 180 degrees out of phase with the source signal UAD Powered Plug Ins Manual 365 Chapter 35 Nigel LFO Type Menu Determines the LFO low frequency oscillator waveshape and phase used to modulate the signal The waveshape can be set to triangle or sine each with varying duty cycles and phases Table 22 Phasor LFO Types and Descriptions Order Menu Determines the filter order for the Phasor filter banks This setting affects the tonal complexity of the Phasor Higher Order filters are more detailed than lower Order filters Ten filter Order values are available 3 through 12
398. ividual plug in In stead you download a newer authorization file which enables the plug in file that is already installed Important Older versions of the UAD software may not include all the lat est UAD plug ins To ensure all UAD plug ins are installed and for optimum performance we recommend updating to the latest UAD version See Check for Updates on page 64 Authorization Overview All UAD plug ins must be authorized before they can be used Authorization is accomplished by clicking the Authorize Plug ins button in the UAD Meter amp Control Panel then loading the downloaded authorization file UAD Powered Plug Ins Manual 47 Chapter 4 My uaudio com Video Help Procedure Authorize Plug Ins Authorization File vad vad2 Loading Our support website contains many helpful videos that explain how to register and authorize the product obtain optional plug ins and more e htto www uaudio com support uad videos html 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 32 in Chapter 2 UAD Installation Note Without authorization UAD plug ins can be enabled to run for 14 days without functional limitations in a timed demo mode see Demo Mode on page 50 Your UAD device must be registered at my uaudio com to download an au thorization file and you need a my uaudio c
399. ivision of measures For example 1 4 one quarter note 1 1 one whole note 4 1 four whole notes and so forth The available note values were chosen to allow syncing to tempo in odd time signatures as well the common 4 4 time signature LFO rate parameters have their note values listed from longest to shortest since long note values correspond to slow LFO rates Table 5 Tempo Sync available note values 1 64D 1 64 1 32T D Dotted 1 32 1 16T T Triplet 1 32D 1 16 RE 201 only 1 8T 1 16D A quarter note is always a quarter note independent of the time signature In different time signatures a quarter note can represent different numbers of mu sical beats e g 6 8 or different fractions of a bar e g 5 4 For example say the time signature is 6 8 and the delay time tempo sync note value is 1 4 If a sound occurs on beat one of the measure then its delay will occur on beat 3 which is 1 4 note i e two 8th notes later Note The beat value in a sequencer s BPM tempo setting always refers to a quarter note independent of time signature UAD Powered Plug Ins Manual 96 Chapter 8 Tempo Sync Range Limits Some parameters in Tempo Sync mode cannot access the entire note value range in Table 4 because their maximum values would always be out of range above certain note values assuming a maximum usable tempo of 300 BPM 250BPM for Roland RE 201 These parameter limits are e DM 1 RS 1 time 300ms
400. izer Precision Equalizer Latency The Precision Equalizer uses an internal sample rate of 192 kHz to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information Note Compensating for Precision Equalizer is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when if is used only on the outputs See Host PDC Implementation on page 100 UAD Powered Plug Ins Manual 405 Chapter 40 Precision Equalizer CHAPTER 41 Precision Limiter Overview The Universal Audio Precision Limiter is a single band look ahead brick wall limiter designed primarily for mastering with program material The easy to use Limiter achieves 100 attack within a 1 5ms look ahead window which prevents clipping and guarantees zero overshoot performance Both the attack and release curves are optimized for mastering which minimizes aliasing Since the Precision Limiter is a colorless transparent mastering limiter no up sampling is used nor does the UA Precision Limiter pass audio through any tilters audio remains untouched unless the compressor is working in which case only gain is affected To really be considered a professional limiter the metering needs to be su perb The Precision Limiter features comprehensive high resolution metering and conforms to
401. justed to either Fast or Slow via the Speed button giving a greater range of dynamic frequency enhance ment For Mode C the sweepable filter applied to the expander s output is identical to the filter used with Mode A For Mode D and All the expander s output is passed to a set of filters in parallel Finally the Precision Enhancer kHz includes control over the final Output level metering to compensate for gain changes created by the effect UAD Powered Plug Ins Manual 396 Chapter 39 Precision Enhancer kHz Precision Enhancer kHz Screenshot MODE es NITA TEN 325k MG EM Pei FA gpeg me FAST Paa ENHANCER kHz a EFFECT A H i a kHz FREQUENCY a a OUTPUT r B C IP E ma a 1 kha if J7 OFF Figure 136 The Precision Enhancer kHz plug in window Precision Enhancer kHz Controls Effect Knob Effect Meter Mode Control knobs for the Precision Enhancer kHz behave the same way as with all UAD plug ins Effect kHz Frequency and Output values can be moditied with text entry See Text Entry on page 91 for more information The Effect Knob controls the amount of pro cessing that occurs in the plug in The avail able range is from 0 00 to 100 0 EFFECT Technically speaking Effect scales the input to the enhancer Increasing this parameter makes the enhancer have a higher amplitude output for a given input level Increasing Effect increases the overall enhancement effect Note The signal level a
402. ke an external con sole fader and adjusts the gain at the output of the plug in The available range is 24 dB to 12 dB Tip Click the O control label text to return to the Output value to O The VU Meter provides a visual representation of the signal levels on the virtual tape The Input control af fects how hot the signal is Higher VU levels typically indicate more harmonic saturation coloration and or distortion However this will depend on the other control values Secondary Controls Equaliser Emphasis EQ The Secondary Controls are exposed by clicking the Studer A800 label or the OPEN text above it See Figure 174 and Primary amp Secondary Con trols on page 506 for more information Tip The last used state of the Secondary Controls panel open or closed is re tained when a new Studer A800 plug in is instantiated The state of the panel open or closed settings retained with new plug in in stantiations The Equaliser buttons determine the active Emphasis EQ val ues and the frequency of the hum noise Click the equaliser buttons to alternate between the two different types NAB or CCIR curves can be selected when the Tape Speed is ama 7 5 or 15 IPS When the Tape Speed is 30 IPS neither value is available the LEDs are dimmed because the EQ is fixed with the AES em phasis curve UAD Powered Plug Ins Manual 510 Chapter 52 Studer A800 Noise Enable When
403. l This knob in the upper right sets the mode of the VU Meter When set to Gain Reduction the VU Meter indicates the Gain Reduction level in dB When set to 10 or 4 the VU Meter indicates the output level in dB Determines whether the LA 2A plug in is active When the Power switch is in the Off position the plug in is disabled and UAD DSP usage is reduced load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Phase coherent stereo imaging is maintained when the LA 2A plug in is used on a stereo signal UAD Powered Plug Ins Manual 257 Chapter 24 LA 2A and 1176LN 1176LN Solid State Limiting Amplifier The 1176LN is known for bringing out the presence and color of audio sig nals adding brightness and clarity to vocals and bite to drums and guitar 1176LN Signal A functional block diagram of the 1176LN Limiting Amplifier is provided in How Figure 91 Signal limiting and compression is performed by the Gain Reduc tion section Before the signal is applied to the Gain Reduction section the au dio signal is attenuated by the Input stage The amount of attenuation is con trolled by the input control potentiometer The amount of gain reduction as well as the compressor Attack and Release times are controlled by the Gain Reduction Control circuit After Gain Reduction a pre amp is use to increase the signal level The Output Control potentiometer is then used to control the amount of drive that is applied to
404. l Higher Crossover values make the Bass parameter control a wider range of frequencies Conversely lower values make the Mid parameter control a wider range of frequencies The available range is 100 Hz to 10 9 kHz Crossover affects the reverb decay because it works in conjunction with the Bass and Mid reverb time parameters which both define the length of the re verb tail one control for each frequency band If those parameters are set to very short times the result of adjusting Crossover may be very subtle Note Crossover will have no apparent effect if Bass and Mid are set to the same value UAD Powered Plug Ins Manual 272 Chapter 26 Lexicon 224 Treble Decay Treble Decay sets a frequency above which decay is very rapid Lower values will produce a darker reverb with less high frequency content If Treble De cay is set very low then adjusting Bass Mid and Crossover may have little to no audible effect The available range is 100 Hz to 10 9 kHz Tip Treble Decay adjusts the AMOUNT of reverb tail highs while Mid ad justs the TIME Depth Depth sets the apparent distance between a source and its reverb much like the positioning of microphones in an echo chamber As the value is in creased the apparent distance from the source increases The available range is 0 71 with zero being close and 71 being far the numbers are arbitrary The default value is program dependent Note Depth is not available
405. l Mode 402 462 Dynamics 339 Dynamics Meters 43 1 Early 187 Early amp Late Adjustment 187 Echo On Off Button 380 Echo Overview 379 EL7 FATSO 193 Emagic Logic Audio 85 Empirical Labs EL7 FATSO 193 EMT 140 Controls 207 EMT 140 Plate Reverb 206 EMT 250 Electronic Reverberator 213 EMT 250 Functional Overview 214 EMT 250 Program Mode Controls 217 EMT 250 Screenshot 214 EMT 250 Webzine Article 225 Enable Button 150 Enable Bypass Switch 164 165 168 171 UAD Powered Plug Ins Manual energy 177 Envelope Mode 369 EP 34 Classic Tape Echo 227 EP 34 Controls 228 EP 34 Hardware History 232 EP 34 Overview 227 EP 34 Tape Echo Screenshot 228 EP 34 WebZine Article 233 EQ Bands 150 EQ Display 428 EQ Enable Button 148 EQ Enable Switch 209 EQ Response 428 EQP 1A 435 EQP 1A Program Equalizer 435 ER Relative Timing 186 EX 1 Compressor Controls 164 EX 1 Equalizer and Compressor 163 EX 1 Equalizer Controls 163 EX 1M Overview 165 External MIDI Control 94 Extra Buffering 73 Factory Presets 189 Fade In Knob 373 Fade Mode 373 Fairchild 670 234 Fairchild screenshot 235 FATSO Controls 197 FATSO Functional Overview 194 FATSO Jr 193 FATSO Screenshots 194 FATSO Sr 193 Features 19 Feedback 23 Filter Tyoe Menu 370 Filtering 184 Firewire Bandwidth 140 Firewire Bandwidth vs VAD DSP 142 538 INDEX Firewire Basics 136 Firewire Bus Power 143 Firewire Panel 77 Firewire System 77 Frequency 3
406. l device registra tion please consider your options carefully when registering Hot Plugging Hot plugging refers to the ability to disconnect UAD 2 Satellite while the host computer is active or sleeping and reconnect it at a later time without reboo ting UAD 2 supports hot plugging hot plugging is part of the FireWire spec ification As long as the UAD drivers are properly installed if UAD 2 Satellite is hot plugged into an active FireWire bus the UAD drivers will load automati cally and be ready for use However disconnecting UAD 2 Satellite when UAD plug ins are loaded could cause session data loss and or unpredictable behavior Quit all UAD hosts and the UAD Meter amp Control Panel before disconnecting the device Disconnect UAD 2 Satellite can be disconnected when it and or the host computer is ac tive or sleeping as long as no UAD host applications including UAD Meter amp Control Panel are running Important Do not disconnect UAD 2 Satellite while UAD plug ins are loaded Reconnect UAD 2 Satellite can be reconnected when the device and or the host com puter is powered up The device will be detected and the UAD drivers will au tomatically load upon connection Adding a device to the active bus Connecting or disconnecting a FireWire device to an active FireWire bus causes a bus reset as specified by the FireWire protocol When a FireWire bus reset occurs all active UAD plug ins are disabled The
407. l tape chan nels See Gang Controls on page 512 for details The UAD Studer A800 is designed with a single channel interface to emulate the individual channels of a multitrack tape recorder However when the plug in is used on a stereo track the mono controls affect both channels of the stereo signal identically The Path Select buttons specify which of the four possible signal paths is active in the A800 The active mode is indi cated by an illuminated button Thru Thru is a bypass control When enabled emulation processing is disabled and DSP usage is reduced Thru is useful for comparing the processed settings to the original signal Thru is identical to the OFF position in the IPS control page 509 Note DSP usage is reduced only when DSP Loadlock page 73 is disabled If DSP LoadLock is enabled the default setting activating Thru will not reduce DSP usage Input Input mode emulates the sound of the A800 through the machine electronics only without tape sonics This is the scenario when the machine is in live mon itoring mode but the tape transport is not running Sync Sync mode models the sound of direct recording and playback via the sync record head plus all corresponding machine electronics UAD Powered Plug Ins Manual 507 Chapter 52 Studer A800 Tape Type Cal Level Repro Repro mode models the sound of recording through the record head and playback through the reproduction he
408. lacement of the echo signal in the ste reo panorama when the plug in is used in mono in stereo out and stereo in stereo out configurations When the RE 201 is used in a mono in mono out configuration this control is dis abled amram Reverb Pan determines the placement of the reverb signal in the i stereo panorama when the plug in is used in mono in stereo out and stereo in stereo out configurations When the RE 201 is used in a mono in mono out configuration this control is dis abled This control determines the signal level that is input to the plug in Unity gain is at the 12 o clock position Like the original hardware clipping distortion at the input to the plug in affects the tone of the echo and reverb Clipping is often used as part of the desired effect At unity gain clipping can be easily induced However if a cleaner sound is desired reduce the input vol ume below unity and increase the plug in output volume to compensate eE The RE 201 is a combination of a tape echo and a spring reverb effect Echo reverb or both can be se lected with the Mode Selector to determine which ef tect s are active The original Space Echo has three tape playback heads By changing the combination and positions of the heads a total of 12 different echo variations can be obtained 4 echo only 7 echo reverb and 1 reverb only These modes are faithfully reproduced with the UAD Roland RE 201 Note The RE 201 uses less UAD DS
409. late field reverberation is controlled from the Reverberation panel see Figure 73 on page 185 24 real world materials are provided including such diverse materials as brick marble hardwood water surface and audience Also included are 24 artificial materials with predefined decay rates and seven air densities Note The parameters in the Materials panel always effect the late field re verberations However the materials parameters effect the early reflections ONLY if the Filtering parameter in the Reflections panel Figure 72 on page 184 is set to a non zero value Air Density Air percentage selector menu Materi ad Is ory oH IF mie 7 Air Density F display First material _ a a Air Blending Bar Solid materials Second Blending Bar material display First material First material selector menu percentage Hardwood 2nd material 2 Second material percentage 33 Cork selector menu Figure 71 DreamVerb Materials panel UAD Powered Plug Ins Manual 181 Chapter 16 DreamVerb Materials Menus Air Density Menu DreamVerb lets you specify two room materials which can be blended to create a hybrid of absorption and re flection properties The first and second room material each has its own menu The available materials are the same for each of the two materials menus The first material is displayed in the lower left area of the Materials panel and the second material is displayed in the lower
410. lated to achieve the desired result The UAD software installer always installs the complete suite of all available Powered Plug Ins All of the installed UAD plug ins may not be licensed how ever The included licenses depends on the retail package bundle see Bun dled Plug Ins on page 47 Most UAD plug ins require optional licenses to run without restrictions Op tional plug in licenses are obtained at my uaudio com the Universal Audio online store Licenses can be purchased separately or they can be purchased with vouchers that are bundled in most retail packages Demo Mode UAD plug ins that are unlicensed can be run in Demo Mode in a 14 day trial period without any functional restrictions See page 50 for details Vouchers and Licenses Your account at the my uaudio com online store is where bundled Powered Plug In vouchers are redeemed and where additional licenses can be pur chased See Chapter 4 My uaudio com for details Note When you purchase an optional license you don t download that in dividual plug in Instead you download a newer authorization which en ables the plug in file that is already installed UAD Powered Plug Ins Manual 41 Chapter 3 UAD System Overview UAD Meter amp Control Panel UAD Drivers User Documentation The UAD Meter amp Control Panel page 60 is a utility ap plication that is used to monitor and configure UAD de vice resources It has two main
411. lation changing the location or po sition is indicated to correct the situation Avoid prolonged use in dusty hot or high humidity places The Roland RE 201 original hardware unit Roland and RE 201 Space Echo are registered trademarks of Roland Corporation Japan and are used under license Portions of this RE 201 manual section is copyright Roland Corporation Japan and are used under license with kind permission from Roland UAD Powered Plug Ins Manual 472 Chapter 48 Roland RE 201 Space Echo CHAPTER 49 SPL Transient Designer Overview Universal Audio has partnered with German company Sound Performance Lab SPL to bring you the Transient Designer with its unique and compelling Differential Envelope Technology for shaping the dynamic response of a sound Only two simple audio controls are required to allow you to effortlessly reshape the attack and sustain characteristics SPL was the first company to design an analog solution for level independent shaping of envelopes allowing transients to be accelerated or slowed down and sustain prolonged or shortened You can shorten or lengthen the attack and sustain of percussive signals such as kick drum snare or toms easily take the bleed from open mics or expand the room sound of overheads The Transient Designer s magic can be applied to virtually any other signal as well Amplify or reduce the picking sound of an acoustic guitar hold the sound of strings longer or re
412. led Output Meter The stereo Output Meter displays the signal level at the output of the plug in When the plug in is disabled with the plug in Power switch but not the host plug in enable switch the output meters still function The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP Loadlock on page 73 is enabled Toggle the switch or click the UA logo to change the Power state The UA logo is illuminated in blue when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled state UAD Powered Plug Ins Manual 394 Chapter 38 Precision Enhancer Hz Precision Enhancer Hz Usage Notes e The Precision Enhancer Hz effect can serve multiple purposes When the fre quency control is set low the effect extends into the audible low end Lower frequencies work well for adding a low end thump or beefing up percussive bass kicks but be careful not to overdo it With the frequency control set to mid to higher frequencies the effect is designed to add bass tone that would ordinarily disappear on smaller speakers e For the most predictable results it is recommended to audition your mix on both full range systems with a subwoofer as well as small consumer systems such as a boombox or computer
413. led tubes of the original hardware are cascaded to increase the available delay time when both channels are serially connected the son ics are slightly different than when only one coil is used The Coils switch tog gles between these two sounds available on the hardware regardless of the Delay value Tip Longer decays are available when Coils value is set fo 1 UAD Powered Plug Ins Manual 158 Chapter 13 Cooper Time Cube Color Treble Bass Wet Solo Power Meter The Color switch toggles between the original filter emphasis of the hardware in position A and the leveled filter in position B which allows for greater De cay ranges Unlike the other parameters the A and B labels for Color are for reference only They do not represent the left and right channels Nofe Color can be subtle and its affect can vary depending on the value of Coils and or Decay Treble controls the high frequency response in the delayed portion of the sig nals It does not affect the dry signal Treble is a cut boost control it has no effect when in the 12 o clock position Bass controls the low frequency response in the delayed portion of the sig nals It does not affect the dry signal Bass is a cut boost control it has no ef fect when in the 12 o clock position wea The Wet Solo switch puts the Cooper Time Cube into 100 Wet maa mode When Wet Solo is on it mutes the dry unprocessed signal Wet Solo is opt
414. link switch allowing ganged left right control of all pa rameters and a headroom switch which allows the DAW user to take advan tage of the full range of 33609 gain coloration UAD Powered Plug Ins Manual 327 Chapter 33 Neve 33609 Compressor Neve 33609 Screenshot thras 910 shold dBu 10 i gain reduction 1 A ira i aE POWER B gain reduction 2 da lz e 12 unlink mono a9 2 Fa by wm NG 18 zx a ii z 5 5 o BET a ate J 1 OUTPUT 2 336uU9 C PREGISIOM STERED LIMITER COMPRESSOR Figure 114 The Neve 33609 plug in window Operation Signal Flow Modeling The UAD Neve 33609 is a two channel device capable of running in stereo or dualmono modes The active mode is determined by the mono stereo switch see Mono Stereo on page 332 When the 33609 is used in a mono in mono out configuration the channel 2 controls are disabled Each channel consists of a compressor and a limiter Each of these functions has its own separate group of controls Since the controls for each of the two channels are identical they are detailed only once Note For a detailed explanation on how compressors and limiters operate see Compressor Basics on page 253 In the 33609 the output of the compressor is fed to the input of the limiter Like the original hardware the signal does not flow from the left to the right of the interface Understanding this signal flow will help you obtain a more predi
415. ll A 3 0 2 0 540Hz 2 7 Room A 2 C0 1 8 540Hz 8 Constant Density Plate A k C0 C0 9 Chorus A gt gt NO Lexicon 224 The Lexicon 224 uses an internal resampling technique to facilitate its sonic Latency lity Thi i Its i lightly h her UA quality This resampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more in formation UAD Powered Plug Ins Manual 283 Chapter 26 Lexicon 224 CHAPTER 27 i ai e as Little Labs IBP ame Little Laba i analog phass alignment tool Overview The Little Labs IBP Phase Alignment Tool easily eliminates the undesirable hol low comb filtered sound when combining out of phase and partially out of phase audio signals Designed as a phase problem solving device the award winning Little Labs IBP In Between Phase has established itself with audio engineers as not only a fix it tool but as a device for manipulating audio phase as a creative tonal color tool as well Whether combining direct and microphone signals acoustic guitar and vocal mics drum kit mics or multiple split guitar amps the recorded audio signal phase can be quickly and easily controlled with the Little Labs IBP Phase Alignment Tool Little Labs IBP Screenshot Little Labs ibp workstation phase alignment rt center power delay ad phase ad phase phase ad phase bypass bypass Inva 30
416. ll Attack LED s are unlit the button is disabled Note This control has no effect when the compressor is inactive or when it is in pure Spank mode see Compressor Mode on page 198 Release sets the amount of time it takes for compression to cease once the input signal drops below the threshold level Slower re lease times can smooth the transition that occurs when the signal dips below the threshold especially useful for material with fre quent peaks However if you set too large of a Release time com pression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals The available release time values are 0 05s 0 1s O s O 5s and Default un lit The unlit behavior is depends upon whether or not the compressor is ac tive These behaviors are described below Nofe Release values are approximations Actual attack and release times may vary depending on the compressor mode selected Release LED s Unlit Compressor Active When the compressor is enabled and all Release LED s are unlit the release characteristic of the active compressor mode in FATSO Jr is used This de fault FATSO Jr behavior can then be manually overridden with the Release button However when pure Spank mode is active Release cannot be mod ified When Spank mode is combined with another compressor mode Re lease can be changed but the results are typically very subtle Tip
417. ll plug in delay compensation can be complicated to avoid timing errors in these hosts we generally recommend using Precision Multi band only on outputs so no manual compensation is required To manually compensate for Precision Multiband latency when used on groups buses in hosts that don t support full PDC use the following formula L1 L2 UAD DelayComp s value Where LT is the Precision Multiband latency from Table 7 and L2 is the latency from the UAD Control Panel System Information window note that at least one UAD plug in must be running in the host to obtain a valid value This formula will arrive at the DelayComp Plugs parameter value whole num ber result or Plugs plus Samples value non whole number result needed for compensation Since the maximum Plugs Samples value in one DelayComp instance is 10 128 more than one DelayComp instance will be required in series if the Plugs Samples value exceeds 10 128 which can happen at lower buffer sizes and or higher sample rates UAD Powered Plug Ins Manual 110 Chapter 9 UAD Delay Compensation 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 pi ano tracks on a group bus and apply one instance of Precision Multiband to the rhythm section group bus Result The r
418. llower or auto wah because the cutoff frequency follows the signal input level The amount and speed of the envelope response can be ad justed The envelope knob determines how much the filter cutoff frequency is affected by the signal input level Positive and negative values are possible Positive values increase the filter cutoff as the input amplitude increases the filter opens as the signal gets louder Negative values decrease the filter cutoff as input amplitude increases the filter closes as the signal gets louder The greater the value either positive or negative the greater the amount of filter modulation the cutoff frequency range is increased with greater values Tip Click the knob label ENVELOPE to return the value to zero mmm This LED indicates the relative peaks of the control envelope The envelope LED does not illuminate when the plug in is in Bypass mode or when Power is off This toggle switch determines the release time of the control envelope In Smooth mode the release time is 200 milliseconds In Fast mode the release time is 40 milliseconds In both modes the attack time is 25 milliseconds In typical applications Fast mode is useful on percussive sounds while Smooth mode is better suited to sounds with longer and or uneven decays UAD Powered Plug Ins Manual 302 Chapter 29 Moog Multimode Filter Cutoff Resonance Pole Slope This parameter defines the cutoff f
419. lly parametric EQ Each band has its own set of controls The first two bands can also be enabled to function as low shelf or high pass filter Similarly the last two bands can be enabled to function as either a high shelf or low pass filter Band Disable Each band can be individually deactivated with the Band Disable button All Button bands default to enabled brighter blue To disable any band click the Dis able button The button is darker blue when the band is disabled You can use these buttons to compare the band settings to that of the original signal or to bypass the individual band UAD Powered Plug Ins Manual 163 Chapter 14 CS 1 Channel Strip Gain G Knob Ha a fc Bandwidth Q Knob Enable Bypass Switch n Output Knob The Gain control determines the amount by which the frequency setting is boosted or attenuated The available range is 18 dB Determines the center frequency to be boosted or attenuated by the Gain set ting The available range is 20 Hertz to 20 kiloHertz When operating at sample rates less than 44 1kHz the maximum frequency will be limited Sets the proportion of frequencies surrounding the center frequency to be of fected The Bandwidth range is 0 03 32 higher values yield sharper bands In either of the first two bands when the Bandwidth value is at minimum the band becomes a low shelf filter and at maximum the band becomes a high pass filter Similarly in either of the la
420. lock on page 73 is enabled UAD Powered Plug Ins Manual 148 Chapter 12 Cambridge EQ Low Cut High Cut Filters m The Low Cut and High Cut filters are offered in ad dition to the five parametric shelf bands A wide H range of filter types is provided to facilitate tonal creativity Many filters that are available are repre hele sented Lit FREQ NG Three controls are offered Cut Type Enable and Frequency Each control is detailed below Cut Type Menu T The Cut Type menu determines the sound of the low 6 egg and high cut filters To view the Cut Type menu click E and hold the green cut type button Four types of responses are provided Coincident z0de cct fmm Pole Bessel Butterworth and Elliptic The numbers represent the filter order i e Bessel 4 is a fourth or der filter Each offers a different sound To select a Eee new cut response drag to the desired response and Bessel 3 Ll bBessel5 lp eeose Butterworth 2 ey The responses are more gentle on filters with lower Butterworth 4 numbers and get steeper and more aggressive as the numbers increase The coincident pole filters are Elliptic id first order filters cascaded in series and offer gentle slopes Bessel filters are popular because of their smooth phase characteristic with decent rejection Butterworth filters offer even stronger rejection The Elliptic setting is about as brick wall as you can get Generally speaking mo
421. lter 2 Enables or disables the Mod Delay You can use this switch to compare the Mod Delay settings to that of the original signal or bypass the Mod Delay to reduce UAD DSP load UAD Powered Plug Ins Manual 378 Chapter 35 Nigel Echo Module Sync Button Input Knob Time Knob Recirculation Recir Knob sync NATE PLT TIME ae ee Eh Sed Pinong Figure 132 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 DML plug in which has up to 2400 milliseconds available delay per stereo channel This button puts the plug in into Tempo Sync mode See Tempo Sync on page 95 for more information The Input knob attenuates the signal coming into the Echo module The signal already passed into the Echo module is still processed even when the Input knob is at its minimum value maximum attenuation This functionality enables the Echo to continue to process its signal even when no new signal is being input Therefore volume swells with Echo can be au tomated and high Recirculation effects such as sampling and infinite repeat techniques can be realized Sets the delay time between the original signal and the delayed signal The maximum available delay time is 1200 milliseconds Sets the amount of processed signal fed back into its input H
422. lug Ins on page 107 for more information Note Compensating for Helios 69 is not required if the host application sup ports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 WebZine Article An interesting anecdotal article about the Helios console and Type 69 EQ can be found in the Analog Obsession article of the Universal Audio March 2007 Webzine Volume 5 Number 2 published on the internet at e htto www uaudio com webzine 2007 march index4 html UAD Powered Plug Ins Manual 251 Chapter 23 Helios Type 69 Equalizer KI P Wa me etn ka w gt n r e sa e weas gt m a s ww a AA a The same desk now in Berkeleys Morningwood nearly 40 years later UAD Powered Plug Ins Manual 252 Chapter 23 Helios Type 69 Equalizer CHAPTER 24 LA 2A and 1176LN Overview The LA 2A and 1176LN compressor limiters long ago achieved classic sta tus They re a given in almost any studio in the world relied upon daily by engineers whose styles range from rock to rap classical to country and every thing in between With so many newer products on the market to choose from it s worth looking at the reasons why these classics remain a necessary part of any professional studio s outboard equipment collection The basic concept of a compressor limiter is of course relatively simple It s a device in whic
423. lume Input Meter Echo Tone This knob determines the wet dry mix of the delayed signal In the minimum position the dry signal is colored by the cir cuitry of the modeled emulation Rotate the control clockwise for louder echo Reducing the control to its minimum value will mute the delay u OLLIE The EP 34 models the unusual taper of this control that is found on the original hardware It is normal operation to have the control in the 85 95 range to get a 50 50 wet dry balance Note When the Wet switch page 232 is in the On position Echo Volume has no effect Recording Volume adjusts the input gain and clipping charac RES tre teristics of the delayed tape signal Increasing this control will CAY increase the tape distortion and grit that is an important ele I mr ment of the famous hardware sound The Recording Volume is indicated by the Input Meter VOLUME The Input Meter in the EP 34 is a three segment horizontal LED i i array two green one red that indicates the recording level at e the input of the tape recorder The yellow LED indicates that the plug in is active When the Power switch page 232 is enabled the yellow LED is illuminated The frequency response of the delayed wet sig Eeo aie nal can be modified with the Echo Tone controls Ni These knobs are cut boost controls they have no effect when in the 12 o clock position The avail able range is
424. m e Start with the EQ flat set the approximate sound with the materials then EQ the input to cut or boost specific frequencies e The EQ is often most useful for a simple Lf or Hf roll off boost or to notch out bothersome frequencies for particular sources For full mix ambience mas tering presets use the EQ to cut most of all LF input which yields added am bience without mucking up the mix This is a powerful EQ so experiment UAD Powered Plug Ins Manual 191 Chapter 16 DreamVerb e Try different diffusion settings for your preset the slider on the right of the Re verberation panel Diffusion radically alters the reverberation sound and is source dependent Higher diffusion values yield a fuller sound good for percussive sounds lower diffusion values yield a less dense sound good for vocals synths etcetera e When monitoring your preset try switching from Dry solo Wet solo and a useful mix Solo the reflections and reverberation and disable enable EQ Try different sources and mixes Reach for the headphones every now and then In general just keep things moving as ear fatigue can be particularly deceiving with reverb sounds e The Positioning panel is generally only needed for automation Ignore these settings for preset design unless going for a panning effect or monitoring real world use e Often when you ve got a really great preset designed all it takes are a few subtle changes to make a number of other great
425. man be tween the host application and the I O ports The host application uses the driver to access the I O for signal routings 1 0 Buffers and Latency Like the UAD device audio interface driver also uses buffers to shuttle audio signals to and from the I O see UAD Buffers and Latency on page 42 Smaller I O buffer settings produce lower latencies which is useful when mon itoring tracks while recording performances but usually results in a higher host computer CPU load since the system has to work harder transferring data Latency and buffers are discussed in greater detail in Chapter 9 UAD Delay Compensation My uaudio com is the UA online store where UAD devices are registered to your account and authorization files can be obtained Bundled plug in vouch ers are redeemed at the store and optional plug in licenses can be purchased there as well For complete details about my uaudio com including accounts registration purchasing plug ins at the online store and more see Chapter 4 My uaudio com Finally all UAD plug ins must be authorized before they can be used Autho rization is accomplished by simply clicking the Authorize Plug Ins button page 67 in the UAD Meter 8 Control Panel For complete details about the authorization system see Authorization Overview on page 47 UAD Powered Plug Ins Manual 45 Chapter 3 UAD System Overview CHAPTER 4 My uaudio com My uaudio com
426. mines the amount of gain reduction used by the compression For exam ple a value of 2 expressed as a 2 1 ratio reduces the signal by half with an input signal of 20 dB being reduced to 10 dB A value of 1 yields no com pression Values beyond 10 yield a limiting effect The range is 1 to Infinity Threshold Knob Sets the threshold level for the compression Any signals that exceed this level are compressed Signals below the level are unaffected A Threshold of O dB yields no compression The range is O dB to 60 dB As the Threshold control is increased and more compression occurs output level is typically reduced However the EX 1 provides an auto makeup gain function to automatically compensate for reduced levels Adjust the Output level control if more gain is desired Meter Pop up Determines whether the VU Meter monitors the Input Level Output Level Gain Menu Reduction or Meter Off Click the menu above the meter display to select a different metering function Enable Bypass Enables or disables the Compressor You can use this switch to compare the Swite compressor settings to that of the original signal or bypass the entire compres sor section to reduce UAD DSP load unless UAD 2 DSP Loadlock on page 73 is enabled Compressor Adjusts the signal output level of the plug in Output Knob EX 1M Overview The EX 1M is a monophonic version of EX 1 that enables independent left and right EQ settings in master effects cha
427. mpha size the dry signal Clicking the DRY button once will decrement the value by one percent click ing WET once will increment the value by one percent To increase the fine resolution when adjusting these controls hold SHIFT on the computer key board when clicking the controls Shift click will decrement DRY and incre ment WET by a value of 0 1 percent instead of one percent The Dry Wet controls are typically used when Lexicon 224 is inserted on in dividual channels When Lexicon 224 is used on a group bus in a typical re verb send return configuration set to 100 WET or activate SOLO mode Hidden Controls Additional UAD controls are available in a hidden control panel Refer to Figure 98 in parameter descriptions im Figure 98 The Lexicon 224 Hidden Controls UAD Powered Plug Ins Manual 278 Chapter 26 Lexicon 224 Access Pitch Shift Input Gain Output Level Link The hidden controls are exposed by click AG ing the OPEN text to the right of the Dis Digital Keverb play Panel Conversely the exposed ae a panel is closed by clicking the CLOSE text while the panel is open Note The last used state of the Hidden Controls panel open or closed is re tained when a new Lexicon 224 plug in is instantiated Pitch Shift is a component of Mode Enhancement See Mode Enhance Pitch Shift on page 276 for parameter details The independent left L and right R In
428. mum and minimal ATTACK to compare against the original waveform in diagram I Diagram 3 Processed Waveforms Attack UV Maximum Attack Original Waveform NA NA yy Minimum Attack Figure 167 SPL Transient Designer Processed Attack UAD Powered Plug Ins Manual 481 Chapter 49 SPL Transient Designer The SUSTAIN The SUSTAIN control circuitry also plays host to two envelope generators The Control Circuitry envelope tracker Env 3 again follows the original waveform The envelope generator Env 4 maintains the level of the sustain on the peak level over a longer period of time The control voltage of the VCA is again derived from the difference between the two voltages Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings Figure 168 on page 482 illustrates the original waveform and the envelope creation to control the SUSTAIN processing Envelope generator Env 1 fol lows the original waveform Env 2 is generated with prolonged sustain Diagram 4 Generated Envelopes Sustain Original Waveform Figure 168 SPL Transient Designer Sustain Envelopes Figure 169 on page 482 shows the difference between Env 4 and Env 3 that defines the control voltage of the VCA Diagram 5 Calculated Control Voltage Sustain U mY Difference Env 4 Env3 j Equals VCA Control Voltage Figure 169 SPL Transient Designer Sustain Control Voltage UAD Powered Plug Ins Manu
429. mum results especially when Limit is off ensure the source signal is not clipped before it arrives at the Precision Maximizer input e Output clipping can be completely avoided by enabling Limit e One band mode is generally recommended for program material e Set Mix at 100 in order to hear the full affect of the Maximizer process Reduce Mix when blending in the original signal is desired e Changing the order of plug ins in the signal path can have a dramatic affect on Precision Maximizer results e Sonic experimentation is highly encouraged Precision Maximizer Latency The Precision Maximizer uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information UAD Powered Plug Ins Manual 419 Chapter 42 Precision Maximizer Note Compensating for Precision Maximizer is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 WebZine Article An interesting article about sonic enhancers can be found in the Ask The Doctors article of the Universal Audio May 2007 Webzine Volume 5 Num ber 4 published on the internet at e htto www uaudio com webzine 2007 may index2 html UAD Powered Plug Ins Manual 420 Chapter
430. n Sync mode when the time of the note value exceeds 2500ms as defined by the current tempo of the host application See Chapter 8 Tempo Sync for detailed information about tempo synchronization Tip Click the knob then use the computer keyboard arrow keys to incre ment decrement beat values in Sync mode Decay sets the amount of processed signal fed back into its input feedback At the minimum value one delayed repeat is heard Higher values clockwise increase the number of repeats and intensity of the processed signal with near infinite repeats available at the maximum setting Pan sets the position of the delayed wet signal in the stereo field it does not affect the unprocessed dry signal Tip Click the PAN label text to return the control to center Note When the plug in is used in a mono in mono out MIMO configu ration the Pan knobs do not function and cannot be adjusted UAD Powered Plug Ins Manual 160 Chapter 13 Cooper Time Cube Echo Volume This control determines the volume of the delayed signal Rotate the control A B clockwise for louder echo Up to 10 dB of gain is available at the maximum setting Reducing the control to its minimum value will mute the delay Tip Click the ECHO VOL label text to mute unmute the delayed output Cooper Time Cube Hardware COOPER TIME CUBE MODEL 920 lt UNIVERSAL AUDIO Figure 59 The opened acoustic module and the complete sy
431. n bebe bn enennnnes Chapter 47 Roland Dimension D 0000 0 Overview 2 ee ened need been beet bbb b nnn e bn nennnnns Roland Dimension D Screenshot 00 ccc ce ccc cece ce aa Roland Dimension D Controls 0 ccc ccc ccc cece a Chapter 48 Roland RE 201 Space Echo ccccccccvccccccccccs OVEIVIOW AAP Roland RE 201 Screenshot 0 0 ccc cece eect eee e eee nee b ee nney Roland RE 201 Interface Roland RE 201 Controls 0 00 00 cece cece eee tence eee denen nny Chapter 49 SPL Transient Designer ccccccccsccccccscccces WEIWVIEW aan tad ctuneadea ncn AA SPL Transient Designer Screenshot 0 0 nananana nanana eens SPL Transient Designer Controls 0 0 0 0 eee aarre WebZine Article a Acknowledgement 2 2 POCICHHONS SEA AA EEEE EEE EAEE Technology AA UAD Powered Plug Ins Manual 15 Table of Contents TABLE OF CONTENTS Chapter 50 SSL E Channel Strip cccccccccccoooco 484 Large Format Mix Module 2 2 484 SSL E Channel Strip Screenshot e nent eee enn nes 485 SSL E Channel Strip Controls 0 0 0 0 anaana nananana cnet een nett eee enn nes 485 ll ee ee ET ee AA 486 Bee aeaaaee Ra nen cage neemacee AA ends Bette 487 Compressor Limiter 0c ccc nee eee cnet een nett ene eeas 487 Ec Ane 488 0 ee Pee ee ee NAA TANA es err N ee 491 El AA 495 sce INGIES eae EET 496 WebZine Article 0 2 2 2
432. n click Continue The order con firmation page appears 7 Verify the order confirmation page then click Confirm Order once The transaction is processed and the order complete page appears 8 Purchased UAD plug in licenses are issued immediately to My Systems Any authorization file downloaded after this point contains the new license 9 Download a new Authorization File by clicking the Authorize Plug ins but ton in the UAD Meter amp Control Panel 10 Double click the downloaded authorization file The authorization is loaded onto the UAD device s and after a few seconds the Authorizations Updated Successtully window page 33 appears The purchased UAD plug in is now licensed and fully authorized Transferring UAD devices and licenses Transfer Video Ownership of UAD devices 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 e htto www uaudio com my systems transter Our Videos page has a video about UAD device transfers e htto www uaudio com blog cat videos UAD Powered Plug Ins Manual 53 Chapter 4 My uaudio com CHAPTER 5 Using Multiple UAD Devices Overview Multiple UAD devices can be used in a single host computer system for in creased DSP capacity The UAD devices in the multidevice system can be mixed an
433. n effects not found any other way In 1976 BOSS originated the chorus effect pedal and nobody has come close to matching the CE 1 s captivating chorus sound since then Its unmistakable warm analog stereo chorus and vibrato have been heard on countless tracks particularly on guitars bass and electric keys Universal Audio has been commissioned by Roland to accurately model the CE 1 and the results are nothing short of spectacular Boss CE 1 Screenshot Figure 161 The Boss CE 1 plug in window UAD Powered Plug Ins Manual 460 Chapter 46 Boss CE 1 Chorus Ensemble Boss CE 1 Controls The Boss CE 1 has two operating modes chorus and vibrato Only one mode can be active at a time The operating mode is set using the Vibrato Chorus switch Clip LED The red Clip LED illuminates when signal peaks in the plug in occur Normal Effect This is an effect bypass switch Click to enable disable the cho Switch rus or vibrato effect The effect that will be heard is determined by the Vibrato Chorus switch The active state is black text The inactive state has gray text The default state is effect This is not a plug in bypass switch The hardware CE 1 has a slight affect on the sound even when the effect is bypassed in normal mode We have mod eled the plug in faithfully and like the hardware unit when the effect is by passed with this switch audio is still processed to sound like the CE 1 in nor mal mod
434. n longer bass frequency decay times when Crossover is not set too low The Bass reverb decay time value in seconds is shown in the Numerical Display The available range is 0 6 sec onds to 70 seconds This control works in conjunction with the Crossover parameter which defines the range of the bass frequencies affected by the Bass control Therefore ad justing Bass may have little audible effect if Crossover is set to a very low value The Mid slider defines the reverb decay time for the frequencies above the Crossover value Higher Mid values result in longer high frequency decay times when Crossover is not set too high The Mid reverb decay value in seconds is shown in the Numerical Display The available range is 0 6 sec onds to 70 seconds Mid works in conjunction with the Crossover parameter which defines the range of high frequencies affected by the Mid control Therefore adjusting Mid may have little audible effect if Crossover is set to a very high value Mid is a slightly misleading label because this control actually affects the re verb decay for all frequencies above the Crossover value not just the midrange However because the highs in the reverb can be rolled off with the Treble Decay control and usually are the midrange frequencies are of ten more prominent than a full range tail This control defines the crossover frequency the split point between the bass and upper frequency bands in the reverb tai
435. n more processing depending on the values of the band parameters The default value is O dB The available range is 20 dB The Mix control determines the balance between the original and the processed signal The range is from 0 no dynamics processing to 100 wet processed signal only The default value is 100 Note that at O the signal is still being processed by the band S splitter in the plug in In linear phase mode the splitter is inaudible but in min imum phase mode you may hear a slight coloration of the signal at OX UAD Powered Plug Ins Manual 432 Chapter 43 Precision Multiband Output Level Meter Output Level Kno EQ Display Switch Phase Mode Switch The stereo OUTPUT LEVEL peak hold Out Ny a put Meter dis a 427 28 sg HB HBI H21 H9 B 8 plays the signal a ln KPA Ree Va a Ig level at the output of the plug in Signal peaks are held for 3 seconds before resetting ts Ode T 00de WU The Output Level knob controls the signal level that is output from the plug in The default value is O dB The available range is 20 dB The EQ Display mode can be static or dynamic The EQ Display switch deter mines the active mode Click the switch to toggle the mode EQ In this mode the EQ Display is static Only the colored frequency bands are displayed Dynamic EQ In Dynamic EQ mode a light blue line in the EQ Display indicates the actual frequency response of the processor in
436. n of low end energy beyond the conventional frequency response of small speakers These harmonics stimulate a psychoa coustic bass enhancing effect in the listener giving even the smallest speakers greater translation of low frequency sources Universal Audio s unique ap proach to this common problem combines a simple control set that yields ex acting results with minimal adjustment and allows the widest range of tonality available in its class from subtle to decidedly audible The Hz Frequency control sets the corner frequency of the bass isolation low pass filter while Effect blends the generated signal into the original signal Four effect slopes are available for variations in harmonic density while five modes present various internal control configurations to support the widest ar ray of source material Finally the Precision Enhancer Hz includes control over the final output with metering to compensate for gain changes created by the effect Precision Enhancer Hz does for low frequencies what Precision Enhancer kHz does for the highs Together they are a great complementary pair Precision Enhancer Hz Screenshot EFFECT kal aa oe UNIVERSAL AUDIO ENHANCER Hz i A B bi 12 SLOPE gt All db il Figure 135 The Precision Enhancer Hz plug in window UAD Powered Plug Ins Manual 391 Chapter 38 Precision Enhancer Hz Precision Enhancer Hz Controls Effect Knob Effect Meter Effect Solo Mode
437. n on held notes or can be put into over the top oscillation with extreme intensity settings Different Modes will reveal different qualities of oscillation Single head Modes tend to have simpler oscillation qualities while multiple head modes will have a more complex sound when oscillating The RE 201 s oscillation qualities are heavily program and control depen dent Different sources of audio gain tone repeat rate and tape settings will all effect oscillation performance The RE 201 can also achieve oscillation with no signal making the RE 201 a truly unique instrument See This control determines the volume of the echo effect Ro tate the control clockwise for louder echo Reducing the control to its minimum value will disable the echo UAD Powered Plug Ins Manual 470 Chapter 48 Roland RE 201 Space Echo Power Switch Echo Normal Sync Delay Time Display Tape Age Note Echo Volume has no affect when the Mode Selector is in the Reverb Only position Loe This switch determines whether the plug in is active This is use tul for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load Toggle the switch to change the Power state Toggling the power switch will also clear the tape echo This can be useful if the RE 201 is self oscillating and restarting the feedback loop is desired ae This switch disables the signal sent into the echo por
438. n one computer up to eight devices four of each type UAD Powered Plug Ins Manual 54 Chapter 5 Using Multiple UAD Devices However as an example if you have four UAD devices but run a dual device system in two separate computers you are required to purchase separate li censes for the second system UAD Link Licensing on page 55 details the exception to this policy where licenses for portable UAD devices can be linked to a desktop system UAD Link Licensing If you have registered an existing UAD 2 system group and want to add a UAD 2 SOLO Laptop or UAD 2 Satellite to the system the registration pro cess has a flexible licensing procedure that allows you to link the existing UAD Powered Plug In licenses in your account to your UAD 2 SOLO Laptop or UAD 2 Satellite To take advantage of this offer you must select the option during initial registration of the UAD 2 SOLO Laptop or UAD 2 Satellite During UAD 2 SOLO Laptop or UAD 2 Satellite registration if an existing UAD system s is detected in your account there will be two options avail able Option 1 Link License Registration Use this option if you want to link your UAD 2 SOLO Laptop and or UAD 2 Satellite to the UAD plug in licenses of an existing UAD system in your My Uaudio account This option allows you to use the existing UAD plug in licenses you already own with your new UAD 2 SOLO Laptop and or UAD 2 Satellite even if the UAD devices are in dif
439. n the plug in is disabled if supported by the host UAD Control Panel Accessing the Control Panels The UAD Control Panel is where detailed system information is displayed and global UAD Powered Plug Ins settings are modified The UAD Control panel has four panels organized into similar areas of functionality System Informa tion Plug Ins Configuration and Help amp Support The main UAD Control Panel window is accessed from the UAD Meter win dow To open the Control Panel click the menu button in the UAD Meter win dow title bar Figure 8 on page 64 After clicking the menu button the avail able functions are listed in the drop menu UAD Powered Plug Ins Manual 63 Chapter 6 UAD Meter amp Control Panel lm 7 System Info Plug Ins Coniiguratron command 4 PHEEWTE command 4 F BIG camm i ba Help Si E Click the Menu button Always on kop command 4 7 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 UAD Control Panel Plug Ins Configuration Firewire Figure 9 The Control Panel window panel buttons Note The FireWire button is only displayed if UAD 2 Satellite is connected System Information Panel Software Section The System Information panel Figure 10 on page 65 displays detailed UAD software and hardware information and contains several u
440. nal 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 91 The Input Filter is a dedicated equalizer that is used to re p duce low frequency content in the reverb On hardware INPUT FILTER plate systems this setting is rarely moditied because it is AA found at the plate amplifier unit itself and is not easily ac cessed from the control room EMT 140 contains two types of filters original EMT elec tronics and Martech electronics which was is a common plate system retrofit In the modeled source units at The Plant plates A and B use the EMT electronics while Plate C utilizes the Martech elec tronics In EMT 140 you can use either filter type with any of the three available plates The original EMT filter indicated by black text is a cut filter centered at 80 Hz with three available levels of attenua tion 4 dB 10 dB and 16 dB In controls mode these values are prefaced with an E to designate the original EMT electronics model The Martech filter indicated by red text is a shelf filter therefore all frequen cies below the frequency are reduced Six shelving frequencies are available 90 Hz 125 Hz 180 Hz 250 Hz 270 Hz and 360 Hz In controls mode these values are prefaced with an M to designate the aftermarket Martech electronics
441. ncreased as signal level increases Env Down Inverted Envelope mode Filter cutoff frequency is dynamically decreased as signal level increases Fixed Wah mode Wah Pedal Fixed Wah mode with latched bypass mode Determines the type of filter to be used by the Mod Filter This parameter will affect the overall sonic character of the plug in Four filter types are available Table 24 Mod Filter Filter Types and Descriptions Lowpass Frequencies below the filter cutoff frequency are allowed to pass through the filter Bandpass Frequencies around the filter cutoff frequency are allowed to pass through the filter Lowest and highest frequencies are not passed Highpass Frequencies above the filter cutoff frequency are allowed to pass through the filter Traditional wah pedal setting Enables or disables the Mod Filter You can use this switch to compare the Mod Filter settings to that of the original signal or bypass the Mod Filter to re duce the UAD DSP load UAD Powered Plug Ins Manual 370 Chapter 35 Nigel TremModEcho plug in The TremModEcho is loaded as one plug in but consists of three modules Trem Fade Mod Delay and Echo Figure 129 Each of the module controls is described in the following pages bm F RG LA P ie Pen CYA NG anila HE a he a THRESH FADEIN ONSET RATE DEPTH Bagay Sn Ay Tremi on la NG PELAT 4 DEPTH TIME REGIE DAMPING FO TYPE Sna wh a PLT TIHE Figure 129 The TremMo
442. ncy dependent The modeled UAD ver sion accurately models the hardware along with all its idiosyncrasies Therefore phase shifting using the Phase Adjust knob is not perfect like mathematically manipulated signals in the digital domain When Phase Ad just is set to 180 on one of two identical tracks side by side the signals will not cancel as you may expect Note If a standard 180 phase shift is desired use the Phase Invert switch If digitally pure frequency independent phase shift is desired use the Delay Adjust parameter This switch bypasses the Phase Adjust parameter The signal phase is inverted when the switch is engaged darker This switch inverts the polarity of the input signal like the phase button on a mixing console Phase is inverted when the switch is engaged darker UAD Powered Plug Ins Manual 285 Chapter 27 Little Labs IBP Phase Adjust 907 180 Phase Center Lo Hi Power This switch determines the range of the Phase Adjust parameter This is useful when finer Phase Adjust resolution is desired When the switch is disengaged the Phase Adjust range is 180 When the switch is engaged darker the Phase Adjust range is 90 This switch sets the range of frequency emphasis When the switch is disen gaged lighter the Phase Center range is Hi When the switch is engaged darker the Phase Center range is Lo Note Use of the 90 180 and Lo Hi parameters are typically u
443. nd UAD 1 driver Select the Install the software automatically Recom mended option and click Next The second UAD 1 driver will be in stalled click Finish when it s complete Software installation is now complete Proceed to the Authorization section page 31 You can use the UAD Meter amp Control Panel to verify installation see Verify ing Installation on page 34 Note If you want to install the UAD plug ins into another application run the installer again Software Installation Procedure for Mac Systems Important Verify the computer system date and time are set correctly be fore installing the software and or launching the UAD Meter amp Control Panel application for the first time 1 Launch the software installer e To install from CD ROM insert the UAD Powered Plug Ins CD Open the CD window then double click the application named UAD Powered Plug Ins Installer e To install from a download first decompress the downloaded zip archive by double clicking it Then double click the resulting dmg file to mount the disk image Double click the disk image to open its window then double click the application named UAD Powered Plug Ins Installer 2 The installer will guide you through the installation procedure 3 Restart the computer after the software is installed Software installation is now complete Proceed to hardware installation or if that is done already proceed
444. nd is in GR Gain Re duction for compression EXP for expansion and GT for Gate Each band has an Enable button The Enable but ton for the band is just below its dynamics meter The band is active when its Enable button is light blue Click the button to toggle the active state of the band Disabling bands does not reduce UAD CPU usage Each band has a Solo button The Solo button for the band is just below its Enable button When one or more bands are in Solo mode only the soloed bands can be heard and the other bands are muted UAD Powered Plug Ins Manual 431 Chapter 43 Precision Multiband Solo Display Global Controls Input Level Meter Input Level Knob Mix The band is soloed when its Solo button is red Click the button to toggle the solo state of the band Soloing bands does not reduce UAD CPU usage When a band is in Solo mode its curve in the EQ Display is highlighted Note In addition to the Solo buttons you can also control click a band in the EQ Display to put any band or bands into Solo mode The stereo INPUT LEVEL peak hold Input 2 3 NAG Meter displays amahan eee i 30i 27 241 21 HA 15 H2 H 1 613 Ou PEAK the signal level at Maa aaa the input of the j plug in Signal peaks are held for 3 seconds before resetting 2l UE The Input Level knob controls the signal level that is input to the plug in In creasing the input may result i
445. ndard vs Mastering Versions on page 290 for the exact differences between the Massive Passive parameters STEREO EQUALIZER FQ In ua The EQ In pushbutton switch enables the channel When the button illu CJ minates in a brighter blue the channel is active and the other channel controls will affect the signal When this control is disabled all the de sirable low level system filtering and coloration is retained in the channel just like the original hardware Channel Gain This knob sets the overall gain for the channel The range for the standard version is continuously variable from 6 dB to 4 dB The range for the Mastering version is 2 5 dB in 0 5 dB steps UAD Powered Plug Ins Manual 294 Chapter 28 Manley Massive Passive EQ The Channel Gain controls are intended to help match levels between By pass and EQ enabled modes so that the EQ effect can be more accurately judged With drastic EQ there may not be enough range to match levels but with drastic EQ this kind of comparison is of little use The range is small to al low easier and finer adjustments Filters Low Pass and High Pass filters are available for both channels The response curves of the filters are shown in Figure 104 below The available Filter values differ between the standard and mastering versions see Table 17 on page 290 for the available values for each version Low Pass The Low Pass filter allows the channel s lower fre
446. ndetectable levels in the UAD 2 see LiveTrack Mode on page 88 Latency and buffers are discussed in greater detail in Chapter 9 UAD Delay Compensation stalling using and troubleshooting UAD Powered Plug Ins UAD Mobe documentation is available in written video and online formats Tr Various instructional and technical resources are available for in For details about user documentation see Documentation Over view on page 20 UAD Powered Plug Ins Manual 42 Chapter 3 UAD System Overview The DAW Environment The digital audio workstation DAW environment is an over all system where audio produc tion takes place either with or without UAD Powered Plug Ins The UAD system is an add on to the computer based DAW that can dramatically improve the sonic quality and performance of the DAW while still working en tirely from within the DAW A computer based DAW consists of the host computer hardware and its op erating system OS software the plug in host application DAW software and an audio input output interface and its drivers Host Computer The host computer is the system that the host DAW application software runs on and the UAD devices are installed into The host computer must meet min imum technical requirements and have one or more compatible expansion slots to use with UAD hardware See System Requirements on page 25 for complete details Operating System A
447. ndicator is pointing straight down UAD DSP usage is not reduced when the cut filters are off The Phase button inverts the polarity of the signal The signal is in verted when the button is engaged darker Leave the button inactive d lighter for normal phase UAD Powered Plug Ins Manual 324 Chapter 32 Neve 31102 Console EQ EQL Neve 31102SE say The equalizer is engaged when the EQL switch is in the In darker aa position To disable the EQ put the switch in the Out lighter posi tion Click the button to toggle the state In the hardware 31102 the audio is still slightly colored even when the EQL switch is in the Out position This is due to the fact that the signal is still pass ing through its circuitry Therefore the signal will be slightly colored when this switch is in the Out position UAD DSP usage is reduced when the EQ is by passed with this control unless UAD 2 DSP Loadlock on page 73 is en abled If a true bypass is desired use the OFF position of the Input Gain control In put Gain on page 322 Figure 113 The Neve 31102SE plug in window Overview Neve 31102SE Controls The UAD Neve 33102SE is derived from the UAD Neve 31102 Its algorithm has been revised in order to provide sonic characteristics very similar to the 31102 but with significantly less DSP usage It is provided to allow 31102 like sound when DSP resources are limited Nobody with golden e
448. nds are identical they are only described once The ALL button provides a facility to link controls and copy parameter values to all bands when adjusting the current band Each of the Band Controls has an ALL button The behavior of the ALL button is the same for all the Band Controls in all the bands with the exception of the Type switch see Type Switch on page 425 The ALL button can perform three functions Relative Link Absolute Link and Copy Value Note that the ALL button cannot be automated Relative Link In Relative mode changes to a band control will change the same con trol in the other bands by a relative amount i e the same amount until any single band reaches its minimum or maximum value Single click the ALL button to enter Relative mode the button background changes to blue When adjusting a control in Relative mode it may appear that the full range of the active control is unavailable this occurs when a different band not the active band has reached the end of its range In Relative mode the Gain value can also be adjusted by dragging the Gain handle in the EQ Display see EQ Display on page 428 Note No change occurs to the parameter values unless the control is actually moved This allows you turn off relative linking without making any changes UAD Powered Plug Ins Manual 424 Chapter 43 Precision Multiband Type Switch Note Relative mode is not available for the Ty
449. ne processing or easily compare the sound of the processed and unprocessed audio a When the button glows blue UAD plug ins are active Click the button to disable the active plug ins the button changes to black with blue lettering New UAD plug ins can then be added Click the button again to re activate all UAD plug ins Nofe Disable Current stays active only while the UAD Meter amp Control Panel application is open When the UAD Meter amp Control Panel is quit Disable Current is deactivated The UAD resource loads are displayed in the UAD Meter window which are constantly updated in realtime even when the UAD Meter is not the fore ground application This allows you to monitor UAD loads as needed for ex ample when deciding which UAD plug ins to load based upon how much DSP is available The UAD resources are displayed as bar graphs and as percentages Averaged Loads The load for each gauge represents the average for each device type For ex ample if one UAD 2 Quad is installed the UAD 2 DSP load is an average of the four DSP processors on the Quad If two UAD 2 Quads are installed then the eight processors are averaged Similarly if multiple UAD 1 devices are in stalled then the UAD 1 loads represent the average of all UAD 1 devices Individual Loads The loads of individual devices in a multidevice setup or the individual DSP loads in a multi DSP UAD 2 device can be viewed in the UAD System Infor mation
450. nel Strip Screenshot FILTERS BELL Solid State Logic SSL E SERIES kHz o CHANNEL STRIP 20 300 UAD 4K GHANNEL STRIP Pye Sh i e UNIVERSAL AUDIO Hz 120 70s 299 0UT NI in 1 GAIN DYNAMICS Bano 9t as SA 5 EQUALISER magin COMPRESS 5 nAg SELECT aT COMPRESS 458 mo NAG HO Ze ad 20 Ba i x 8 O 3 TH ESEE j i a BLK BRN TA j THRESHOLD m 12 30 10 THRESHOLD p EG UALISER DYN PRE YH a PIN D Figure 171 The UAD SSL E and 4K Channel Strip plug in windows SSL E Channel Strip Controls The SSL E Channel Strip controls are divided into four main sections filters dynamics EQ and global Note Knob settings when compared to the graphical user interface silk screen numbers may not match the actual parameter values This behavior is identical to the original hardware which we modeled exactly When the plug in is viewed in parameter list mode see Controls View on page 86 the actual parameter values are displayed Note SSL consoles adopt a different pan law than what the host application may be set to by default Most DAW s allow configuring the panning spread preference to match various consoles In the event you want to capture SSL style stereo response when using multiple instantiations of the SSL E Chan nel Strip set the pan law preference in the host to a value of 4 5 dB UAD Powered Plug Ins Manual 485 Chapter 50 SSL
451. neney Channel Controls n ect eect eect bebe en beeen eees Global Controls 0 cece a FATSO Sr Controls 0 000 cece cence beeen eee nee b en nnee WebZine Article 0 0 00 cece eee renee ebb ene e teen enn Chapter 18 EMT 140 Plate Reverb ccc cccccccccsvcsscsece OVEIVICW fae a hous ENDO NAKA WANT nae PANG hoe eee KANA reece eee WANG HAKA LAGA HAUL EMT 140 Screenshot 0 0 c cece cece eee tebe nee e eee e eee e nny EMT 140 Controls 00 cence ee tent e eee b eee e nny Reverb Controls 0 00 c ccc ee ene e bebe b been need ee benny Stereo Controls 00 cee tee tebe b beet bebe en been eees EQ Controls 0 cece etn bet n eee b eee e reentry Modulation Controls 0 0 00 cece cece eee eee tenet beeen nee nas Blend Controls 0 0 e ene eee e edn beet eens nnny Chapter 19 EMT 250 Electronic Reverberator cccccccccscces Introduction keene e beeen need beet b ebb tee een nny EMT 250 Screenshot 00 000 c cece eee eee eee b eee beeen ee benny Functional Overview 2222 t need eben eee b eee eneney Program Mode Controls 0 0 0 00 ccc nent e nent e nnn ees Global Controls 0 ccc teen eect ebb t ene e nen eees Webzine Article 0 0 2220 e een e eee e bebe n beeen eee nan Chapter 20 EP 34 Classic Tape Echo cc cccccccsscccccccccces EP SA SA acs anus aes feats Roe Pens EEES nee Paes EEEE noes EP 34 Tape Echo Screenshot n 0 c cece eee eee e nent e
452. nes the low midrange band center frequency to be Frequency boosted or attenuated by the band Gain setting The available range is 200 Hz to 3 1kHz Low Mid Gain This control determines the amount by which the frequency setting for the low midrange band is boosted or attenuated The available range is 10 dB High Mid This control determines the low midrange band center frequency to be Frequency boosted or attenuated by the band Gain setting The available range is 400 Hz to 6 kHz High Mid Gain This control determines the amount by which the frequency setting for the high midrange band is boosted or attenuated The available range is 10 dB Hi Frequency This control determines the high band center frequency to be boosted or at tenuated by the band Gain setting The available range is 900 Hz to 13 kHz UAD Powered Plug Ins Manual 244 Chapter 22 Harrison 32C EQ Hi Gain This control determines the amount by which the frequency setting for the high band is boosted or attenuated The available range is 10 dB Gain The Gain knob controls the signal level that is HARRISON 32 EQ output from the plug in The default value is O dB The available range is 10 dB Harrison 32C SE Figure 84 The Harrison 32C SE plug in window Overview The UAD Harrison 32C SE is derived from the UAD Harrison 32C Its algo rithm has been revised in order to provide sonic characteristics very similar to the Harrison 32C but with signif
453. ng and or master output paths e All devices on the FireWire bus share the available data bandwidth of the bus including external hard drives and audio interfaces as well as UAD plug ins The amount of UAD DSP that is available for UAD plug in process ing can exceed the available FireWire bandwidth For these reasons the value of the UAD Bandwidth Allocation on page 79 setting is critical See FireWire Bandwidth on page 140 and FireWire Bandwidth vs UAD DSP on page 142 for more details e All three FireWire ports on UAD 2 Satellite may be used concurrently as a FireWire hub however FireWire bus power is not supplied to downstream devices See Bus Power on page 136 for details e See Mixing FireWire Speeds on page 139 for important information about using FireWire 800 and FireWire 400 devices on the same bus UAD Powered Plug Ins Manual 134 Chapter 11 UAD 2 Satellite e Although Hot Plugging on page 133 is supported disconnecting UAD 2 Satellite when UAD plug ins are running could cause unpredictable behav ior Quit all UAD hosts and the UAD Meter amp Control Panel before discon necting or powering down UAD 2 Satellite Important Do not disconnect UAD 2 Satellite while UAD plug ins are loaded e Once the host software is quit you may connect or disconnect the unit even if the host computer and or UAD 2 Satellite is powered on see Hot Plug ging on page 133 e Connect all FireWir
454. ngaged see Gate Exp Threshold 40 dB on page 342 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 The 40 dB button increases the sensitivity of the gate and ex pander by lowering the range of the available threshold values When 40 dB mode is active the threshold range is 25 dB to 65 dB When 40 is inactive the threshold range is 25 dB to 15 dB To activate 40 dB mode click the pull 40 label text or the red indicator just below the Threshold control 40 dB mode is active when the red indica tor illuminates eee Range RGE controls the difference in gain between the gt gated expanded and non gated expanded signal Higher val 10 a ues increase the attenuation of signals below the threshold When set to zero no gating or expansion occurs The avail E able range is O dB to 60 dB Gate Exp Fast The Fast mode switch defines the gate expander attack time Mee which is the duration between the input signal reaching the thresh mite old and processing being applied Two times are available 500 microseconds when Fast is off and 50 microseconds when Fast is active To activate Fast mode click the pull FAST label text or the red indicator just below the Range RGE control Fast m
455. nnel device capable of running in stereo or Operation dual mono modes Controls for both channels can be linked for ease of stereo operation when both channels require the same values see Link Controls on page 201 or unlinked when dual mono operation is desired Each of the channel functions has its own separate group of controls one set each for channels 1 and 2 Since the controls for each of the two channels are identical they are detailed only once Note When the FATSO is used in a mono in mono out configuration the channel 2 controls have no effect and the LINK parameters page 201 are disabled Pushbuttons All FATSO pushbuttons are momentary The value of the parameter incre ments by one step each time the button is clicked holding the button down does not continue to increment the value The value cycles to the beginning when the end of the range is reached Clicking on the control LED indicators has no effect with the exception of the LINK parameters page 201 Tip Shift click any pushbutton to decrement its value by one UAD Powered Plug Ins Manual 197 Chapter 17 Empirical Labs EL7 FATSO Channel Controls Input THD Indicators Compressor Mode Mode LED s a INPUT The Input knob defines the signal level going into the a a B e in Higher levels result in a more saturated signal When the compressor is active see Compressor Mode below higher input values also result in more compres
456. nob 356 Configuration Panel 70 Connections 122 Control Bats 147 Control Grouping 401 Control Panel 63 Controls Link 241 Controls View 86 Cooper Time Cube 156 UAD Powered Plug Ins Manual Cooper Time Cube Controls 157 Cooper Time Cube Screenshot 156 Copy Paste Settings 88 Coupons 47 CPS Selector Switch 437 CS 1 Channel Strip 162 Current Link Speed 78 Curve Control Bats 147 Curve Conirol Points 428 Customer Support 22 Cut Enable Button 149 Cut Filter 207 Cut Frequency Knob 150 Cut Type Menu 149 D Damper Controls Reverb Time 208 Damping Knob 168 171 377 380 DAW Environment 43 dbx 160 Compressor Limiter 172 dbx 160 Controls 173 dbx 160 Screenshot 172 DC Bias 241 Decay Time 186 Default Preset Location 87 189 Default Preset Locations 87 Delay Compensation 100 Delay Compensator 102 Delay Knob 170 Delay Size Settings Interaction 170 DelayComp Examples 104 Demo Activation 50 Demo Mode 50 51 307 Demo Notes 51 Depth Knob 167 373 Desktop 61 Detailed System Profile 67 Diffusion 186 Dimension D 464 Dimension D Controls 465 537 INDEX Dimension D Screenshot 464 Dimension Mode 465 Disable Current 62 Disabling Cards 58 Disconnect 124 133 Distance 188 DM 1 Controls 166 DM 1 Delay Modulator 166 DM 1L 166 DM 1L Overview 168 Documentation Overview 20 DreamVerb 175 Dry 189 DSP 63 DSP Load 67 DSP Load Limiting Overview 71 DSP Loading Information 92 DSP LoadLock 73 DSP Settings 83 Dua
457. not sold by Universal Audio to the original end user for use only on the terms set forth here 1 Limited Use License Universal Audio as Licensor grants you as Licensee a non exclusive license to use the Software with a single computer unit at a single location 2 Title The Software is owned by Universal Audio or its suppliers and is protected by copyright laws and international treaty provisions as well as other intellectual property laws and treaties Universal Audio retains title to and ownership of the Software and all copies thereof in any form Universal Audio retains all rights in the Software not specifically granted to the Licensee This Agreement only gives you certain rights to use the Software and related documentation which may be la if you do not follow these terms 3 Limited Rights to Install and Use the Software i Permitted use and restrictions You may install the Software into the memory of a single computer but may not electronically transfer the Software to someone else s computer or operate it in a time sharing or service bureau operation Additionally you may only use the Software on a computer that contains a maximum of eight 8 UAD cards specifically four UAD 1 cards and four UAD 2 cards The sole exception is that if you are a licensee of the UAD 2 Solo Laptop card or UAD 2 Satellite you may link the card to an existing computer previously registered ii Reverse engineering and copying limitations
458. nsures there will always be enough DSP if those features are later enabled or when automating parameters that affect the DSP load DSP LoadLock Disabling LoadLock increases available UAD 2 DSP by turning off unused fea tures in certain plug ins but may cause problems with previously saved ses sions that had all plug in features enabled or when automating parameters that affect the DSP load Enabling DSP LoadLock is recommended for optimum performance Disable LoadLock when you need to squeeze in that extra bit of DSP resources Note Changes to this setting do not take effect until all open sessions con taining UAD plug ins are reloaded Extra Buffering adds an additional 64 samples of buff ering for increased host application compatibility Ap plications that are known to require Extra Buffering include Sony Vegas Acid and Soundforge and Sonar Cakewalk Extra buffering In other hosts you can disable this mode to reduce latency If your application is incompatible with reduced latency when Extra Buffering is off a dialog will be displayed indicating that Extra Buffering is required Note Changes to this setting do not take effect until all open sessions con taining UAD plug ins are reloaded Settings in this area apply to UAD 1 devices only If no UAD 1 device s are installed these settings are not displayed MIN_GNT is a low level system setting that affects PCI bandwidth If you are experiencing crackles or dro
459. ntrol unless UAD 2 DSP Loadlock on page 73 is en abled If a true bypass is desired use the OFF position of the Input Gain on page 315 control UAD Powered Plug Ins Manual 319 Chapter 31 Neve 1081 Equalizer Neve 1081SE Figure 111 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 The 1081SE interface can be differentiated from the 1081 by color and the module name The 1081SE is black instead of the 1081 s dark blue and the module name on the lower right of the interface panel includes SE Neve 1081SE The Neve 1081SE controls are exactly the same as the Neve 1081 Please re Controls fer to the Neve 1081 section for Neve 1081SE control descriptions see Neve 1081 and 1081SE Controls on page 315 Neve 1081 Latency The Neve 1081 but not the 1081SE uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information The Neve 1081SE does not require addi
460. ntrol is increased and more processing occurs out put level is typically reduced Adjust the Gain control to modify the output of the module to compensate if desired The 20 dB switch increases the sensitivity of the limiter compres sor by lowering the range of the available threshold values When 20 dB mode is active the threshold range is O dB to 30 dB When 20 is inactive the threshold range is 20 dB to 10 dB To activate 20 dB mode click the pull 20 label text or the red indicator just below the Threshold control 20 dB mode is active when the red indica tor illuminates Ratio defines the amount of gain reduction to be processed by the module For example a value of 2 expressed as a 2 1 ra tio reduces the signal by half with an input signal of 20 dB being reduced to 10 dB A value of 1 yields no gain reduction When the control is at maximum lim the ratio is effectively infinity to one yielding the limiting ef fect The available range is 1 to infinity The Fast mode switch defines the attack time the duration between the input signal reaching the threshold and processing being ap plied of the limiter and compressor Attack time is program dependent Two ranges are available 3 milliseconds to 7 milliseconds Fast off and 1 millisecond to 7 milliseconds Fast active To activate Fast mode click the pull FAST label text or the red indicator just below the Ratio RAT control Fas
461. ntrol should be deactivated Note Wet is a global per plug in instance control Its value is saved within the host project session file but not within individual preset files Important Depending on the source material and gain structuring engag ing Wet may cause a significant jump in output levels Power Power determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to by pass the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Note The yellow LED in the Input Meter page 230 is illuminated when the plug in is active EP 34 Hardware History Originally designed by Mike Battle in the late 50 s as a portable echo device as an answer to the problem of tying up studio tape machines often employed for echo effects Legendary artists such as Jimmy Page Miles Davis Brian May Andy Summers Eddie Van Halen among many others have used the hardware to add simple slap echo effects all the way to self oscillation chaos to their sonic creations UAD Powered Plug Ins Manual 282 Chapter 20 EP 34 Classic Tape Echo WebZine Article The EP 3 is the favored unit by guitarists and EP 4 is the last unit that was re leased and has an improved feature set over its predecessors such as meter ing and tone controls making it even more useful as a mix tool Some didn t like the EP 4 because of a noise reduction circuit
462. nuation occurs There is only one control for Warmth but there are other ways to control the overall action of this circuit If you do decide to use the compressor set it up tirst because it affects the operation of Warmth There is heavy interaction be tween the compressor and Warmth settings Perhaps the best way to think of the settings is as compressor threshold with 7 having the lowest threshold and the most Warmth responding quickly and often to high frequency content Just remember that instead of controlling the overall level the Warmth com pressor threshold only affects the high frequencies Transformer amp Tape Head Emulation The Tranny circuit Tranny is short for transformer is a simulation of the ef fect of input and output transformers of older devices and adds the low fre quency harmonics that characterize analog tape This is extremely useful on pure low frequency type tones that don t cut through small speakers It adds upper warm harmonics to frequencies below 150 Hz especially those even lower such as 40 Hz the low string on a bass guitar helping it to cut through on smaller speakers UAD Powered Plug Ins Manual 195 Chapter 17 Empirical Labs EL7 FATSO Compression Processor Transformer design and use is an art and there are always trade offs How ever it has been widely known that a good audio transformer circuit can do wonderful things to an audio signal This was the goal of the Tran
463. ny circuit The hardware designers tried to emulate the desirable characteristics of the good old input output transformers in a consistent musical way and in a se lectable fashion The addition of harmonics and peak saturation along with frequency and phase changes on the low frequencies occurs They found that they could capture the low frequency effects of large and now expensive older output transformers in a weird internally buffered switchable design To sum up the musical results of the Tranny circuit there will be a little more edge in the midrange and the super low frequencies will have been harmon ically altered in a way that allows them to sound louder even though the peaks are less than the original Playback on small speakers will show an im proved audibility of low end from the result of the psycho acoustically pleas ing distortion the Tranny adds Classic Knee Compression Empirical Labs Style These are your typical automatic leveling devices that you find used on just about every instrument and vocal track as well as on the overall buss Only it s Empirical Labs compression smooth and sweet but in your face There are essentially four discrete compressors in the FATSO Buss General Purpose G P Tracking and Spank Switching modes simultaneously sets the compressor threshold ratio attack and decay This was done to provide an easy to set yet versatile group of curves The release curve of all types is logarithm
464. o lute control over the dynamic range The 88RS compressor has another nifty property Two thresholds When the signal falls below the threshold the compressor is releasing But if the signal falls below a second non adjustable threshold which is roughly 40 dB be low the adjustable threshold value then the release slows down drastically This acts as a silence detector The concept is that if there is a quiet signal then the compressor should release to reduce the dynamic range But if there is a sudden onset of silence it is likely that when the signal returns it will be at about the same level as the region before the silence So in that case the compressor doesn t release quickly UAD Powered Plug Ins Manual 343 Chapter 34 Neve 88RS Channel Strip L C Enable L O L C Gain L C Hard Knee HN L C Threshold An example When compressing a snare track with a standard compressor if the snare hits are sparse the compressor will release between each hit so that each hit has a squashed sound With the 88R compressor distortion will be reduced because the compressor will not come out of compression as much between the snare hits The compressor will still release somewhat dur ing the snare hits however Note For additional information see Compressor Basics on page 253 minama This button activates the limiter compressor module The mod Ar ule is active when the button is gray and the green indi
465. o effect The Wet Solo button puts the EMT 250 into 100 Wet mode When Wet Solo is on it is the equivalent of setting the Dry Wet control to 100 wet Wet Solo defaults to On which is optimal when using the EMT 250 in the classic reverb configuration placed on an effect group buss that is config ured for use with channel sends When the EMT 250 is used on a channel in sert this control should be deactivated Note Wet Solo is a global per EMT 250 plug in instance control When Noise is active the noise characteristics of the original tal LIB hardware unit are fully intact Disabling Noise eliminates the modeled noise characteristics for quieter operation Noise is active when the yellow LED is illuminated it is enabled by default Click the LED to change the setting The Noise parameter is unique to the UAD EMT 250 plug in Noise is dy namic to the response of the effect processing and the noise level differs from program to program The noise floor of the hardware EMT 250 may seem a bit high when compared to modern digital processors but it adds to the EMT 250 s quirky character An interesting article about the EMT 250 Electronic Reverberator that includes useful applications can be found in the Analog Obsession article of the Uni versal Audio June 2009 Webzine htto www uaudio com webzine 2009 june analog html UAD Powered Plug Ins Manual 225 Chapter 19 EMT 250 Electronic Reverberato
466. o specific passages only by flipping the switch to Front when echo is desired The behavior is identical to the popular dub switch on the Roland RE 201 Echo Normal on page 471 See Front Rear Outputs on page 215 for more information Space mode is a special reverb program with an extremely long decay time and linear distribution of the reverberation time with frequency all frequen cies decay at the same rate Because this condition doesn t exist in nature and the program was originally intended for science fiction productions the reverberation in outer space moniker was derived The reverb decay time is approximately 10 seconds in Space mode Predelay and Front Rear are the only adjustable parameters in this program mode Note Levers 1 2 and 3 have no effect in Space mode UAD Powered Plug Ins Manual 223 Chapter 19 EMT 250 Electronic Reverberator Global Controls Power Input Meter Predelay Lever 4 Lever 4 is used as a typical reverb predelay parameter See Lever 4 Prede lay on page 215 for more information Front Rear In Space mode the Front Rear Outputs switch is illuminated Changing the switch setting will yield a slightly different effect See Front Rear Outputs on page 215 for more information The global controls are not program specific they apply to all program modes The Power button the red EMT logo determines whether the afr plug in is active It is us
467. o that they may improve the way their products or services interact with the Software 11 Third Party Software Third Party Information Your installation and use of Third Party Software is subject to different terms which can be found on the media on which the software is provided or at http www uaudio com eula Nothing in this agreement limits rights granted to you by third parties which may include rights under free software or open source software license Additionally Universal Audio may include information about third party products and services including links to Web sites run by others Universal Audio is not responsible for and does not endorse or sponsor this third party information 12 Miscellaneous This Agreement shall be governed by and construed in accordance with the laws of the United States and the State of California as applied to agreements entered into and to be performed entirely within California between California residents If for any reason a court of competent jurisdiction finds any provision of this License or portion thereof to be unenforceable that provision of the License shall be enforced to the maximum extent permissible so as to effect the intent of the parties and the remainder of this License shall continue in full force and effect This Agreement constitutes the entire agreement between the parties with respect to the use of the Software and Documentation and supersedes all prior or contemporaneous
468. ocessing that occurs at ratios below 10 or 12 to one is generally referred to as compression above that it s known as limiting Modern day compressors offer a great degree of programmability and flexibility older de vices such as the 1176 and the LA 2A are more straightforward in their design Perhaps it is this fact that has contributed to their appealing sound and the longevity of their popularity LA 2A The LA 2A leveling amplifier a tube unit with hand wired components and three simple con trols was introduced in the mid 1960s It utilized a system of electro luminescent optical gain control that was quite revolutionary Gain reduction was controlled by applying the audio volt age to a luminescent driver amplifier with a second matched photoconductive cell used to con trol the metering section With its O to 40 dB of gain limiting a balanced stereo interconnec tion flat frequency response of 0 1 dB from 30 15 000 Hz and a low noise level better than 70 dB below plus 10 dBm output the LA 2A quickly became a studio standard Originally pat ented by Jim Lawrence it was produced by Teletronix in Pasadena California which became a division of Babcock Electronics Corporation in 1965 In 1967 Babcock s broadcast division was acquired by the legendary Bill Putnam s company Studio Electronics Corporation shortly before he changed the company s name to UREI Three different versions of the LA 2A were produced under the auspices of
469. ode can be selected by clicking the Mode button repeatedly to rotate through the Modes or by clicking each Mode letter or LED Mode A Bass 1 Mode A is tuned for both acoustic and electric bass instruments Adds low fre quency emphasis when set to low frequency value mid to high frequencies aid in phantom bass generation for smaller sound systems UAD Powered Plug Ins Manual 392 Chapter 38 Precision Enhancer Hz Slope Mode B Bass 2 Mode B is primarily for electric and DI bass with balanced mid range harmonics to help the bass stick out of the mix Mode C Synth Mode C is tuned specifically for synth bass and other full range material It produces a wider range of harmonics than the Bass modes A and B Mode C also works well on sub mixes and program material Moderate compression is applied to the harmonics signal increasing the amplitude of the harmonics and altering their timbre Mode D Kick Mode D has a short decay which makes this setting ideal for kick drum sounds and other percussive instruments Moderate compression is applied to the harmonics signal increasing the amplitude of the harmonics and altering their timbre All Mode All mode offers a more exaggerated and audible effect for creative purposes or when less subtle results are desired Compression is applied to the harmonics signal increasing the amplitude of the harmonics and altering their timbre The frequency range is similar to Mode A
470. ode is active when the red indicator il luminates Release sets the amount of time it takes for processing to en gage once the input signal drops below the threshold level The available range is 10 milliseconds to 3 seconds UAD Powered Plug Ins Manual 342 Chapter 34 Neve 88RS Channel Strip Gate Exp Meter Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks Note Fast release times are typically only suitable for certain types of percus sion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results This meter displays the amount of gain attenuation downward expansion occurring in the gate expander module Limiter Compressor The limiter compressor module offers a continuously variable ratio between 1 1 no compression and infinity 1 limiting Signals above the threshold are attenuated according to the ratio RAT value Two attack speeds and contin uously variable release times are available along with a pleasing automatic triple time constant program dependent release mode auto mode has a three stage release A makeup gain control and a hard soft knee setting are also available in the module From the AMS Neve 88RS User Manual Anti pumping and breathing cir cuitry allows the unit to operate on the source musically whilst retaining abs
471. odeling experts and then tuned by ear over a four month period the EMT 140 replicates the sonic signature of three uniquely different EMT 140s for merly installed at the Plant Studios in Sausalito CA That s nearly two thou sand pounds of sound in one plug in Impractical or impossible for most be tore Universal Audio brings this classic mix tool within the reach of everyone Licensed and endorsed by EMT Studiotechnik GmbH as the world s only au thentic plate reverb emulation We thoughtfully combined the look of various elements from the EMT 140 sys tem into one convenient panel replicating the original damper controls for decay and adding additional controls for the convenience of the modern Overview studios DAW user EMT 140 Screenshot REVERBERATION TIME EMT 140 NACHHALLPLATTE PLATE REVERB POWER Or Gm OFF ON SLOW BLOW 10031304 O5A 190 260Y L25A ELEKTROMESSTECHHIK WILHELM FRANZ O ae OUT IN LO FREQ HI FRED ban 20 2K 200 20K BLEND GAIN GAIN PRE DELAY Li Ma ana sal 0 et O 250 DRY WET Figure 78 The UAD EMT 140 plug in window UAD Powered Plug Ins Manual 206 Chapter 18 EMT 140 Plate Reverb EMT 140 Controls Input Filter The EMT 140 interface is an amalgam of controls found at the plate amplifier itself and the remote damper controls plus a few DAW friendly controls that we added for your convenience The GUI incorporates the origi
472. oes not filter the audio signal Attack sets the amount of time that must elapse once the input signal reaches the threshold level before compression is applied The faster the attack the more rapidly compression is applied to signals above the threshold BULLS The available attack time values are 0 9ms 10ms 30ms 60ms and Default unlit The unlit behavior is depends upon whether or not the com pressor is active These behaviors are described below Note Attack values are approximations Actual attack and release times may vary depending on the compressor mode selected Attack LED s Unlit Compressor Active When the compressor is enabled and all Attack LED s are unlit the attack characteristic of the active compressor mode in FATSO Jr is used This de fault FATSO Jr behavior can then be manually overridden with the Attack button However when pure Spank mode is active Attack cannot be mod ified When Spank mode is combined with another compressor mode Attack can be changed but the results are typically very subtle Tip After experimenting with other time constants one can return to the de fault attack setting of the FATSO Jr if desired by cycling the attack control until NO LEDs are lit which indicates the default FATSO Jr time constant UAD Powered Plug Ins Manual 203 Chapter 17 Empirical Labs EL7 FATSO Release Attack LED s Unlit Compressor Inactive When the compressor is disabled and a
473. oftware installer on CD ROM e Important Information Sheet e Universal Audio Full Line Catalog UAD Powered Plug Ins Manual 128 Chapter 11 UAD 2 Satellite Satellite System Requirements To use UAD 2 Satellite your system must meet the minimum system require ments for UAD Powered Plug Ins in addition to the UAD 2 Satellite prod uct specific requirements below UAD 2 Satellite requires the following hardware and software e Mac OS 10 6 Snow Leopard Intel systems only e UAD Powered Plug ins software v5 8 1 or higher included e Available FireWire 800 or FireWire 400 interface port e See System Requirements on page 25 for additional requirements UAD 2 Satellite Installation Install Software First Software Updates Satellite Install Location The software installation procedure for UAD 2 Satellite is the exact same pro cedure as those for UAD cards Install the software before the hardware un less you are updating a previous installation Refer to UAD Software Instal lation on page 27 for detailed procedures The CD ROM in the retail package may not contain the latest UAD software Please check our website for software updates e htto www uaudio com support uad downloads html If the UAD software is already installed the UAD Meter amp Control Panel has a convenient button that links to the updates page Check for Updates on page 64 When selecting a location to position UAD 2 Satellite
474. ol determines the compressor ratio The available values are 1 5 1 2 1 3 1 4 1 and 6 1 selectable in discrete increments This toggle switch enables the compressor portion of the plug in The compres sor has no effect unless this switch is in the In down position UAD Powered Plug Ins Manual 330 Chapter 33 Neve 33609 Compressor Other Controls Output Gain Gain Reduction Meters Link UAD Powered Plug Ins Manual 331 pi gain reduction 1 5 Fai T ba a F O 14 it Na EG para POWER hie 3 me agugtion z OUTPUT 1 gain B10 OD Ta 12 O na unlink mono oe li atero DL TPL rT 2 33bu3 C Pheul 60M s EREDO LIMITER COMPRESSOR The interface elements that are not directly contained within the compressor or limiter are detailed below This control is a software only addition not found on the original hardware It is an overall makeup gain stage at the output of the plug in to compensate for reduced levels as a result of compression and or limiting The available range is 2 to 20 in 1 dB increments The Gain Reduction Meters indicate the amount of gain reduction that is oc curring in dB There is one meter for each channel The gain reduction dis played is the total reduction of the limiter plus the compressor Note The meter indicator moves farther to the right as more gain reduction is occurring This meter behavior is opposite that of many compressors This switch is a software only
475. om facilities and require advanced approval if requesting to sell or transfer over the allotted 8 cards per account If you have questions or are seeking an exception please contact customer support 5 Limited Warranty Universal Audio grants solely to you a limited warranty for a period of ninety 90 days from the original purchase date that the media on which the Software is distributed shall be substantially free from material defects Your exclusive remedy at Universal Audio s option is to return and have replaced the inaccurate media containing the Software programs or receive a refund of the price paid within the warranty period UNIVERSAL AUDIO DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT ITS OPERATION WILL BE UNINTERRUPTED OR ERROR FREE EXCEPT AS SPECIFIED HEREIN UNIVERSAL AUDIO MAKES NO WARRANTIES OR REPRESENTATIONS EXPRESS OR IMPLIED REGARDING THE SOFTWARE DOCUMENTATION OR MEDIA AND HEREBY EXPRESSLY DISCLAIMS THE WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE AND NON INFRINGEMENT OF THIRD PARTY RIGHTS FURTHERMORE UNIVERSAL AUDIO DOES NOT WARRANT OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SOFTWARE OR DOCUMENTATION IN TERMS OF THEIR CORRECTNESS ACCURACY RELIABILITY OR OTHERWISE NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY UNIVERSAL AUDIO OR A UNIVERSAL AUDIO AUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY ORIN ANY WAY INCREASE THE SC
476. om account to register the de vice The registration account authorization process isn t as complicated as it may seem The entire routine in volves simply clicking the Authorize Plug Ins button page 67 in the UAD Meter amp Control Panel Clicking this button automatically registers the in stalled UAD devices generates the authorization file and downloads it to disk Authorize Plug ins Just double click the downloaded authorization file to any UAD Meter amp Con trol Panel icon and you re ready to use UAD Powered Plug Ins When autho rizing you ll be prompted to log into your account if you aren t already and if you don t already have an account you ll be prompted create one The authorization file which is obtained by clicking the Authorize Plug Ins button page 67 contains the license key s that enable UAD plug ins to run on associated UAD devices The authorization file is generated at my uau dio com then downloaded to the local hard drive automatically The downloaded authorization files have either the uad or uad2 file exten sion uad files are for UAD 1 only systems while uad2 files are for UAD 2 only and mixed UAD 1 UAD 2 systems When mentioned in the doc umentation vad refers to both uad and vad files To load a downloaded authorization file just double click it or drag drop it onto any UAD Meter amp Control Panel application icon shortcut alias see Figur
477. om shape drag the Blending bar so the shape is set to 100 The resulting early reflection pattern is displayed at the top of the Timing panel see Figure 156 on page 453 where each reflection is represented by a yellow vertical line with a height indicating its arrival energy and a location indicating its arrival time The material composition of an acoustical space affects how different fre quency components decay over time Materials are characterized by their ab sorption rates as a function of frequency the more the material absorbs a certain frequency the faster that frequency decays RealVerb Pro lets you specify two room materials with independent thicknesses which can be blended to create a hybrid of absorption and reflection properties For exam ple to simulate a large glass house a blend of glass and air could be used There are 24 real world materials provided including such diverse materials as brick marble hardwood water surface air and audience Also included are 12 artificial materials with predefined decay rates The thickness of the materials can be adjusted to exaggerate or invert their absorption and reflec tion properties For a description of the different room materials see About the Materials on page 449 UAD Powered Plug Ins Manual 447 Chapter 45 RealVerb Pro Second material Maternal First material Blending bar First material selector pop Second material selector pop up
478. on page 309 Drive Gain SE only The non linear modeling of Drive characteristics is extremely DSP intensive For this reason Drive is not available on the SE version of UAD Moog Filter In UAD Moog Filter SE the parameter is named Gain instead of Drive and is a straight non modeled input gain control The range of Drive Gain is O to 40 dB of gain Drive Gain affects both the wet and dry signals the control is heard when Mix is zero and or when Bypass is engaged This gain range closely mimics the external input section of the Minimoog UAD Powered Plug Ins Manual 301 Chapter 29 Moog Multimode Filter Drive Gain LED Envelope Envelope LED Smooth Fast Warning Due to these differences in input structure cut and pasting of full to SE and SE to full presets may cause noticeable differences in gain Keep hold of the master fader The Drive Gain multicolor LED indicates the plug in signal level just after the Drive Gain control The 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 However UA has broadened the sonic palette with a negative range allowing unique negative envelope effects The cutoff frequency of UAD Moog Filter can be modulated by the amplitude of the signal coming into the plug in This function is typically called an en velope fo
479. on page 73 is enabled Adjusts the signal output level of the plug in DM 1L is identical to the DM 1 except that the maximum available delay time per channel is 2400milliseconds DM 1L requires significantly more memory resources of the UAD than the DM 1 Therefore we recommend using the DM IL only when very long delay times are needed UAD Powered Plug Ins Manual 168 Chapter 14 CS 1 Channel Strip Link Button This button links the left and right delay knobs so that when you move one de lay knob the other follows The ratio between the two knobs is maintained L DELAY R DELAY SYNC a N mon Figure 63 The DM 1L includes a Link button RS 1 Reflection Engine REFLECTOR o r yo ENgSLe BYPASS L PAN R PAN a Ps a AO wo CA r EFE Figure 64 The RS 1 Reflection Engine plug in window Overview The RS 1 Reflection Engine simulates a wide range of room shapes and sizes to drastically alter the pattern of reflections While similar to that of the RealVerb Pro plug in the RS 1 does not offer the same breadth of features such as room hybrids room materials morphing and equalization How ever if you do not need the advanced capabilities that RealVerb Pro offers you can use the RS 1 to achieve excellent room simulations while also pre serving DSP resources on the UAD device The Delay control sets the time between the direct signal and the first reflec tion The Size parameter
480. on about using UAD Powered Plug Ins on audio tracks while si multaneously running MIDI tracks see Live Processing on page 112 UAD Powered Plug Ins Manual 101 Chapter 9 UAD Delay Compensation Host Application For optimum results the Plug in Delay Compensation option setting should Settings be enabled in the host application This will provide automatic latency com pensation when UAD plug ins are used on track inserts and sends groups buses if full compensation is supported so the UAD Delay Comp will not have to be used This option is usually found in the audio or plug in preferences window The specific location of the setting for this option within some popular applications is as follows e Cubase 5 x Options Menu gt Audio Setup gt System e Nuendo 1 x Cubase SX 1 x File Menu gt Preferences gt VST e Cubase SX 2 3 Nuendo 2 3 Always on Steinberg s Constrain Delay Compensation feature can be used to disable delay compensation on individual plug ins Devices Menu gt Plug in Informa tion e Emagic Logic Audio PC Options Menu gt Preferences gt Audio Preferences e Apple Logic Pro Preferences gt Audio e MOTU Digital Performer 4 5 Setup menusConfigure Audio System gt Con tigure Studio Settings e Cakewalk Sonar Sony applications Mackie Tracktion Automatic No preference for enabling disabling other than turning off or removing plug ins that require delay compensation e Samplitude Options
481. on the performance and features of UAD Powered Plug Ins is very important to us Please send your comments and suggestions to us Com ments not technical support issues may be sent to info uaudio com Roland AIRCHILD PULTEC dEr Little Labs helios penedia MANLEY naam T STUDER 80SS A Neve UAD Powered Plug Ins Manual 23 Chapter 1 Introduction CHAPTER 2 UAD Installation Overview Install Videos UAD Powered Plug Ins installation and configuration consists of four steps e JAD software installation Insert the enclosed CD ROM and run the installer e JAD hardware installation Follow the instructions in this chapter e UAD device registration Add your device to your my uaudio com Account e UAD plug in authorization Download and apply UAD authorization file UAD vouchers can be re deemed and optional plug in licenses can be purchased anytime These steps are detailed in this chapter Your host computer must meet the hardware and software requirements to operate properly and you need a supported VST RTAS or Audio Units host application to run the UAD Pow ered Plug Ins UAD 2 SOLO Laptop and UAD Xpander These ExpressCard products have their own set of hardware connection and operation instructions Refer to Chapter 10 UAD ExpressCard Products for complete details UAD 2 Satellite This Firewire product has its own set of hardware connection and operation instructions Refer
482. onics are also added especially while compressing in the FATSO The FATSO s input clipping will give you the same result These lower order harmonics form the octave and the octave and a fifth to the fundamental musical tones They are actually musical distortion Harmonics above the Chapter 17 Empirical Labs EL7 FATSO Warmth Processor The Tranny Processor 2nd and 3rd get increasingly harsh and unmusical and therefore should be lower in amplitude lt 60 dB to keep within our line of thinking Second har monic is considered to be the warmest and most consonant harmonic dis tortion High Frequency Saturation This circuit is meant to simulate the softening of the high frequencies that oc curs with analog tape Basically as the Warmth is increased overly bright signals and transients will be quickly attenuated The time constants are very nearly instant so the high frequencies return very quickly after a loud burst The Warmth circuit is by far the most complex part of the FATSO Basically it is a very strange high frequency HF gain control circuit or HF limiter It is very unobtrusive in operation since it gets in and out of the way very quickly The desired result is akin to the HF saturation that analog tape exhibits when the HF amplitude interacts with the tape recorder bias to produce self era sure of certain frequencies The nature of the filter allows the corner fre quency to move as atte
483. ontrols snap to match the left channel control values and modifying any channel control causes its ste reo counterpart control to move to the same position channel 1 amp 2 controls are ganged together in this mode Important Right channel parameter values are lost the moment Link Con trols is enabled UAD Powered Plug Ins Manual 201 Chapter 17 Empirical Labs EL7 FATSO Controls Unlinked Unlink the controls when dual mono operation is desired Channel 1 and 2 controls are completely independent in this mode and automation data is written and read by each channel separately Link Controls is disabled when the FATSO is used in a mono in mono out configuration Important Unlike the other controls for channels 1 and 2 which are iden tical on the left and right sides of the interface the Link CONTROLS function is on the right side only not to be confused with Link COMPRESS which is on the left side only Power attack The Power toggle switch determines whether the plug in is active It is useful for comparing the processed settings to the original signal When Power is in the Off down position plug in processing is dis abled UAD DSP usage is reduced and all LED s are unlit Note UAD 2 DSP usage is reduced only when DSP LoadLock page 73 is disabled If DSP LoadLock is enabled the default setting disabling Power will not reduce DSP usage Click the lower portion of the switch to disable the plug in click t
484. orange bandwidth Used by UAD other UAD blue devices Figure 41 Elements of the UAD FireWire Gauge UAD Powered Plug Ins Manual 141 Chapter 11 UAD 2 Satellite mm l UAD Control Panel System Info Plug Ins Configuration Current Link Speed Target Link Speed UAD Bandwidth Allocation Max Stereo Plug ins At the following sample rate Used by UAD Used by other devices Figure 42 The UAD FireWire panel control descriptions are in Chapter 6 FireWire Bandwidth vs UAD DSP The amount of FireWire bandwidth used by UAD 2 Satellite depends on the number the quantity of UAD plug ins that are loaded on the device the amount of DSP used by a UAD plug in the quality does not affect FireWire bandwidth at all In other words each UAD 2 Satellite plug in instance uses a fixed amount of FireWire bandwidth regardless of how much DSP a given UAD plug in uses It is the audio data stream to and from a UAD plug in that uses the FireWire bandwidth The amount of digital signal processing occurring on the UAD de vice itself is unrelated to the FireWire traffic in and out of the device Therefore with UAD 2 Satellite it is possible to run out of available FireWire bandwidth before running out of available UAD DSP For example running ten lightweight plug ins such as UAD EX 1 on UAD 2 Satellite will use the same FireWire bandwidth as running ten DSP intensive plug ins such as UAD Moog Multi Mode Filter However the EX 1s w
485. ost ap plication uses for plug in processing UAD Powered Plug Ins operations are for all practical purposes functionally identical in all three plug in formats The format of the installed UAD plug in tiles are specified during UAD software installation VST The VST Virtual Studio Technology plug in format is de veloped by Steinberg and is supported by various Win dows and Mac host applications RTAS The RTAS Real Time AudioSuite plug in format is devel RTAS oped by Avid and is supported by Pro Tools host applica tions on Windows and Mac platforms REAL TIME AUDIOSUITE Audio Units The Audio Units AU plug in format protocol was developed by Apple and is supported by various host applications on the Mac platform only Audio Units The audio input output I O interface is how audio signals get into and out of the host computer An audio interface is a hardware driver device that can have analog or digital I O or both The interface is usually where the ana log to digital A D and digital to analog D A audio conversions take place UAD Powered Plug Ins Manual 44 Chapter 3 UAD System Overview My vaudio com Authorization 1 0 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 middle
486. ould be taken so that objects do not fall and liquids are not spilled into the enclosure through openings Ventilation When installing the unit in a rack or any other location be sure there is adequate ventilation Improper ventilation will cause overheating and can damage the unit Heat The unit should be situated away from heat sources or other equipment that produces heat Power Sources The unit should be connected to a power supply only of the type described in the operating instructions or as marked on the unit Power Cord Protection AC power supply cords should be routed so that they are not likely to be walked on or pinched by items placed upon or against them Pay particular attention to cords at plugs convenience receptacles and the point where they exit from the unit Never take hold of the plug or cord if your hand is wet Always grasp the plug body when connecting or disconnecting AC Cleaning The external unit should be cleaned only with a damp cloth and mild soap if necessary Chemical cleaners may damage the silkscreen and or finish Nonuse Periods The AC power supply cord of the unit should be unplugged from the AC outlet when left unused for a long period of time Damage Requiring Service The unit should be serviced by qualified service personnel when e The AC power supply cord or the plug has been damaged e Objects have fallen or liquid has been spilled into the unit e The unit has been e
487. output controls and meters power and other controls See Global Controls on page 432 UAD Powered Plug Ins Manual 422 Chapter 43 Precision Multiband Band Controls Band Select The Band Controls contain the parameters that UAE ore used to specify all the settings for each band except the frequencies see Frequency Controls on page 430 The Band Controls for each of the five bands 0 D ms are identical a m oe IAKE5AULU ALL RELEASE ALL Only one set of Band Controls is displayed at a time The control set for any particular band is displayed by selecting the band see Band Se lect on page 423 GAIN ALL E of 5 Selecting a band causes the controls for that band to be displayed in the Band Controls area Bands can be selected by using the Band Select buttons or by clicking in the EQ display Band Select Buttons i LF LMF T ii HF fe The Band Select buttons at the top of the EQ Display specify which band pa rameters are displayed in the band controls section Click the button to dis play the parameters for the band UAD Powered Plug Ins Manual 423 Chapter 43 Precision Multiband Band Parameters All Button EQ Display Selection ay A band can also be selected IT by clicking within the area of a the band in the EQ Display su For example clicking within a the area shown here will se lect the LMF band Because the Band Controls for each of the five ba
488. outside Once you re settled in with your new UAD 2 select from our ever growing Powered Plug Ins Collection to custom build your own virtual mixing console mastering console mix sidecar or inboard dream FX rack from UA s exclu sive collection of revered studio gear including classics from Neve Ro land BOSS Helios Fairchild Pultec SPL Moog Empirical Labs Manley Laboratories dbx Studer SSL Harmon and of course UA s own 1176LN LA 2A and LA 3A compressors as well as our critically ac claimed line of Precision Mix Series and Mastering Series plug ins Digital recreations of other seminal analog studio gems from other legendary analog manufacturers are on the way UAD Powered Plug Ins Manual 17 Chapter 1 Introduction The UAD 2 also introduces version 5 of the UAD software which includes ma jor driver enhancements and an all new unified UAD Meter amp Control Panel for UAD 1 and UAD 2 Version 5 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 The new UAD Meter amp Control Panel offers improved status monitoring easy Quick Click Plug Purchasing Help and Support re sources Software Updates and improved rollover help There s also a new streamlined web shopping experience via a completely re designed UA web site with integrated audio and video d
489. oves from one channel to the other Reverb presets with a long decay or a long pre delay and especially those that have flamboyant reflections set to appear after the beginning of the dif fuse reverberation tail are predestined for that Insert the left and the right UAD Powered Plug Ins Manual 478 Chapter 49 SPL Transient Designer Backings Keyboards amp Sampler Post Production Mastering channels of the reverb return through two separate Transient Designer in stances Turn the ATTACK fully right on one instance and reduce SUSTAIN slightly about 1 5 dB On the other instance turn the ATTACK fully left and the SUSTAIN to the 3 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 You can make this effect even more dramatic by setting all controls to their most ex treme positions but you run the danger of ending up with a lopsided effect that appears out of balance A common problem especially with tracks that are recorded and mixed in dif ferent studios Backings lack of ambience and finding a reverb that matches takes time so simply emphasize the original ambience by turning up the Transient Designer s SUSTAIN control And the opposite problem too much ambience is similarly simply solved with the oppo
490. page 417 Finally the mixed signal is processed by the Limit control page 417 before being passed to the Output control page 418 and Output Meter page 41 8 UAD Powered Plug Ins Manual 414 Chapter 42 Precision Maximizer Precision Maximizer Screenshot INPUT MIX DUTPUT CI o a 40 s 50 8 60 ig 5 E E B 4 i Li LI r i 7 a0 70 g E 3 CI u ri CI X CI E a f 20 iis d 20 a an i g r l a a LI UNIVERSAL AUDIO 10 I z PRECISIOM MASTERING SERIES LIMIT na a b Me au MAXIMIZER OFF FF iT Figure 141 The Precision Maximizer plug in window Precision Maximizer Controls Control knobs for the Precision Maximizer behave the same way as all UAD plug ins Input Shape Mix and Output values can be modified with text en try See Text Entry on page 91 for more information Input Meter The stereo peak Input Meter displays the signal level at the input of the processor after the Input control O dB represents digital full scale O dBFS Precision Maximizer can utilize input signals up to 6 dB at the input before input clip ping occurs The displayed range is from 40 dB to 6 dB Input NPAT The Input Level knob controls the signal level that is input to AB ng the plug in Increasing the input will generally result in as a more processing depending on the settings of the other H parameters 9 By increasing the Input knob input levels higher than O dBFS up to 6 dBFS within the
491. panel see page 64 UAD Powered Plug Ins Manual 62 Chapter 6 UAD Meter amp Control Panel DSP Program Memory The DSP gauges display the amount of digital signal processing resources that are being used by the UAD Powered Plug Ins algorithms DSP is the primary hardware juice that powers the UAD Powered Plug Ins algorithms When UAD plug ins are disabled DSP requirements are decreased This resource shows how much program memory is in use by the UAD 2 Program memory is an on chip memory that is specific to the UAD 2 DSP pro cessor s and is used for certain UAD plug in resources Each unique UAD 2 plug in uses a bit of program memory If many different UAD 2 plug ins are loaded simultaneously it is possible for this resource to run out before DSP overload occurs This point is considered and factored in by the automatic UAD 2 load balancing routines Note The UAD 1 uses a different processor which does not have program memory The PGM gauges are not displayed for UAD 1 devices The Memory gauges indicate the percentage of UAD RAM that is currently in use It indicates the total available UAD memory available regardless of the number of UAD processors that are installed Memory is used for echo delay lines reverb and similar spatial processing When UAD plug ins are disabled memory requirements are not decreased In this case memory remains loaded so that reverb tails and delay lines are not cut off whe
492. pe parameter because the available Type values are discrete Click and shift click both activate Absolute mode for Type Absolute Link In Absolute mode changes to a band control will force the same control in the other bands to snap to the same value as the current band Shift click the ALL button to enter Absolute mode the button background changes to red In Absolute mode the Gain value can also be adjusted by dragging the Gain handle in the EQ Display see EQ Display on page 428 Note No change occurs to the parameter values unless the control is actually moved This allows you turn off absolute linking without making any changes Copy Cirl click the ALL button when it is NOT in Relative or Absolute modes not blue or red to copy the current value of the active band control to the same control value in the other bands ALL Note Careful with the control Copy function It will delete the existing values in the other bands and no undo is available The Type button defines the dynamic nature of the band allow ing each band to function as a compressor expander or noise gate independent of the Type value in the other bands Click the Type switch to scroll through the three available values The Type text compress expand gate behaves as a vertical slider and can be used for changing the Type as well Alternately the Type can be changed using the Dynamics Meters label text see Dynamics Meters
493. perhaps sums it up best in a way Bill Sr himself might like Bill Jr says simply He was a guy who built equipment to solve problems in the studio There s a whole school of what I d call Bill Putnam engineers out there concludes Murray Allen People like Allen Sides and Bruce Swedien who worked with him and who really un derstood what recording sound should be about They ve carried on his tradition and think we all agree that it s very important for people to know what he contributed Classic Compressors The LA 2A and 1176 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 UAD Powered Plug Ins Manual 528 Chapter 54 History 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 The dynamic pr
494. phi lt gt D Ef cal interface itself to accommodate hosts that do not have this feature Note Save Load pre dates the UAD plug in Toolbar We recommend using the Toolbar for consistency See UAD Toolbar on page 86 for details The Save Load feature in DreamVerb supports presets but not banks To save and load banks use the host s bank management feature if available When the Save and Load buttons are used within DreamVerb the file open and save dialogs default to the same location each time UAD Powered Plug Ins Manual 189 Chapter 16 DreamVerb Windows Mac Using Host Application anagement On Windows systems the default preset location is inside the Presets direc tory which is created within the directory selected during software installa tion For example if the default location was specified when running the UAD Powered Plug Ins Installer the location would be C Program Files Universal Audio Powered Plugins Presets This default location can be changed during installation the new location will be remembered as the default On OS X systems the default preset location is Library Application Support Universal Audio Presets Most host applications include their own method of managing plug in presets For example the currently selected preset is saved in Cubase Nuendo when Save Effect is used The solo mute buttons wet dry input are not saved All presets and programs are saved when
495. pin connector is more common with hard drives and audio devices the two extra pins allow the device to be bus powered UAD 2 Satellite cannot be powered by the FireWire bus UAD 2 Satellite has one 6 pin FireWire 400 port FireWire 800 connector FireWire 800 devices use a 9 pin connector 9 pin to 6 pin FireWire adapter cables are available to connect FireWire 800 devices to a FireWire 400 bus with reduced bandwidth See Mixing FireWire Speeds on page 139 for more information UAD 2 Satellite has two FireWire 800 ports to facilitate easy daisy chaining with other FireWire devices FireWire devices can be connected to a central hub such as a computer with multiple FireWire ports or a peripheral FireWire hub Figure 33 on page 138 connected to each other serially in a daisy chain Figure 34 on page 138 or any combination of the two in a tree chain topology Figure 35 on page 138 Note the diagrams in these figures are only exam ples devices may be connected in any order see Mixing FireWire Speeds on page 139 for exceptions UAD Powered Plug Ins Manual 137 Chapter 11 UAD 2 Satellite Additionally UAD 2 Satellite can function as a FireWire hub by using the un used ports on the unit to connect other FireWire devices as in Figure 36 Note that UAD 2 Satellite does not supply FireWire bus power to downstream de vices see FireWire Bus Power on page 143 for details Computer FW Hub TO
496. posted to the UA website Updates Please visit the UAD support pages for the latest bulletins e htto www uaudio com support uad Software The CD ROM in the retail package may not contain the latest UAD software Updates Check our website for software updates e htto www uaudio com support uad downloads html If the UAD software is already installed the UAD Meter amp Control Panel ap plication has a convenient button that checks for the most recent version see Check for Updates on page 64 UAD Powered Plug Ins Manual 26 Chapter 2 UAD Installation UAD Software Installation Install Software First Win 8 Mac Windows Install If you are installing UAD Powered Plug Ins for the first time install the software before installing the UAD device s This is particularly important on Windows systems If you are updating to a newer version of the software or installing additional UAD devices it is not necessary to remove the previous UAD soft ware or hardware from the system but you should still install the newer soft ware before adding new devices Note The UAD Powered Plug Ins software installer is identical for all UAD hardware there are only two UAD installers one each for Win amp Mac Software installation and removal for Windows and Mac platforms have their own particular procedures each are described below Important Close all open files and applications before starting the instal lation procedure
497. pouts our technical support team may recom mend a different value Clicking the Reset button sets the value to 64 which is recommended for most systems Important System performance can be adversely affected by changing this value MIN_GNT does NOT affect audio latency in any way UAD Powered Plug Ins Manual 73 Chapter 6 UAD Meter 8 Control Panel AMD 8131 Mode Host Compatibility Windows If your computer uses the AMD 8131 PCI controller chipset check the AMD 8131 Compatible box This will improve UAD performance on these systems For the new setting to take affect you must reset the audio interface using one of the following methods eClose the re open the session eStop then restart the audio engine eModify or reset the audio device settings AMD 8131 Compatible Mode is only required when the device 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 8 131 Mode unless your computer uses this PCI controller chipset or performance may be compromised Mac G5 Systems The AMD 8131 chipset is used in most Mac G5 systems The UAD software automatically determines when it is running on a G5 with AMD 8131 and sets the mode appropriately If the UAD is in an external PCI expansion chas sis AMD 8131 mode should be unchecked Enable CPU Optimization When this setting is enabled host CPU usage is si
498. presets menu Edits to any and all presets in the list are maintained separately within each instance of a plug in within a session Most host applications include their own method of managing plug in presets For example the currently selected preset is saved in Cubase Nuendo when Save Effect is used Morphing parameters and the solo mute buttons wet dry input are not saved All presets and programs are saved in Cubase Nuendo when Save Bank is used They are also saved in the session file for each instance of the plug in Editing the name in Cubase Nuendo modifies the current preset s name The new name will appear in all preset select lists and will be saved with the ses sion bank or effect RealVerb Pro Preset List Table 33 RealVerb Pro Presets Apartment Living High Ceiling Room Big Ambience Jazz Club Big Bright Hall Large Bathroom UAD Powered Plug Ins Manual 458 Chapter 45 RealVerb Pro Table 33 RealVerb Pro Presets Eternity Sparkling Hall Far Away Source Tight Spaces Ghost Voice Wooden Hall UAD Powered Plug Ins Manual 459 Chapter 45 RealVerb Pro CHAPTER 46 Boss CE 1 Chorus Ensemble Overview The Boss CE 1 Chorus Ensemble is another classic effect faithfully reproduced by our ace modeling engineers The CE 1 is considered by many to the defin itive chorus effect renowned for its rich and unique timbres Even for the mix engineer stomp boxes can provide secret weapo
499. processed track high frequencies will leak through However the latency through the dry side of the wet dry mix and the latency when the plugin is bypassed via the EMT 250 Power switch page 224 do not have this issue and will be fully compen sated by the DAW UAD Powered Plug Ins Manual 109 Chapter 9 UAD Delay Compensation Upsampled Compensation Examples Group Bus Example Compensating Precision Multiband The PMB Formula Situation You have a session at 44 1kHz with bass drums guitar and 2 vo cal tracks You want a fat warm vocal blend so you put both vocal tracks on a group bus and apply one instance of UAD Helios 69 to the vocal bus Re sult The vocal tracks play late in relation to the instrument tracks e Solution Send the output of the unprocessed instrument tracks but not the vocal tracks or the Pultec return to a different group bus and put one De layComp with a Plugs value of 1 and a Samples value of 31 the 44 1kHz value for Helios 69 from Table 7 on this group bus that contains the dry non vocal tracks If you put 2 Helios 69 s stacked in series on the vocal bus the unprocessed bus DelayComp plug in value would be 2 and the Sam ples value would be 62 The Precision Multiband PMB has a significantly larger latency than other upsampled plug ins because of the linear reconstruction of the filter bank Because manually compensating for Precision Multiband latency in hosts that don t support fu
500. production E Series consoles The two parametric mid band sections feature a classic logarithmically symmetric design that en sures that the 3 dB up down points retain the same musical interval from the centre frequency regardless of frequency and amplitude settings The two shelving sections are traditional 6 dB octave designs with an option for a fixed Q parametric response Bell The 02 EQ to give it its correct name the last two digits of the card s part number was used on countless record ings and mixes in the early eighties In 1983 a new 242 EQ circuit was developed in conjunction with the leg endary George Martin for the first SSL console to be installed in AIR studios The Black Knob EQ as it became known featured enhanced cut and boost ranges 18 dB instead of 15 dB together with a different control law and a steeper 1 8dB octave high pass filter for tighter control of low frequencies It is this design which is retained today as the E Series EQ option of the X Rack Duality and AWS consoles UAD Powered Plug Ins Manual 491 Chapter 50 SSL E Channel Strip High Frequency HF Ban High Mid Frequency HMF Band HF Gain This control determines the amount by which the frequency value for the band is boosted or at tenuated The available range is 15 AB in both Black and Brown modes Tip Click the O to return the Gain knob to its center position HF Frequency This control
501. program emulates the sound of a large concert hall with low density and minimal coloration It is optimized for long reverb times With percussive sounds increasing the diffusion value is recommended This program uses the exact same algorithm as P1 Small Concert Hall B This program sounds like a chamber but with less initial density It tends to sound best with shorter reverb times 2 to 5 seconds The most chamber like sound is obtained with Depth at a value of zero Diffusion is preset in this pro gram and cannot be modified Unlike all other Lexicon 224 programs this al gorithm has monophonic input This is a plate reverb emulation optimized for percussive sounds It has high initial density and coloration and sounds best with shorter reverb times This program uses the exact same algorithm as P2 Vocal Plate but with slightly dif ferent inherent diffusion This program is similar to P1 Small Concert Hall B except it is brighter overall and the Treble Decay control is more gentle The original hardware manual recommends equalizing this reverb return about 3 dB below 200 Hz to add to the richness and naturalness of the reverb Program 7 is a room simulator with moderate to high initial density and low to moderate coloration It sounds great on speech and many types of music This program presents an especially wide output when used with a stereo in put source UAD Powered Plug Ins Manual 281 Chapter 26 Lexicon 224
502. ps 60 decibels This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness Higher values yield a brighter sig nal Damping also mimics air absorption or high frequency rolloff inherent in tape based delay systems This control determines the balance between the delayed and original signal Values greater than 50 emphasize the wet signal and values less than 50 emphasize the dry signal A value of 50 delivers equal signals A value of 096 is just the dry signal Wet Dry Mix allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If a positive value is displayed then all the delays will be in phase with the source With a neg ative value the delayed signal is flipped 180 degrees out of phase with the source Sets the stereo position for the left channel allowing you to adjust the width or balance of the stereo signal For a mono signal L Pan behaves as the level control for the left delay tap Sets the stereo position for the right channel allowing you to adjust the width or balance of the stereo signal For a mono signal R Pan behaves as the level control for the right delay tap Enables or disables the Delay Modulator You can use this switch to compare the DM 1 settings to the original signal or bypass the entire DM 1 section to reduce UAD DSP load load is not reduced if UAD 2 DSP LoadLock
503. pter 10 UAD ExpressCard Products for complete details The UAD 2 Satellite is a UAD product that is designed for use with the Firewire interface This product has its own set of hardware connection and operation instructions Refer to Chapter 11 UAD 2 Satellite for complete details PCI and PCI X should not be confused with PCI Express also known as PCle PCle is not compatible with PCI or PCI X because PCle uses a completely dif ferent connector see Figure on page 30 However if a computer system has both PCI PCI X and PCle slots the UAD 1 UAD 1e and UAD 2 can all be installed and used simultaneously as a multidevice system See Chapter 5 Using Multiple UAD Devices Important The UAD 1 will ONLY work in PCI and PCI X slots and the UAD le UAD 2 and UAD Xtenda will ONLY work in PCI Express PCle slots Be extremely careful to only install the UAD device s into a compatible slot UAD Powered Plug Ins Manual 29 Chapter 2 UAD Installation PCle x1 Installing the UAD Cards PCI PCI X UAD 1 only PCI Express PCle UAD 1e ma a O UAD 2 UAD Xtenda Figure 1 PCI and PC le connectors are incompatible UAD 2 UAD 1e and UAD Xtenda are x1 PCle cards Although these cards can be installed in any x1 x4 x8 x16 PCle slot putting a them in any PCle slot faster than x1 will not improve performance After installing the UAD Powered Plug Ins software install the UAD DSP card s Hardwa
504. pter 16 DreamVerb Mute Mix Dry Wet This switch mutes the signal at the input to DreamVerb This allows the reverb tail to play out after mute is applied which is helpful for auditioning the sound of the reverb Mute is on when the button is gray and off when the button is black The wet and dry mix of DreamVerb is controlled with this slider The two but tons above this slider labeled D and W represent Dry and Wet clicking either will create a 100 dry or 100 wet mix When this button labeled D is enabled DreamVerb is 100 dry It has the same effect as moving the Mix slider to 096 Dry is on when the button is gray and off when the button is black When this button labeled W is enabled DreamVerb is 100 wet It has the same effect as moving the Mix slider to 10096 Wet is on when the button is gray and off when the button is black DreamVerb Preset Management Factory Presets Save Load Default Preset Location In the preset menu there is a bank of 32 factory presets Presets modified in the bank are saved when another preset within the bank is selected Edits to any and all presets in the list are maintained separately within each instance of a plug in within a session To return to the default factory bank settings reload the factory bank Not all plug in hosts include a method for load ing and saving plug in settings DreamVerb in cludes Save and Load buttons within the gra
505. put Gain parameters control the signal levels at the input to the plug in The default value is O dB The available range is 12 dB The right channel control is unavailable when Lexicon 224 is used in a mono in mono out configuration As signal levels into the Lexicon 224 increase the analog and digital re sponse of the device becomes increasingly nonlinear If signals are too high the Lexicon 224 A D inputs and or processor can overload lighting the Overflow LED and causing sonic artifacts See Overflow LED on page 270 for more information Tip Click the text label Input Gain to return the value of both channels to Zero The independent left L and right R Output Level parameters control the signal levels at the output of the plug in The default value is O dB The avail able range is infinite dB to 12 dB The right channel control is unavail able when Lexicon 224 is used in a mono in mono out configuration Tip Click the text label Output Level to return the value of both channels fo zero Link unlink allows the left and right controls for Input Gain and Output Level to be unlinked non ganged in order to apply a different value for each channel Link is inactive when the LED is unlit Click the Link LED to toggle the state The default state is ON If the left and right controls have different values when link is inactive and Link is engaged the left channel value is copied to the
506. put configuration Link has no affect Ratio defines the amount of gain reduction to be processed by the compressor For example a value of 2 expressed as a 2 1 ratio reduces the signal above the threshold by half with an input signal of 20 dB being attenuated to 10 dB ja pr RATIO COMPRESS The UAD SSL E Channel Strip compressor offers a continu ously variable ratio between 1 1 no compression and infin ity 1 limiting Note Signals must exceed the Threshold value before they are attenuated by the Ratio amount Threshold defines the signal level at which the onset of com pression occurs Incoming signals that exceed this level are compressed Signals below the level are unaffected Ho 9 20 The available range is 10 dB to 20 dB Rotate the control THRESHOLD f R clockwise for more compression UAD Powered Plug Ins Manual 487 Chapter 50 SSL E Channel Strip Compress Release Compress Attack Gate Expander Dynamics Select This compressor has an automatic make up gain function As Threshold is low ered and compression increases as knob is rotated clockwise output gain from the module is increased automatically to compensate Release sets the amount of time it takes for gain reduction to cease once the input signal drops below the threshold level 1 Longer release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for mater
507. quencies to pass while attenuating higher frequencies The slope of the Low Pass filter depends on the value set for the filter At 6K 7K5 and 9K values the filter slope is 18 dB octave At these values a small 1 5 to 2 dB bump occurs in the response before the curve drops off At 12K the slope is 30 dB octave At 18K a modified elliptical fil ter is used In the mastering version when Low Pass is set to 27kHz the frequency re sponse is down by about 0 6 dB at 20kHz When the control is set to 52kHz there is actually a boost of about 0 4 dB at 20kH7z the filter is slightly reso nant at this setting so there is a slight boost before the filter starts rolling off High Pass The High Pass filter allows the channel s higher frequencies to pass while attenuating lower frequencies The slope of the High Pass filter is 18 dB octave UAD Powered Plug Ins Manual 295 Chapter 28 Manley Massive Passive EQ Mastering Filters Other Controls Power Link rewlewhihs 1 10935 5mall Signal AC 3 Fr quency Hz 10 000 31 623 100 000 316 228 1 000k 3 162k 10 000 3 1 623k i i i i 7 l l i BK 42 777 6 190 59 487 78 808m 28 807m 120 76 533m PT8 431m 35 F4Tk Figure 104 High Pass and Low Pass filter response curves standard version The Low Pass High Pass filter frequencies in the mastering version are tuned specifically for mastering and the slopes are flatter until
508. r Fle The EMT 250 octronic Reverberator a dream becomes reality Original EMT 250 advertisement A dream becomes reality SERAIT The EMT 250 Electronic Reverberator hardware unit Special thanks to EMT Studiotechnik GmbH Dr Barry Blesser Allen Sides and Ocean Way Recording for their assistance with this project 226 Chapter 19 EMT 250 Electronic Reverberator UAD Powered Plug Ins Manual CHAPTER 20 EP 34 Classic Tape Echo EP 34 Overview The EP 34 combines EP 3 and EP 4 sonics and features to achieve the best of the later solid state Echoplex designs The Echoplex uses an infinite tape loop combined with a sliding record head that allows the user to achieve the desired delay length EP 34 emulates the great idiosyncrasies of these tape based echo units such as the unique Echo Delay record head slider that can be moved in real time while used in conjunction with the Echoplex s Echo Repeats control to create echo and pitch chaos The distinct and musical input clipping is captured in the units Record Volume control making the EP 34 a tone box for distortion Echo Volume allows the blending of the original and effected signal however even the dry signal is affected by the unit The Echoplex self oscillation capabilities are captured as well including the squelch effect an interruption in self oscillation achieved at extreme set tings when processing low frequency material like drum loops w
509. r is offered for the internal control signal sidechain to reduce the sensitivity of the compression to lower frequencies while retaining them in the output sig nal An automatic Fade feature is included which allows the user to set a cus tom fade out or fade in of the mix between 1 and 60 seconds long Rounding out the feature set is a Mix control that allows the user to achieve parallel style dynamics control without the need for a second buss or channel UAD Powered Plug Ins Manual 381 Chapter 36 Precision Buss Compressor Precision Buss Compressor Screenshot INPUT LEVEL AdB PEAK p a A ECO WB PEAK gge REDUCTION UNIVERSAL AUDIO Figure 133 The Precision Buss Compressor plug in window Precision Buss Compressor Controls Filter Threshold Control knobs for the Precision Buss Compressor behave the same way as with all UAD plug ins Parameters with text values can be modified with text entry See Text Entry on page 91 for more information Filter regulates the cutoff frequency of the filter on the compres sor s control signal sidechain Removing low frequency content trom the sidechain can reduce excessive gain reduction and or pumping on bass heavy audio signals without reduc ing bass content of the audio signal itself FILTER The filter is an 18 dB per octave coincident pole high pass filter The avail able range is 20 Hz 500 Hz and Off Note The Filter parameter affec
510. r on the left side and Left Rear Right Front and a phase inverted Right Rear on the right IV imparts a pseudo quadraphonic sound Predelay Lever 4 Lever 4 is can be used as a common predelay to all four delays See Lever 4 Predelay on page 215 for more information Front Rear In Chorus mode the Front Rear Outputs switch is not illuminated the sound is identical in both pairs of outputs When moved to the Rear position the plug in output is summed to mono See Front Rear Outputs on page 215 for more information Echo program mode produces a single monophonic delay effect with feed back and adjustable delay time Up to 375ms of delay is available The feedback recirculation circuit is always active in Echo mode The feed back signal path is attenuated by approximately 10 per loop circulation and includes an adjustable high frequency attenuator for damping Note The maximum delay time of 375ms in Echo mode is obtained by set ting the coarse fine and predelay times to their respective maximum values Coarse Echo Time Lever 1 Lever 1 controls the coarse delay time The coarse delay time range is O to 300ms selectable via 16 steps The green LEDs on right side of lever 1 display the current value the red LEDs on the left side of lever 1 are inactive Fine Echo Time Lever 2 Lever 2 controls the fine delay time Fine delay times of Oms 5ms 10ms and 15ms are available The green LEDs on rig
511. r FireWire de vices on the bus Figure 41 on page 141 details all of the elements in the gauge UAD Powered Plug Ins Manual 140 Chapter 11 UAD 2 Satellite Sharing Bandwidth Bandwidth Control DSP P 5 DB MERI FEW Figure 40 The UAD Meter with UAD 2 Satellite Important FireWire bandwidth is unrelated to UAD DSP loads See FireWire Bandwidth vs UAD DSP on page 142 for details If UAD 2 Satellite is the only device on the FireWire bus UAD processing trof fic can use the entire bandwidth of the bus However if other FireWire de vices are on the bus the amount of bandwidth used for UAD traffic must be reduced so those devices will have enough bandwidth for their processes as well The FireWire bandwidth used for UAD traffic is controlled using the UAD Bandwidth Allocation on page 79 By using the FireWire Gauge on page 82 it s easy to determine how much bandwidth is being used by the non UAD devices so appropriate choices can be made when setting the UAD Bandwidth Allocation These settings and all other UAD 2 Satellite FireWire parameters Figure 42 on page 142 are made in the UAD Meter amp Control Panel See FireWire Panel on page 77 for detailed descriptions of the FireWire controls Available FW bandwidth headroom Total available Firewire bus bandwidth UAD Bandwidth Allocation blue green pe Available for UAD Used by other devices green Total allocated
512. r kHz Screenshot 397 Precision Equalizer 400 Precision Equalizer Controls 401 Precision Limiter 406 Precision Limiter Controls 407 Precision Limiter Latency 405 413 434 Precision Limiter Meters 408 Precision Limiter Screenshot 407 Precision LimiterGroup Bus Example 110 Precision Maximizer 414 Precision Maximizer Controls 415 Precision Maximizer Operating Tips 419 UAD Powered Plug Ins Manual Precision Maximizer Screenshot 415 Precision Multiband 421 Precision Multiband Latency 434 Precision Multiband Screenshot 421 Pre Delay 190 Predelay Knob 211 Pre EQ Hi Knob 360 Pre EQ Lo Knob 359 Pre EQ Mid Knob 360 Preflex Features 354 Preflex Module 354 Preflex Overview 354 Pre Flight Check 123 Preset Design Tips 191 Preset Management 189 Preset Settings Compatibility 87 Primary Controls 271 507 Pro Tools Configuration Window 83 Program 63 Pultec EQP 1A Program Equalizer 435 Pultec Latency 436 Pultec MEQ 5 435 Pultec Pro 435 Purchase Procedure 53 Purchasing Plug Ins 52 Q Q Bandwidth Knob 151 Rate 368 Rate Knob 167 364 368 375 Rate knob 373 Ratio 259 Ratio Knob 165 R Delay Knob 166 ReadMe 20 RealVerb Pro 444 RealVerb Pro Background 445 Recirculation RECIR Knob 167 170 542 INDEX Recirculation Recir Knob 365 377 379 Reconnect 125 133 Recovery 329 330 Reflections End 184 Reflections Panel 183 Reflections panel 177 Reflections Start 184 Registration 52 Relati
513. r multiple peaks Position 6 400 microseconds Program dependent 300 milliseconds for transients 10 seconds for multiple peaks 25 seconds for consistently high program level When this control is set to Link it causes the two channels of the compressor to compress equal amounts This does not mean that the compressor will be equally sensitive to either channel however that depends on the settings of the other controls It simply means that the instantaneous amount of compres sion for the two channels will always be the same Balance controls the bias current balance and always goes with one channel of the compressor regardless of what the nearby metering switch is set to The point of perfectly calibrated bias currents is achieved when the dot in the screw slot is at 12 o clock At this setting the amount of additive signal de flection thud which happens due to an attack is minimized Setting this control counter clockwise from this position results in a thud of one polarity on transients and going clockwise produces a thud of opposite sign UAD Powered Plug Ins Manual 240 Chapter 21 Fairchild 670 DC Bias Channel Input Gain Output Gain Controls Link DC Bias controls the ratio of compression as well as the knee width As the knob is turned clockwise the ratio gets lower and the knee gets broader The threshold also gets lower as the knob is turned clockwise The factory cal tick mark should be
514. r window Note The Quit Minimize and Menu button positions shown in Figure 4 are as they appear on Mac systems The button positions are reversed on Win dows systems reflecting the conventions for each OS platform UAD Powered Plug Ins Manual 60 Chapter 6 UAD Meter amp Control Panel Launching the UAD Meter amp Control Panel Application Windows a To launch the UAD Meter in Windows 1 Double click the UAD Meter 8 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 amp 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 To launch the UAD Meter in Mac OS X 1 Single click the UAD Meter amp Control Panel alias that was optionally placed in the Dock during installation OR 2 Double click the UAD Meter amp Control Panel application that was installed to Applications Powered Plug Ins Tools during installation Using the UAD Meter Always On Top The UAD Meter amp Control Panel can be launched or quit at any time It does not need to be open or active to use UAD Powered Plug Ins It is completely independent and does not require a host application You can move the UAD Meter to a convenient location on your screen by dragging its window title bar The UAD Meter window can be set to normal
515. ranny Bypass and Tranny Off modes The currently active mode is indicated by the adjacent LED s Tranny green LED The Tranny processor is active in this mode see The Tranny Processor on page 195 for a detailed description of this mode The Tranny circuit adds fre quency rounding low order clipping intermodular distortion and transient clipping On FATSO Sr the Tranny amount can be set with the Tranny Level control page 205 Note Disabling Tranny will yield a significant reduction in UAD DSP usage when DSP Loadlock page 73 is disabled If DSP Loadlock is enabled the default setting disabling Tranny will not reduce DSP usage Tranny Off red and green LED s off In this mode the Tranny processor is inactive but the other processors are ac tive This mode requires less UAD DSP than when Tranny is active Bypass red LED All FATSO controls and processing for the channel are inactive in this mode Note UAD DSP load is not reduced in Bypass mode If you want to reduce UAD DSP usage when bypassing both channels of the FATSO use the Power switch instead oage 202 The Output knob controls the signal level that is output T 8 from the plug in FS m 8 Note This control has no effect when Bypass By pass Tranny on page 200 is active UAD Powered Plug Ins Manual 200 Chapter 17 Empirical Labs EL7 FATSO Global Controls The global controls are not channel specifi
516. ratuitous Question Controls Power Switch Metering 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 chan nels will cause a bit more compression than a transient which only appears on left or right The attack and release behavior is determined by the average of the settings for the two channels The mode in which the compressors operate is determined by the combina tion of the AGC switch and the Sidechain Link switch The switch positions re quired for each mode is shown in Table 12 below Table 12 Fairchild Operating Modes AGC Switch Sidechain Link Operating Mode Left Right Unlinked Dual Left Right Dual Mono Lat Vert Unlinked Lateral Vertical Dual mono stereo Left Right Stereo couple left right Lat Vert Stereo couple mono stereo Is there any reason would want to link the two sidechains together and still have the settings for the two channels different Yes Linking the sidechains simply prevents left right image shifting Threshold and input gains can be set independently to cause the compressor to be more sensitive to instruments which are panned to one side or the other Output con trols can be set separately in order to correct an overall image sh
517. rce On a stereo signal both channels ascend in pitch in synchronization with the Trem Fade amplitude ramp Trem Down The Trem Fade module is used as the LFO source On a stereo signal both channels descend in pitch in synchronization with the Trem Fade amplitude ramp Trem U D The Trem Fade module is used as the LFO source On a stereo signal the left channel ascends in pitch as the right channel descends in synchronization with the Trem Fade amplitude ramp Trem D U The Trem Fade module is used as the LFO source On a stereo signal the right channel descends in pitch as the left channel ascends in pitch in synchronization with the Trem Fade amplitude ramp The Mode menu reconfigures the settings of the Mod Delay controls Addition ally the function and label of the second and third controls in the Mod Delay module are determined by the Mode menu When the Mod Delay Mode is set to Flanger the second and third knobs are labeled Sweep Lo and Sweep Hi respectively When the Mod Delay Mode is set to Chorus or Vibrato the second and third knobs are labeled Depth and Time respectively In all modes except Flanger the function and sound of the controls are iden tical only the settings are different Similarly in Flanger 1 and 2 modes the function and sound of the controls are identical only the settings are different Table 26 Mod Delay Mode Menu List Flanger 1 Vibrato 2 Flanger 2 Comb Filter 1 Quad Chorus Vibrato 1 Comb Fi
518. rdance with the Plug In License Policy on page 54 you can t have UAD devices from two separate computers in the same System Each System generates a unique authorization file Authorization Notes e UAD devices must be authorized to run bundled included plug ins See Authorization Overview on page 47 for details e Without authorization UAD plug ins can be enabled to run for 14 days without functional limitations in a timed demo mode see Demo Mode on page 50 e Older versions of the UAD software may not include all the latest UAD plug ins To ensure all UAD plug ins are installed and for optimum perfor mance we recommend updating to the latest UAD version See Check for Updates on page 64 UAD Powered Plug Ins Manual 49 Chapter 4 My uaudio com Demo Mode Demo Activation e Optional plug ins are contained within the UAD software installer not the vad authorization file Download and install the latest UAD software ver sion to ensure the optional plug ins that you are authorizing are installed e The uad vad2 authorization file contains plug in license keys for the spe citic UAD devices in each computer group at My Systems The file will not authorize any other UAD devices e An authorization file is not associated to the host computer or the UAD in staller in any way Instead it is associated with the UAD devices at My Sys tems it s the UAD hardware that is authorized not the UAD plug
519. re available Each has a different Fade In curve and there fore a different volume envelope shape Note If the Threshold value is set too high for the source signal in Fade mode the effect will not be triggered and the audio will never fade in Shimmer Mode In Shimmer mode when the input signal level crosses the threshold value the Tremolo effect will gradually increase according to the time set with the Onset knob The Fade In knob is also active in Shimmer mode Three Shimmer modes are available Each has a different Onset curve Note If the Depth value is zero and or the Threshold value is set too high in Shimmer mode you will not hear the Shimmer effect UAD Powered Plug Ins Manual 373 Chapter 35 Nigel Trem Fade On Off Button Tremolo Mode When Tremolo mode is selected the Fade In and Onset controls are set to zero and the Trem Fade module behaves as a normal tremolo effect How ever the Fade In and Onset controls are still 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 Note If the Depth value is zero and or the Threshold value is set too high in Tremolo mode you will not hear the tremolo effect VariTrem Mode In VariTrem mode the tremolo rate is automatically increased or decreased in realtime The rate is ramped up or down according to the value of the Onset control For example if VariTr
520. re engaged circuit coloration is modeled even when set to zero cut frequency values 25 Hz and 20 kHz respectively The Cut Enable In switch is to the left of the EQ In switch on the graphical interface High Pass low cut This control determines the cutoff frequency for the high pass filter The avail able range is 25 Hz to 3 15 kHz UAD Powered Plug Ins Manual 243 Chapter 22 Harrison 32C EQ Four EQ Bands Low Peak Low Frequency Low Pass high cut This control determines the cutoff frequency for the low pass filter The avail able range is 1 6 kHz to 20 kHz Each of the four EQ bands have similar controls The band center frequency is controlled the top j row of knobs and the band gain is controlled by the bottom row peu The low EQ band can be operated in either peak or shelf mode i When the Low Peak switch is in the out position the low EQ band operates in shelf mode When the Low Peak switch is engaged darker the low EQ band operates in peak mode the other bands always operate in peak mode This control determines the low band center frequency or the edge frequency when in shelf mode to be boosted or attenuated by the band Gain setting The available range is 40 Hz to 600 Hz Low Gain This control determines the amount by which the frequency setting for the low band is boosted or attenuated The available range is 10 dB Low Mid This control determi
521. re installation is the same for all platforms To install the UAD DSP and or UAD Xtenda card s 1 Install the UAD software first page 27 2 Power down the computer system 3 Open the computer case If necessary refer to the computer manufacturer s documentation for instructions 4 Remove the rear slot cover and screw of an available expansion slot 5 Before handling the UAD card discharge any static electricity by touching the outer casing of the power supply 6 Remove the UAD card from its protective anti static bag Do not touch the gold edge connector contacts UAD Powered Plug Ins Manual 30 Chapter 2 UAD Installation Authorization 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 PC le 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 Replace the computer case Hardware installation is now complete Proceed to Authorization in the next section Your UAD device must be registered at my uaudio com to download an au thorization file and you need a my uaudio com account to register the de vice These steps are detailed in the Autho
522. re is operating properly The total number of UAD plug ins loaded on each device is also displayed here Individual UAD devices can be disabled using the Device Enabled but ton This can be useful for example if creating a session on a system with multiple devices that will be transferred to a system with fewer de vices to streamline the performance of the host system when multiple devices are not needed or to manually balance loads on UAD 1 only multidevice sys tems Click the button to disable an individual device The device is en abled when the button is blue For additional information regarding multidevice use see Chapter 5 Using Multiple UAD Devices Devices remain disabled only while the UAD Meter amp Control Panel applica tion is open When the UAD Meter amp Control Panel is quit disabled devices are re enabled Note Disabling devices does not disable plug ins already running on the de vice it only prevents additional plug ins from being loaded onto it Important For optimum results quit any host applications using UAD plug ins before disabling enabling devices UAD Powered Plug Ins Manual 66 Chapter 6 UAD Meter amp Control Panel DSP Load Save Detailed System Profile Plug Ins Panel Authorize Plug ins button If more than one UAD DSP is installed information for each of the processors is displayed DSP Program PGM and Memory MEM loads are dis played as a p
523. re phase shifting occurs as the response gets steeper Note UAD DSP usage does increase some as the filters get stronger unless UAD 2 DSP LoadLock on page 73 is enabled Cut Enable This button activates the cut filters The filters are enabled when the In button Button is green UAD DSP usage is slightly reduced when the cut filters are disabled unless UAD 2 DSP LoadLock on page 73 is enabled UAD Powered Plug Ins Manual 149 Chapter 12 Cambridge EQ Cut Frequency Knob EQ Bands Enable Button Frequency Knob This knob determines the cutoff frequency for the Cut filters The available range is from 20 Hz 5 kHz for the low cut filter and 20 Hz 20 kHz for the high cut filter All five of the EQ bands can be used in parametric or shelf mode Each band has identical controls the only difference is the frequency range values The function of the controls is similar in both parametric and shelf modes The two modes are described separately see Parametric EQ on page 151 and Shelf EQ on page 154 Figure 48 The EQ Band controls Each band can be individually engaged with the Enable button The button is green when the band is enabled All bands default to disabled To enable any band click the Enable button You can use these buttons to compare the band settings to that of the original signal or to bypass the individual band UAD DSP usage is slightly de creased when a band is disabl
524. ready 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 O dB this feature cannot be automated Input Level mag Input controls the signal level that is input to the plug in Increas x wee ing the input may result in more compression depending on the values of the Threshold and Ratio parameters The default value is O dB The available range is 20 dB Mix The Mix control determines the balance between the original and the processed signal The range is from 0 dry unproc essed signal only to 100 wet processed signal only The default value is 100 Output Level Output controls the signal level that is output from the plug in The default value is O dB The available range is 20 dB Output controls both the dry unprocessed and wet processed signals as determined by the Mix control Generally speaking adjust the Output control after the desired amount of compression is achieved with the Threshold and Ratio controls Output does not affect the amount of compression Level Meters The stereo peak hold Input and Output Meters display the signal level at the input and 0 2 i output of the plug in L
525. reduce SUSTAIN to change that If you how ever want to cre ate soaring guitar solos that would make even David Gilmour blush just crank up the SUSTAIN control to the max and there you go With miced acoustic guitars you can emphasize the room sound by turning up SUSTAIN If you want the guitars to sound more intimate and with less ambi ence simply reduce SUSTAIN Speaking of bass Imagine a too sluggishly played bass track you may not have to re record it Reduce the SUSTAIN until you can hear clear gaps be tween the downbeats the legato will turn into a nice staccato driving the rhythm section forward Always and everywhere the same reverb presets boring aren t they Try sending the output of your reverb through the Transient Designer Now crank the ATTACK control to the max and reduce SUSTAIN to a bare minimum The intensity of the reverb is now much higher in the beginning while the reverb time is reduced The opposite can be just as intriguing manipulate a reverb pattern so that it takes on a pyramidal slope Turn the ATTACK all the way to the left and SUS TAIN all the way to the right Now the beginning of the reverb is strongly re duced whereas the sustain blossoms and seems almost endless obviously that will only happen if the decay of the reverb in the actual reverb device has been set to a sufficient value a signal must always be present as long as the sustain time lasts You can also create a reverb effect that m
526. remove the connector 3 Insert the desired connector and rotate clockwise until it snaps into place To change AC connector 1 Press and hold button 2 Rotate counter chochwise Figure 29 Changing the AC connector Note The removable connectors are keyed so they cannot be inserted incor rectly UAD Powered Plug Ins Manual 130 Chapter 11 UAD 2 Satellite Connecting Important Install the UAD software before connecting UAD 2 Satellite see UAD 2 Satellite UAD Software Installation on page 27 UAD 2 Satellite may be connected before or after the system is booted To connect UAD 2 Satellite 1 Ensure that UAD v5 8 1 or higher software is already installed and that the system was restarted after software installation See UAD Software In stallation on page 27 for specific instructions 2 Ensure that all UAD plug in host software is quit 3 Select a suitable location for the UAD 2 Satellite chassis see Satellite In stall Location on page 129 4 Connect the AC end of the External Power Supply to an AC outlet If you need a different AC connector for your country see page 130 5 Connect external power supply output cable to the DC input on the rear panel of the UAD 2 Satellite chassis 6 Connect one end of the FireWire cable to the FireWire port on the host computer 7 Connect the other end of the FireWire cable to the UAD 2 Satellite chassis 8 Turn on UAD 2 Satellite using the power sw
527. requency of both filter channels in all modes lowpass bandpass highpass UA has expanded the available frequency range of 20 Hz to 12 kHz on the MF 101 Moogerfooger to the broader avail able range of 12 Hz to 12 kHz on the Moog Mulitmode Filter In lowpass mode frequencies above the cutoff are attenuated In highpass mode frequencies below the cutoff are attenuated In bandpass mode the cutoff value is the center frequency attenuation occurs above and below the cutoff value in this mode Tip The cutoff value can be adjusted in musical semitone 1 2 step incre ments decrements using coarse control shortcuts and 1 4 semitone incre ment decrement using fine control shortcuts See Shortcuts on page 91 for more details Resonance determines the amount of filter feedback which accentuates the harmonic content at the cutoff frequency Higher values can produce a whis tling quality to the filter and at very high values the filter may self oscillate Resonance works the same way in all three filter modes The filter slope is determined by this switch The slope defines how steep the frequencies above the cutoff in lowpass mode or below the cutoff in highpass mode are rolled off 2 Pole In 2 pole mode the filter has a slope of 12 dB per octave For example in lowpass mode frequencies that are double the cutoff frequency an octave are attenuated by 12 dB 2 pole filtering is less aggressive than 4 pole mode
528. res and control set plus all the musicality of the standard version with a few tweaks that offer more practical functionality for program material The Mastering version fea tures include e Stepped channel gain band gain and bandwidth controls for repeatabil ity e Channel gain and band gain ranges are reduced for finer resolution e Low high pass filter frequencies and slopes are optimized for mastering The Mastering Massive Passive is identified by the all black flat top band gain and bandwidth control knobs and the word MASTERING near the cen ter of the interface Figure 101 on page 288 UAD Powered Plug Ins Manual 289 Chapter 28 Manley Massive Passive EQ Standard vs Mastering Versions The layout and function of the Massive Passive controls are essentially identi cal for both the Standard and Mastering versions The exact control differ ences between the controls are detailed in Table 17 below Table 17 Control differences between Massive Passive versions Standard Meson 6 7 5 9 12 18 15 20 27 40 52 18 dB oct 6K 7K5 9K 18 dB per octave 30 dB oct 12K 30 dB oct 52K Modified Elliptical 18K Massive Passive Band Controls Boost Cut Out Massive Passive has two identical channels left and right Each channel has four EQ bands with five controls in each band Because both UAD Massive Passive plug ins BANOWI i a aari ree a kahani operate the same way and th
529. ression but when you use it that way there s something about it that just sounds really great It does depend how it s set on the back where there s a flat control that can be set to roll off certain frequencies when you reduce more gain If you have a singer with an intensely pierc ing voice find that compressor a good one incredibly useful It makes things warmer espe cially when you crank it and for thinner voices that can be just the ticket Allen Sides Allen Sides has always been known for having golden ears when it comes to the sound of equipment The owner of Ocean Way Studios in Los An geles and Nashville he s also a speaker designer and engi neer who is especially re spected for his work with live musicians including orchestra UAD Powered Plug Ins Manual 531 Chapter 54 History 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 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 used them on the left right overheads as effects limiters It s something learned from engineer Don Landy who worked with Randy Newman a lot mult the left and right overheads and bring them back on the console then insert a pair
530. rface for example when viewing automation or using control surfaces Some Fair child parameters are named with A and B instead of L and R because that s how the plug in operates depending on the mode i e lat vert the channel parameters are not always associated with the left and right chan nels UAD Powered Plug Ins Manual 236 Chapter 21 Fairchild 670 Fairchild Modes Dual Left Right Lateral Vertical Stereo coupled left right In Dual L R mode the Fairchild operates as two monophonic compressors with completely independent controls for the left and right channels There is no interaction between the left and right channels In Lat Vert mode the 670 acts on the lateral and vertical the sum and differ ence components of the two stereo channels This is accomplished by first bringing the two stereo channels through a matrixing network which divides them into their respective lateral and vertical components limiting these lat eral and vertical components then recombining them through a second ma trixing network into the left and right channels again The L R mono signal is sent to one compressor and the LR stereo signal is sent to the other The two compressors work independently of each other and after compression the L and R signals are recovered once again by sum and difference This mode was created for use in mastering records where the mono and stereo components of the signal are
531. rface or when in controls only non GUI mode will have no effect When set to unlink down position the controls for channels one and two are completely independent Unlink is generally used in mono mode When un linked automation data is written and read by each channel separately Note If disparate values are set under the unlinked state the left channel will override the right channel when Link is activated Massive Passive Latency The Massive Passive and Massive Passive Mastering EQs use an internal up sampling technique to facilitate their amazing sonic accuracy This upsam pling results in a slightly larger latency than other UAD plug ins See Com pensating Upsampled Plug Ins on page 107 for more information Note Compensating for Massive Passive is not required if the host applica tion supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 Notes from Manley Laboratories e Do not assume the knob settings mean what you expect they should mean Part of this is due to the interaction of the controls Part is due to the new shelf slopes and part due to a lack of standards regarding shelf spec ification e You may find yourself leaning towards shelf frequencies closer to the mids than you are used to and the action seems closer to the edges of the spec trum than your other EQs Same reasons as above
532. rial Levels Mute F GET IE TE J Input Gain Output Gain Positioning Mix tF F w Distance os im IT Direct 100 L 100 F uF JC ng arc Eat 0 0 dB E TA ET dB 475 ite 6 85 de Early 100L f 100 F L e F Lat 100L f 1100F aaa NG Ig AE KTA EE Figure 152 The RealVerb Pro plug in window UAD Powered Plug Ins Manual 445 Chapter 45 RealVerb Pro The RealVerb Pro user interface is similarly organized see Figure 152 Re tlected energy equalization is controlled with the Resonance panel The pat tern of early reflections their relative timing and amplitudes is determined by the room shapes and sizes in the Shape panel early reflection predelay and overall energy is specified at the top of the Timing panel The Material panel is used to select relative late field decay rates as a function of frequency The overall late field decay rate is chosen along with the room diffusion late field predelay and late field level at the bottom of the Timing panel Finally the Po sitioning panel contains controls for the placement of the source early reflec tions and late field reverberation Spectral Characteristics Shape and Size The Shape and Material panels specify the room shape room size room ma terial and thickness These room properties affect the spectral characteristics of the room s reflections The pattern of early reflections in a reverb is determin
533. rials by dragging the vertical Blending Bar horizontally Drag the bar to the right to emphasize the first material drag to the left to em phasize the second material The relative percentages of the two materials appear next to each menu in the Materials panel To use only one material drag the Blending Bar so a mate rial is set to 100 Air Blending Blend the air density with the materials by dragging the horizontal Blending Bar vertically Drag the bar to the top to emphasize the solid materials drag to the bottom to emphasize the air The percentage of air used appears next to the Air Density menu To use only solid materials drag the horizontal Blending Bar to the top so air is set to OK To use only air drag the horizontal Blending Bar to the bottom so air is set to 100 Reflections Panel The Reflections panel Figure 72 on page 184 offers control over the timing and relative energies of the reverb early reflections ER These parameters ef fect the reverb s perceived clarity and intimacy Each early reflection is visu ally represented by a yellow vertical line with a height indicating its arrival en ergy and a location indicating its arrival time Unique to DreamVerb is independent control of the amplitude at the early re flection start and end points which facilitates envelope shaping of the reflec tions This allows the ability to fade in or fade out the reflections to more ac curately emulate acoustic environmen
534. right channel thereby over writing the right channel value UAD Powered Plug Ins Manual 279 Chapter 26 Lexicon 224 When Link is active automation data is written and read for the left channel only The automation for the left channel controls both channels in Link mode Note When link is active modifying the right channel parameters will have no effect when changed from a control surface or when in controls only non GUI mode Bug Fixes The original Lexicon 224 code contains programming errors in the Hall B and Chorus algorithms These computer code bugs can cause incorrect Bass decay times Hall B programs and undesirable pops and or thumps in the right channel Chorus program with certain source signals and parameter configurations The bugs have been corrected in the UAD implementation of the plug in but we have provided the option of using the original code for the sake of pure authenticity The UA logo is actually a switch When the UA logo is illuminated the source code bugs are fixed The default state is ON Click the UA logo to disable the UA bug fixes and revert to the original hardware behavior Display Hold The Display Hold switch alters the behavior of the Numerical Display page 269 In the original hardware the values of parameters that are being modified are displayed for 1 5 seconds before reverting back to displaying the average decay time The Hold switch changes this be
535. rize Plug Ins Procedure on page 32 Important All UAD plug ins must be authorized before they can be used unauthorized plug ins can be used in demo mode for 14 days without autho rization Authorization is accomplished by clicking the Authorize Plug Ins button in the UAD Meter amp Control Panel application The procedure is in the next section UAD Powered Plug Ins Manual 31 Chapter 2 UAD Installation Authorize Plug Ins Procedure Online Authorization This procedure provides only the step by step process for UAD authorization A complete overview of UAD authorization my uaudio com and the UA on line store is in Chapter 4 My uaudio com Note The following procedure requires an internet connection on the UAD host computer To authorize from a system that is not online see Offline Au thorization on page 33 To download and apply the UAD authorization file when connected to the internet 1 Install UAD version 5 or higher software and the UAD hardware using the procedures detailed in this chapter the system must be operating properly 2 Launch the UAD Meter amp Control Panel application see page 61 and open the Plug Ins panel see page 63 3 Click the Authorize Plug Ins button page 67 The my uaudio com online store opens in the default web browser e f you don t already have a my uaudio com account you are directed to cre ate one Follow the instructions online e f you
536. rocessor UAD Powered Plug Ins Manual 268 Chapter 26 Lexicon 224 Primary amp Hidden Controls Parameter Ranges amp Default Values Display Panel When configured as mono in mono out MIMO output A is used exclu sively except in programs 2 4 and 9 where outputs A and C are summed into one monophonic signal This implementation is recommended in the orig inal hardware manual If Rear Outs is enabled in MIMO mode outputs B and D are used instead of A and C See Table 15 on page 283 for a list of outputs used with each program in this configuration The primary controls those that are most typically used are on the main re mote control panel interface Additional less typically used controls are available in a hidden control panel The hidden control panel Figure 98 on page 278 is accessed by clicking the OPEN text label to the right of the Display Panel For detailed descriptions of all parameters see Primary Controls on page 271 and Hidden Controls on page 278 The parameter value ranges default values and availability of particular pa rameters within a given program may vary depending on which program is active Parameter ranges are listed in the individual control descriptions De fault parameter values for each program are listed in Table 16 on page 283 Note Extreme parameter settings can cause Lexicon 224 to selt oscillate or cause other unexpected sounds This behavior is
537. rom Abba to Sade Most notably the 4032 is famous as the mixer from which many Michael Jackson records including Thriller the best selling album of all time were made An original 4032 still resides in Florida with Thriller engineer and Bill Putnam prot g Bruce Swedien where he continues his love affair with the desk he calls marvelous sounding Universal Audio s plug in version of the all important 32C EQ module is measured from Mr Swedien s personal console This colorful 4 band EQ with high and low cut fil ters will impart the same warm and rich sound from his Harrison and will impart the same impact sonic clarity and creativity as he experienced mak ing some of the best loved records of our time The Harrison 32C contains four overlapping parametric peaking bands Each band has fully sweepable Frequency and Gain controls Instead of traditional Q controls the 32C has special circuitry that according to the original hard ware documentation automatically adjusts the effective bandwidth under all conditions This dynamic property and the interplay between the overlap ping bands contribute to the device s musicality and unique sonic signature The low EQ band can be switched from peak to shelf mode and high low pass filters are available Additional digital only features not included on the original hardware include gain phase invert and a global power switch An SE version is also provided for
538. rtant to connect that device directly to a FireWire port that supplies bus power such as the computer itself or an exter nally powered FireWire repeater that is specifically designed to supply bus power Important UAD 2 Satellite cannot be bus powered and it does not supply bus power from its FireWire ports to other devices Figure 43 on page 144 illustrates the proper method of connecting bus pow ered FireWire devices with UAD 2 Satellite An externally powered FireWire repeater or hub that is specifically designed to provide bus power to con nected devices must be used in this case UAD Powered Plug Ins Manual 148 Chapter 11 UAD 2 Satellite Caveats FW800 Computer The externally powered FireWire repeater must supply bus power Powered ol pa fe FW400 repeater to gt lo i UAD 2 Satellite External HD 2 externally powered bus powered NG External HD 1 Apogee Duet externally powered bus powered Figure 43 Proper connection of bus powered FireWire devices This example uses the Apogee Duet a popular audio interface with one FireWire port that can only be bus powered If the Duet was connected di rectly to UAD 2 Satellite it would not have power to operate because UAD 2 Satellite does not supply bus power Therefore the Duet must be connected to the externally powered FireWire repeater or hub that provides bus powering In this example UAD 2 Satellite operates at FireWire 800 speeds because it i
539. s mar a aa PH b22 n PATE LO SWEEP HI PECIP HIX v Ei Tag sn ORDe E Figure 127 The Phasor plug in window This button puts the plug in into Tempo Sync mode See Chapter 8 Tempo Sync for more information Sets the LFO modulation sweep rate of the Phasor The available range is from 0 03 Hz to 10 Hz The Sweep knobs determine the frequency range that will be affected by the Phasor The low and high frequency values can be independently adjusted This flexible arrangement allows the Phasor to affect a narrow or broad fre quency range and also enables you to tune the frequency response charac teristic to match the signal if desired UAD Powered Plug Ins Manual 364 Chapter 35 Nigel Recirculation Recir Knob Mix Knob Sweep Lo Knob Sets the lowest frequency of the Phasor The available range is from 50 Hz to 6000 Hz Because the Sweep Lo frequency cannot be set higher than the Sweep Hi fre quency if the Lo value is increased beyond the Hi value the Hi value will in crease to match the Lo value Sweep Hi Knob Sets the highest frequency of the Phasor The available range is from 50 Hz to 6000 Hz Because the Sweep Hi frequency cannot be set lower than the Sweep Lo fre quency if the Hi value is decreased below the Lo value the Lo value will de crease to match the Hi value Sets the intensity of the filtering effect Higher values increase the intensity Recirculation allows both posit
540. s Bass Gain Mid Freq Mid Gain The Bass knob has a dual purpose It specifies the amount of attenuation when the low band is in shelving mode and specities the frequency of the low frequency peak filter when the Bass Gain knob is not zero When Bass is set to one of the frequency values 60 Hz 100 Hz 200 Hz or 300 Hz the low band is in peak mode In this mode the amount of gain bass boost applied to the specitied frequency is determined by the Bass Gain knob When this knob is set to one of the decibel values 3 6 9 12 15 dB the low band is in bass cut shelving mode with a set frequency of 50 Hz Note Like the original hardware simply putting this control on any frequency will yield approximately 3 5 AB in gain increase even if the Bass Gain control is set to O The Bass Gain knob determines the amount of low band gain to be applied when the Bass knob is in one of the frequency positions Up to 15 dB of boost is available Note Bass Gain has no effect when the Bass knob is in shelv ing mode when Bass set to one of the dB positions This control determines the frequency of the midrange band The following frequencies can be specified 700 Hz 1 kHz 1 4 kHz 2 kHz 2 8 kHz 3 5 kHz 4 5 kHz and 6 kHz Note The gain for the mid band is determined by the Mid Gain control MidFreq has no effect if the Mid Gain control is set to zero In the graphic interface of this control what
541. s One follows the shape of the original curve and adapts perfectly to the dynamic gradi ent The second envelope generator produces an envelope with a longer sustain From the difference of both envelopes the VCA control voltage is derived The gradient of the control voltage matches the time flow of the original signal Positive Sustain values lengthen the sus tain negative values shorten the sustain For more information see The SUSTAIN Control Circuitry on page 482 Ea Gain controls the signal level that is output from the plug in TR The available range is from 20 dB to 6 dB The default value is O dB gui Fi UAD Powered Plug Ins Manual 474 Chapter 49 SPL Transient Designer This 4 stage LED indicates the presence of audio signals at the eee input of the plug in When the input signal is below 25 dB the ee indicator is off At 25 dB to 19 dB the indicator glows slightly At 18 dB to 10 dB it lights with medium intensity At 9 dB to O dB it shines brightly Signal The Overload LED illuminates when the signal level at the out m put of the plug in reaches O dBFS The indicator matches the be EA havior of the original hardware unit However in the software plug in version the output can be overloaded without causing distortion Overload Link Link indicates when stereo operation is active It illuminates when used in a stereo in stereo out or mono in stereo out confi
542. s When used in conjunction with the Sidechain Link switch the operating mode of the compressor can be modi fied See the Fairchild Modes on page 237 and Table 12 on page 238 for detailed mode descriptions Left Right If Left Right is selected and Sidechain Link is off the compressor is in dual mono mode If Sidechain Link is on the mode is stereo trigger left right Lateral Vertical If Lat Vert is selected and Sidechain Link is off the compressor is in lat eral vertical mode and will receive mono stereo as the inputs If Sidechain Link is on the mode is stereo trigger mono stereo This continuously variable control determines the amount of compression to be applied Turn clockwise for more compression When fully counter clock wise the unit behaves as a simple unity gain line amplifier UAD Powered Plug Ins Manual 239 Chapter 21 Fairchild 670 Time Constant Sidechain Link Balance This 6 position switch provides fixed and variable time constants attack and release times to accommodate various types of program material Positions 1 4 provide successively slower behavior and 5 and 6 provide program de pendent response The values published by Fairchild for each position are in Table 13 below The actual measured times are a bit different but the overall trend is the same Table 13 Fairchild Time Constants Position 5 200 microseconds Program dependent 2 seconds for transients 10 seconds fo
543. s techniques To listen to the sidechain key simply disengage DYN SC to hear the filtered signal The sidechain dynamics EQ implementations are true ste reo when used in a stereo in stereo out SISO configuration Note The Filters module must be active not at minimum value in conjunction with the Filters DYN SC button for the Filters sidechain to function An addi tional dynamics sidechain is available in the EQ section EQ to Sidechain DYN SC on page 494 UAD Powered Plug Ins Manual 486 Chapter 50 SSL E Channel Strip Dynamics Separate soft knee compressor limiter and expansion gate modules are available in the dynamics section Each module has their own set of controls Important Dynamics are not processed unless enabled by the Dynamics selector buttons Dynamics In DYN IN on page 490 Compressor Limiter Link Compress Ratio Compress Threshold When UAD SSL E Channel Strip is used in a stereo in stereo out configuration two separate dynamics processors are active one for each stereo channel When Link is engaged the two compres sors are constrained so that they both compress by the same amount at any instant This prevents transients which appear only on one channel from shifting the stereo image of the output Any big transient on either channel will cause both channels to compress Link is active when its amber LED is illuminated When the plug in is used in a mono in
544. s Manual 448 Chapter 45 RealVerb Pro About the Materials 4 Blend the absorption properties of the two materials by dragging the Blend ing bar The relative amount of each material expressed as a percentage appears above their respective pop up menu Drag the Blending bar to the right to emphasize the first material and drag it to the left to emphasize the second material To use only one room material drag the Blending bar so the material is set to 100 Some materials absorb high frequencies and reflect low frequencies while other materials absorb low frequencies and reflect high frequencies This characteristic is determined by the material surface and density Fiberglass for example absorbs high frequencies When high frequencies strike fiberglass they bounce around inside the fibers and lose much of their energy At a thickness of 100 fiberglass rolls off the high frequencies a little bit each millisecond After a while the high frequencies dissipate and the low fre quencies linger If we were to take fiberglass and increase its thickness to 200 the high frequencies would roll off even faster At 200 this high trequency decay happens at twice its normal rate producing a very heavy re verberant tail At 200 a very sizzly late field is created Some materials such as plywood naturally absorb low frequencies while re Hecting high frequencies Since plywood is usually very flat with little surface textur
545. s can be obtained by placing the Studer A800 in subsequent inserts after other processors or on busses in a send return configuration Mixdown to two tracks can be emu lated by placing the plug in on the stereo output bus UAD Powered Plug Ins Manual 505 Chapter 52 Studer A800 Primary amp The primary controls those that are typically most Secondary used are on the main panel at the bottom portion Controls a ee a of the interface Additional typically less used controls are available on the secondary panel The secondary panel see Figure 174 is ac cessed by clicking the Studer A800 label or the OPEN text label above it For detailed descriptions of the parameters see Primary Controls on page 507 and Secondary Controls on page 510 t ae Ug EQUALISER gt Nag Tir w AUTO GAL GANG CTALS MULTICHASHEL TAPE RESSAOER Figure 174 The Studer A800 plug in window with exposed secondary controls UAD Powered Plug Ins Manual 506 Chapter 52 Studer A800 Ganged Operation Mono Stereo Operation Primary Controls Path Select The UAD Studer A800 implements a control ganging feature that allows easy simultaneous parameter modification for all instances of the plug in The fea ture enables the DAW to emulate the multitrack tape deck scenario more ac curately where a single change to some multitrack machine parameters such as tape speed formula and calibration settings would affect al
546. s connected directly to a FireWire 800 computer If external HD 1 is a FireWire 800 device and it is connected a FireWire 800 port on UAD 2 Sat ellite it will also operate at FireWire 800 speeds Because the FireWire re peater is a FireWire 400 device all devices connected to it operate at FireWire 400 speeds See Mixing FireWire Speeds on page 139 for more about connecting devices of various speeds on the same FireWire bus The quality and compatibility of powered FireWire repeaters and hubs can vary widely Just because a FireWire repeater or hub is externally powered doesn t necessarily mean it provides bus power or that it is compatible with UAD 2 Satellite and other FireWire devices For the latest compatibility infor mation and specific repeater and hub recommendations please visit the UAD 2 Satellite support page e htto www uaudio com support uad satellite support UAD Powered Plug Ins Manual 144 Chapter 11 UAD 2 Satellite CHAPTER 12 Cambridge EQ Overview The UAD Cambridge EQ plug in is a mastering quality no compromise equal izer that enables powerful tonal shaping of any audio source Its algorithm was modeled from various high end analog filters providing a sonically rich foundation for timbral manipulation Special attention was given to the han dling of higher frequencies resulting in a much smoother and more satisfying high end response than is found in most digital filters Cambridge EQ is highl
547. s do not already match be tween instantiations before Gang Controls is active the resulting calibrated values may not match either e When Gang Controls is enabled there are no audible or visual changes to the other Studer A800 instantiations until a control is actually changed e When Gang Controls is enabled and a Studer A800 settings preset is loaded via the UAD Toolbar see Settings Menu on page 87 the loaded parameter settings are pushed to all Studer A800 instances Refer to Figure 175 on page 514 for the HF Record EQ Bias Sync EQ and Repro EQ controls These controls are automatically adjusted when Auto Cal is active or they can be manually modified as desired The flat calibrated position for these controls is determined by Tape Type and Tape Speed therefore the available range for these controls is depen dent on the current calibration Tip Clicking the text label for any of the HF Record EQ Bias and Sync Re pro EQ controls will return that parameter to the calibrated value Note When making manual calibration settings consider disabling Auto Cal age 512 so the manually calibrated settings are not accidentally lost if another control is modified UAD Powered Plug Ins Manual 513 Chapter 52 Studer A800 HF Record EQ HF Driver Bias Sync Repro EQ HF DATVER nasad Figure 175 The calibration controls for Studer A800 HF High Frequency Record EQ is provided to make up for common res
548. s get steeper narrower as the control is rotated clockwise The available range is 0 4 to UAD Powered Plug Ins Manual 348 Chapter 34 Neve 88RS Channel Strip LMF Freq LMF Gain LMF Q LF Freq LF Gain LF Shelf Enable LF Hi Q Enable Cut Filters This control determines the LMF band center frequency to be boosted or at tenuated by the LMF Gain setting The available range is 120 Hz to 2 kHz This control determines the amount by which the frequency setting for the LMF band is boosted or attenuated The available range is 20 dB The Q bandwidth control defines the proportion of frequencies surrounding the LMF band center frequency to be affected by the band gain control The tilter slopes get steeper narrower as the control is rotated clockwise The available range is 0 4 to 10 This parameter determines the LF band center frequency to be boosted or at tenuated by the band Gain setting The available range is 33 Hz to 440 kHz This control determines the amount by which the frequency setting for the LF band is boosted or attenuated The available range is 20 dB The LF band can be switched from bell mode to shelving mode by clicking the shelf enable button Shelf mode is active when the button is gray and the yel low indicator illuminates Shelf is off by default The filter slope of the LF band can be switched with this control When Hi Q is off the Q is 0 7 When Hi Q is active the Q is 2 Higher Q
549. s in peak mode when the button is down darker The high midrange band delivers smooth high mid Mee frequency peak equalization with a choice of two af bandwidths The inner knob controls the band gain and the outer ring selects the frequency or band dis able High Mid Gain The equalization gain for the high midrange band is selected with the inner knob of the dual concentric control The available range is approximately 18 dB UAD Powered Plug Ins Manual 316 Chapter 31 Neve 1081 Equalizer Low Mid Band High Mid Frequency The high midrange band frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click directly on the silkscreen text to specify a frequency or disable the band Note You can also click the midrange symbol below the knob to cycle through the available values or shift click to step back one frequency The available high mid band center frequencies are 1 5 kHz 1 8 kHz 2 2 kHz 2 7 kHz 3 3 kHz 3 9 kHz 4 7 kHz 5 6 kHz 6 8 kHz 8 2 kHz and OFF When OFF is specified the band is disabled UAD DSP usage is not re duced when the band is OFF High Mid Q Select normal to a narrower bandwidth for a sharper EQ curve The band is in normal mode by default it s in high Q mode when the button is down darker The High Q button switches the response of the high mid band from The low midrange b
550. s it can be automated as well The Fade function processes the signal at the output of the compressor Fade Set Fade Set determines the amount of time that will pass between the Fade button being activated and the plug in output level be ing reduced to minimum or being raised to O dB in the case of a fade in The available range is from 1 0 second to 60 sec onds Fade times immediately reflect the current Fade Set value Therefore a fade out that has already been initiated can be accelerated by changing Fade Set during the fade out Conversely a fade in can be accelerated by changing Fade Set during the fade in Note that although the Fade Set control itself has linear taper the fade signal level that is output has an exponential curve KI Fade Switch Activating the Fade switch initiates a fade out The fade out time is determined by the Fade Set parameter The Fade switch flashes red when a fade out is in progress and glows solid red when the fade out is complete when the Fade Set time has elapsed Deactivating Fade initiates a fade in During a fade in the signal level is increased from the current level of attenuation to O dB of at tenuation The Fade switch flashes blue when a fade in is in progress and is no longer illuminated when the fade in is complete when the Fade Set time has elapsed UAD Powered Plug Ins Manual 384 Chapter 36 Precision Buss Compressor Toggling the Fade switch causes an al
551. s keyed so it cannot be incorrectly inserted 3 Connect the other end of the UAD Link cable to the UAD Xpander chassis the connector is keyed so it cannot be incorrectly inserted 4 Select a suitable location for the UAD Xpander chassis see Xpander In stall Location on page 121 5 Insert the UAD ExpressCard fully into the ExpressCard 34 or Express Card 54 expansion slot on the host computer until it is firmly seated 6 Connect the AC end of the power supply unit to the AC wall socket If you need a different AC connector for your country remove the attached con nector and replace it with one of the supplied alternate connectors 7 Connect the DC end of the power supply to the UAD Xpander chassis You can loop the power cable through the hook on the chassis to reduce cable strain and the chance of accidental disconnection UAD Xpander connections are now complete If the UAD Powered Plug Ins software is already installed UAD Software In stallation on page 27 you are now ready to use the UAD Xpander Refer to Using UAD Xpander on page 123 Xpander Operation After UAD Powered Plug Ins software v4 7 1 or higher is installed and the UAD Xpander is connected to the notebook computer or desktop computer via UAD Xtenda the system is ready to be powered up and used UAD Powered Plug Ins Manual 122 Chapter 10 UAD ExpressCard Products Startup Sequence Using UAD Xpander Power Indicator Not
552. s programs with the Lexicon factory default settings The default Immediate value is ON Immediate affects the following parame ters Bass Mid Crossover Treble Decay Depth Predelay Diffusion Mode Enhancement Pitch Shift Decay Optimization and Rear Outs UAD Powered Plug Ins Manual 274 Chapter 26 Lexicon 224 Important When Immediate is off and a program is changed previously modified parameter values are lost unless the settings were saved as a preset or if the session file was previously saved so it can be recalled System Noise This UAD only control enables or disables the modeled inherent dy namic system noise of the original Lexicon 224 hardware Disabling System Noise enables a more modern sounding i e cleaner 224 Click the button to toggle the state System Noise is active when the button LED is lit The default state is ON The elements of the modeled System Noise include quantization effects at in put A D output D A and within the algorithm zipper stepping noise when adjusting parameters transformer distortion and the quiescent noise floor Zipper stepping noise when adjusting parameters can be defeated by dis abling System Noise However zipper stepping noise in delay modulation i e Mode Enhancement can only be reduced but not completely defeated by disabling System Noise Note System Noise is a global per instance parameter its state does not change when different programs are selec
553. s the fine delay time for the currently selected channel left or right The currently selected channel is defined by lever 3 Fine delay times of Oms 5ms 10ms and 15ms are available The green LEDs on the right side of lever 2 display the current value the red LEDs on the left side of lever 2 are inactive Note Levers 1 and 2 both control the delay time but these parameters are not individually exposed for external control surfaces and automation In stead a single delay time parameter is exposed for each channel and levers I and 2 in the plug in interface are both updated to match the value Channel Select Lever 3 In Delay mode lever 3 selects which channel left or right the delay time pa rameters levers 1 and 2 will affect When lever 3 is in position L the left channel delay time can be adjusted when in position R the right channel delay time can be adjusted The green LEDs on the right side of lever 3 display the channel selected for de lay time adjustment the red LEDs on the left side of lever 3 are inactive Wt Note Lever 3 position I is a duplicate of position Il L in Delay mode Likewise position IV is a duplicate of position Ill R All positions can be used to select a channel for delay time adjustment UAD Powered Plug Ins Manual 219 Chapter 19 EMT 250 Electronic Reverberator Phase Important In Delay mode lever 3 does not control a real param
554. s the selected Tape Type and when Cal Level is set at 6 6 dB higher than the NAB tape standard the reference fluxivity level is 355 nW m nanoweber per meter and is 10 dB below the point where THD reaches 3 referred to as the maximum operating level Therefore with a 1 kHz test tone at O dBfs sent to the plug in with Tape Type set to 456 Cal Level set to 6 and Auto Cal enabled output levels of the plug in will match the input level and fluxivity on the tape will be 355 nW m The manufacturer s recommended calibration settings for each Tape Type are as follows UAD Powered Plug Ins Manual 508 Chapter 52 Studer A800 e 250 3 Calibration 251 nW m e 456 6 Calibration 355 nW m e 900 9 Calibration 502 nW m e GP9 9 Calibration 502 nW m Note The noise floor is affected by Cal Level when Noise Enable page 511 is active Tip The UAD Studer A800 default bank offers a variety of preset Tape Type Tape Speed CAL level and EQ configurations that are commonly used for the recording of specific genres IPS 75 15 The IPS Inches Per Second control determines the speed of Tape Speed mas LS the tape transport and the associated head bump Head bump is bass frequency build up that occurs with mag netic tape the dominant frequencies shift according to trans IPS port speed 15 IPS is considered the favorite for rock and acoustic music due to its low fre quency head bump low frequency ri
555. sage is increased when three band mode is active unless UAD 2 DSP LoadLock on page 73 is enabled The Limit function provides a second stage of soft saturation just be Ba fore the output control for the plug in It prevents digital overs by a protecting the plug in output from exceeding O dBFS Limit enters into clipping range gradually instead of hard clipping at O dB The Limit function has the same saturation form as the Shape parameter but the effect is milder Limit is especially useful for three band mode where out put peaks over O dB and clipping can occur However great results can also be obtained in one band mode when Limit is engaged If Limit is used to reduce levels by a significant amount it is usually best to have Mix set to 100 in order to minimize audio artifacts aliasing Click the Limit button to engage Limit Alternately you can click hold the LED area and drag like a slider to change the value Note UAD DSP usage is slightly decreased when Limit mode is inactive un less UAD 2 DSP LoadLock on page 73 is enabled The Mix knob is a mix control for the plug in Mix deter mines the balance between the original and the pro cessed signal The range is from 0 no processing to 100 wet pro cessed signal only Note that when Mix is at 0 the signal is still processed by the Limit control if itis enabled and by the band splitter when in three band mode For a true bypass
556. se Once you ve created your custom room presets you can even morph between two presets in real time with no distortion RealVerb Pro also includes intuitive graphic control over equalization timing and diffusion patterns To maximize the impact of your recording we put in dependent control over the direct path early reflections and late field rever beration in your hands Capitalizing on the psychoacoustic technology that went into the design of RealVerb 5 1 we have incorporated some of those principals into RealVerb Pro Our proprietary Stereo Soundfield Panning allows you to spread and control the signal between stereo speakers creating an impression of center and width The ability to envelop your listener in a stereo recording is an en tirely new approach to reverb design Don t rely on your old standby Let RealVerb Pro bring new quality and space to your recordings UAD Powered Plug Ins Manual 444 Chapter 45 RealVerb Pro RealVerb Pro Background Direct Path Source Input Pan Gain Output Pans amp Mute Distance Late Field Reverb Figure 151 RealVerb Pro signal flow Figure 151 illustrates the signal flow for RealVerb Pro The input signal is equalized and applied to the early reflection generator and the late field re verberation unit The resulting direct path early reflection and late field re verberation are then independently positioned in the soundfield Big Bright Hall Mate
557. se and warmer sound while 30 IPS is the norm for classical and jazz due to its lower noise floor greater fidelity and flatter response 7 5 IPS is also available for an even more colored experi ence with even greater frequency shift Tip Click on the IPS text label to stop start the spinning reels animation The OFF position is a bypass control When set to OFF emulation processing is disabled the VU Meter and control LEDs are dimmed and DSP usage is re duced OFF is useful for comparing the processed settings to the original sig nal OFF is identical to the Thru position in the Path Select control page 507 Note DSP usage is reduced only when DSP Loadlock page 73 is disabled If DSP LoadLock is enabled the default setting activating OFF will not reduce DSP usage Input Input acts as an outside gain control like an external console D fader and adjusts the signal level going into the tape cir cuitry The available range is 12 dB to 24 dB UAD Powered Plug Ins Manual 509 Chapter 52 Studer A800 Output VU Meter Just like real magnetic tape lower Input levels will have a cleaner sound while higher levels result in more harmonic saturation and coloration Higher Input levels will also increase the output level from the plug in The Out put control can be lowered to compensate Tip Click the O control label text to return to the Input value to O Output acts as an outside gain control li
558. sed for in dividual tone signals such as a kick drum or toms as opposed to program ma terial This switch disables the plug in When the switch is disengaged the plug in is bypassed When the switch is engaged darker the plug in is active and the green LED is illuminated Little Labs IBP Latency WebZine article The Little Labs IBP uses an internal upsampling technique to facilitate its amaz ing sonic accuracy This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information Note Compensating for Little Labs IBP is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 An interesting and highly technical article named Allpass Filters about phase shifting with allpass filters can be found in the November 2008 Ask the Doctors section of our online WebZine e htto www uaudio com webzine 2008 november doctors html UAD Powered Plug Ins Manual 286 Chapter 27 Little Labs IBP CHAPTER 28 Manley Overview Massive Passive EQ Universal Audio s UAD Powered Plug In versions of the Manley Massive Pas sive EQs represent UA s most ambitious and detailed EQ model to date The two channel four band Manley Massive Passive tube EQ utilizes design strengths from choice console parametri
559. seful buttons Version String The currently installed UAD Powered Plug Ins software version is displayed Important The UAD driver and plug in versions must match If they don t a driver mismatch error will occur when attempting to process audio If this occurs you must reinstall and or reauthorize the UAD software Check for Updates This button checks our web server to find out if a more recent version of the UAD software is available than is currently installed We recommend running the latest version of UAD Powered Plug Ins for maximum stability and the latest features such as new plug ins UAD Powered Plug Ins Manual 64 Chapter 6 UAD Meter amp Control Panel Plug In Latency Section UAD Powered Plug Ins Manual 65 Chapter 6 UAD Meter 8 Control Panel A UAD Control Panel System Info Plug ins Configuration Firewire SOFTWARE UAD Powered Plug Ins 5 8 1 01 04 2011 15 16 PLUG IN LATENCY UAD 2 512 Samples 11 61 msec at 44100 Hz sample rate UAD 1 1024 Samples 23 22 msec at 44100 Hz sampl HARDWARE UAD 2 QUAD la DSP 2 Card 1 pP a 47 3 71 24 Status OK ah oy Bi 34 2 446 Plug ins 20 ea 1 1 05 0 05 UAD Satellite QUAD Device 2 ar Status OK Plug ins 1 TISI Card 3 Status OK Plug ins 3 Save Detailed System Profile Figure 10 The UAD System Information panel Check for Updates DSP3 DSP4 4 65 7 84 95 28 4 28 5 0 05 0 0 Hd DSP 4 UAD plug
560. session must be reloaded to reactivate UAD plug ins Note Connect all FireWire devices to the bus before activating UAD plug ins UAD Powered Plug Ins Manual 133 Chapter 11 UAD 2 Satellite System Sleep System sleep while UAD 2 Satellite is active is not supported Before sleeping the system quit all plug in host applications including the UAD Meter amp Con trol Panel and disconnect UAD 2 Satellite After wake UAD 2 Satellite may be reconnected Important Quit all hosts and disconnect UAD 2 Satellite before system sleep Important UAD 2 Satellite Notes For maximum system stability and reduced possibility of data loss please ob serve these requirements when operating UAD 2 Satellite e Due to differing architectures LiveTrack Mode on page 88 is unavailable When UAD 2 Satellite is connected LiveTrack Mode is also unavailable with UAD 2 PCle cards when UAD 2 Satellite is connected to the same system as the card s e UAD 2 Satellite has a minimum hardware buffer requirement of 256 sam ples The hardware buffer setting for the host and audio interface can be ad justed when UAD 2 Satellite is connected and the UAD 2 Satellite drivers dynamically adjust to allow for the lower buffer setting while still maintain ing UAD 2 Satellite s minimum buffer requirement of 256 samples Note For the lowest latency while tracking disable any plug ins currently running on UAD 2 Satellite from the input tracks and the monitori
561. set L and R has four EQ bands Two bands are overlapping low frequency bands labeled L1 and L2 and two bands are overlapping high fre quency bands labeled H1 and H2 Each of the four bands has a control for bandwidth enable frequency and gain All four of the EQ bands can be used in parametric or shelf mode The controls are exactly the same for each band only the available frequency val ues differ Bandwidth Knob The Bandwidth Q knob defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The numbers represent the filter slope in dB per octave The available selec tions are 4 6 9 14 20 and Shelf When set to Shelf on the L1 and L2 bands the band becomes a low shelving filter When set to Shelf on the H1 and H2 bands the band becomes a high shelving filter Band Enable Each band can be individually engaged with the Button Enable button All bands default to disabled When a band is enabled the button glows blue To enable a band click the Enable button or move the band Gain knob You can use these buttons to compare the band settings to that of the original signal or to bypass the individual band UAD DSP usage is slightly Pt anan ri M decreased when a band is disabled unless UAD 2 DSP Loadlock on page 73 is enabled UAD Powered Plug Ins Manual 403 Chapter 40 Precision Equalizer Frequency Knob Gain Knob High Pass Filter
562. set in your registration profile see My Profile on page 52 We always like to hear from our customers and welcome your comments and suggestions If you have any questions you can email us at e info uaudio com In case your audio toolbox needs might include hardware such our UA Classics series please be sure to have a look at our web site for more information about the entire UA family of prod ucts e htto www uaudio com The Universal Audio Team UAD Powered Plug Ins Manual 535 Chapter 54 History INDEX Numerics 1176LN 253 529 1176LN Controls 259 1176SE Special Edition 261 1176SE Controls 261 AK Buss Compressor 498 A A B Selector 148 335 403 463 465 471 Accessing Meter Functions 62 Account 52 acoustical space 181 Adjusting Parameters 86 90 AGC Mode 239 Air Blending 183 Air Density Menu 182 algorithm 180 All Button 424 All Buttons mode 260 Always On Top 61 AMD 8131 Mode 74 Amp Bent Knob 360 Amp Color Knob 360 Amp EQ Groups 359 Amp On Off Button 361 Amp Output Knob 360 Amp Overview 358 Amp Post EQ Knobs 360 Amp Pre EQ Knobs 359 Amp Type and Variable Knob Functions 358 Amp Type Descriptions 361 Amp Type Menus 361 Amp Types 359 Amp A Type Menu 362 Amp B Type Menu 362 Amplitude amp Slope 186 Attack 259 Attack Knob 164 Attenuation Knob 437 438 440 UAD Powered Plug Ins Manual Attenuation Selector Switch 438 Audio Interface 44 Authorization 31 45 Authoriza
563. signals The range of this control is 20 dB from unity gain Therefore some signal may still be heard when this control is set to its min imum value UAD Powered Plug Ins Manual 469 Chapter 48 Roland RE 201 Space Echo Repeat Rate Intensity Echo Volume TOE This knob controls the time interval of the echo effect Rotating _ the control clockwise will decrease the delay time and counter clockwise rotation will increase the delay time The available delay times are as follows e Head 1 69ms 177ms e Head 2 131ms 337ms e Head 3 189ms 489ms The head times available with this control are dependent upon the Mode Se lector on page 468 As with the original hardware this control varies the tape playback speed in realtime by manipulating the tape capstan motor and therefore has a musically useful ramp up and ramp down effect When Tempo Sync is enabled this control is quantized to allow only rhythmic notes available at the leading head maaangas This knob controls the repeat level feedback of the echo signal ig Rotating the control clockwise increases the number of echoes Higher values will cause self oscillation the exact position is program and Mode dependent The self oscillation of the RE 201 is one of the magic features that really makes it more than a mixing tool it s also an instrument to be played The effect may be used subtly sending the unit into gentle oscillatio
564. simultaneously and its behavior is determined by the selected amp type The Bent knob is like a super gain control It controls several amplifier char acteristics simultaneously and its behavior is determined by the selected amp type Adjusts the signal output level of Preflex This may be necessary if the signal is dramatically boosted or reduced by the Gate Compressor or Amp settings UAD Powered Plug Ins Manual 360 Chapter 35 Nigel Bright Button Amp On Off Button Amp Type Menus Amp Type List and Descriptions Increases the brightness of the Amp model Bright is on when the button glows bright red Enables or disables the Amp module within Preflex The Amp is engaged When the button indicator is bright red You can use this switch to compare the Amp settings to the original signal or bypass the entire Amp section to reduce UAD DSP load The Amp Type pull down menus establish the overall sound and response of Preflex and also determine the function and ranges of the Amp knobs Two amp types A and B can be active simultaneously by positioning the Morph control between them Note For the following descriptions of the Amp models and other references that you may find throughout this manual please be aware that Fender Mar shall Mesa Matchless Aiken and any other manufacturer model name de scription and designations are all trademarks of their respective owners which are in no way associated or affili
565. sion as indicated by the gain reduction meters page 199 Note This control has no effect when Bypass page 200 is active seem The Total Harmonic Distortion THD LED s provide some reference operating levels The yellow O VU LED light indicates around 1 THD and the red Pinned LED indicates 5 THD or more These LED s are an excellent guide to where the user is in the Grunge Department You will find that the harmonic distortion is generally more obvious on overall mixes and complex programs On individual instruments sometimes 10 dis tortion sounds fat and analog and isn t heard as distortion at all The COMP button defines which compressor mode is active See Compression Processor on page 196 for a descrip tion of the modes Spank mode can be combined with any of the other three modes for a total of seven available compressor modes Note Generally speaking the Input and compressor Mode controls should be set before the other FATSO processor settings because of the high degree of interaction between the compressor and the other processors The three Mode LED s indicate the active mode Refer to Table 10 on page 199 for each specific value The compressor is inactive when all Mode LED s are off UAD Powered Plug Ins Manual 198 Chapter 17 Empirical Labs EL7 FATSO GR Meter Warmth Warmth Meter Table 10 Compressor Mode LED States Compressor Mode LED State Active Compre
566. sired The high pass filter affects the delayed wet signals only The available frequency range is from 20 Hz to 12 kHz Turn the knob clockwise to reduce low frequencies into the delay processors Full processor bandwidth is obtained with the knob in the fully counter clock wise position These two windows display the current delay times of channels A and B Displayed values are defined by the Delay parameter Delay A B on page 160 Delay values can be entered here directly using the text entry method Text Entry on page 91 When Sync mode is off delay times are expressed in milliseconds When Sync is on delay times are expressed as a fractional bar value When the beat value is out of range the value is displayed in parentheses This occurs in Sync mode when the time of the note value exceeds 2500ms as defined by the current tempo of the host application This switch engages Sync mode for both channels of the plug in In Sync mode delay times are synchronized to and therefore dependent upon the master tempo of the host application When Sync is toggled parameter units are converted between milliseconds and beats to the closest matching value See Chapter 8 Tempo Sync for detailed information about tempo synchro nization Send determines whether or not signals are sent into the delay processors When Send is ON the input signals are delayed When OFF the delay in puts are muted When both coi
567. site processing just reduce SUSTAIN Sounds in keyboards and samples are usually highly compressed and main tain only little of natural dynamics Increase the ATTACK values to re gain a more natural response characteristic The sounds occupy less space in the mix and appear more identifiable even at lower volumes When dealing with overdubs in movies you can easily add more punch and definition to effect sounds from any sample library The same applies to outdoor recordings that suffer from poor microphone po sitioning simply optimize them afterwards Like with any good thing you also have to know where not to use it For ex ample using a Transient Designer in mastering is not recommended as it is rarely a good idea to treat a whole mix at once Instead treat individual ele ments within the mix UAD Powered Plug Ins Manual 479 Chapter 49 SPL Transient Designer Technology Differential a Technology DET The ATTACK Control Circuitry Of course you don t have to know how the Transient Designer works in order to use it However since it offers a completely novel signal processing noth ing shall be concealed from the more curious users SPL s DET is capable of level independent envelope processing and thus makes any threshold settings unnecessary Two envelopes are generated and then compared From the difference of both envelopes the VCA control volt age is derived The DET ensures that both low and loud signals p
568. sive EQ ccccccssssccccccscces NENENG baa ono aga nawa WIND NANA WANG ase heaesoue RREA WANG HAKA LAGA HAUL Massive Passive Screenshots 0000 cece eee e eee eee e beeen eee eens Unusual EQ Conventions 0 0 0 0 cece cee eee eee eee nee n eee nn ee Massive Passive Mastering EQ 0c eet teen eeee Standard vs Mastering Versions 00 cece cece ee eee een Massive Passive Band Controls 0 00 a Channel Controls 0000 n nets eect eee eb beeen eees Other Controls 0 0 2 Massive Passive Latency 00 0 cece eee teen e teens Notes from Manley Laboratories 2 0 0 6 e nee Additional Information 0 0 0 aa Chapter 29 Moog Multimode Filter ccccccccccccscscccees OVWEIVIEW nano ee seruananow Aaa na eo 194 Rn se Petals POG oR ag paRT a te Ba OH Moog Filter Screenshot 2 0 0 0 a Moog Filter Controls 2 0 0 cnn need eee enn eee eens Moog Filter AA Moog Filter Latency 0 0 nunnana nanara WebZine Articles 00 00 a Chapter 30 Neve 1073 Equalizer ccccccccccsssccccccscees OVEIVIOW oo oh ok eee AO Neve 1073 Screenshot 0 0 c eect ence tebe e beeen eben nny Neve 1073 and 1073SE Controls 2 Neve 1073SE AA Neve 1073 Latency 0 0 cect tet tee e eee eens UAD Powered Plug Ins Manual sie Table of Contents TABLE OF CONTENTS Chapter 31 Neve 1081 Equalizer 00 0000000000 ooocooooo Oa a EE AA Neve 1081 Screenshot 0 0 0
569. sole Engineers have come to rely on this master com pressor to glue together mixes like nothing else as well as patching into it for wonderful results on drums pianos and more With simple intuitive controls and transparent compression characteristics the G Series Bus Compressor plug in for UAD 2 captures the iconic SSL sound with stunning accuracy Plug in controls comprise fixed Compression Ratios 2 1 4 1 and 10 1 and Attack and Release controls with program depen dent Auto Release function Continuous Threshold Control and Make Up Gain compressor bypass and the original Auto Fade 1 60 seconds feature provide full operational authenticity SSL G Bus Compressor Screenshot Solid State Logic me aN 3 ik 15 is 0 io THRESHOLD MAKE UP 13 3 812 gt s s10 3 kp Auto do e30 Y Nt ATTACK mS RELEASE S 2 440 O RATIO UAD 4K BUSS COMPRESSOR SSL G SERIES UNIVERSAL AUDIO STEREO COMPRESSOR 10 Ge s20 y AUTO 3 40 FADE 1 RATE S Figure 172 The SSL G and 4K Bus Compressor plug in windows UAD Powered Plug Ins Manual 498 Chapter 51 SSL G Bus Compressor SSL G Bus Compressor Controls Threshold Threshold defines the signal level at which the onset of compression oc curs Incoming signals that exceed this level are compressed Signals below the level are unaffected The control range is 15 dB Solid State Logic i As the Threshold control is de creas
570. ssed signal UAD Powered Plug Ins Manual 170 Chapter 14 CS 1 Channel Strip Damping Knob Wet Dry Mix Knob L Pan Knob R Pan Knob Enable Bypass Switch Output Knob Recirculation allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If Recirculation dis plays a positive value all the delays will be in phase with the source If it dis plays a negative value then the phase of the delays flips back and forth be tween in phase and out of phase This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness Higher values yield a brighter sig nal Damping also mimics air absorption or high frequency rolloff inherent in tape based delay systems This control determines the balance between the delayed and original signal Values greater than 50 emphasize the wet signal and values less than 50 emphasize the dry signal Wet Dry Mix allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If a positive value is displayed then all the delays will be in phase with the source With a neg ative value the delayed signal is flipped 180 degrees out of phase with the source Sets the stereo position for the left channel allowing you to adjust the width or balance of the stereo signal For a mono signal set both the L Pan and R Pan
571. ssics such as Talking Heads Remain In Light Grandmaster Flash amp The Furious Five s The Message Vangelis incredible Blade Runner soundtrack U2 s Un forgettable Fire and Peter Gabriel s So With such a refined legacy it s no surprise that the Lexicon 224 remains one of the most popular digital reverb units of all time The result of using the very same algorithms and control processor code from the original hardware the UAD 2 Lexicon 224 precisely captures all eight re verb programs and the chorus program based on the Lexicon 224 s final and hard to find firmware version 4 4 In UA s exhaustive modeling tradition the Lexicon 224 plug in also incorporates the original unit s input transformers and early AD DA 12 bit gain stepping converters nailing the entire analog and digital circuit paths right down to the last detail Additionally the Lexicon 224 emulation for UAD 2 features direct input and presets from famous Lexicon 224 users including Chuck Zwicky Prince Jeff Beck Eli Janney Jet Ryan Adams David Isaac Eric Clapton Luther Van dross E T Thorngren Talking Heads Bob Marley and Kevin Killen U2 Pe ter Gabriel Developed by renowned physicist engineer Dr David Griesinger the Lexi con 224 is the most ubiquitous and bestselling studio digital reverb ever made The original 224 was a landmark achievement in digital reverb and served as the very product to put Lexicon on the studio map and a remote
572. ssive may sound remarkably different from other high end EQs and completely different from the console EQs Yes this is quite delib erate Hopefully it sounds better sweeter more musical and it complements your console EQs We saw little need for yet another variation of the stan dard parametric with only subtle sonic differences We suggest using the Massive Passive before tape for the bulk of the EQ tasks and then using the console EQs for some fine tweaking and where narrow Q touch ups like notches are needed The Massive Passive is equally at home doing big powerful EQ tasks such as is sometimes required for tracking drums bass and guitars or for doing those demanding jobs where subtlety is required like vocals and mastering UAD Powered Plug Ins Manual 298 Chapter 28 Manley Massive Passive EQ Additional Information The original and rather lengthy user manual written by Manley Labs for the hardware unit contains a wealth of great information about the philosophy design decisions and use of the Massive Passive EQ It is highly recom mended reading for those interested in technical details The manual can be found on their website along with info about their other great products e http www manleylabs com techpage manuals html a F 7 ELI N i gi mp i j i iT p i a e APAN EE The Massive Passive EQ hardware interior All visual and aural references to the Massive Passive EQ and all use of
573. ssor BASICS senres rau DAAN DADA D MDEDNOE ESTAA E NTER ENA 253 Teletronix LA 2A Leveling Amplifier 2 00000 cc ccc ccc ene 256 LA 2A Controls 20 0 c ccc ccc cece eee e eee eee eee neers eee teen eeeeeeeeeuuns 257 1176LN Solid State Limiting Amplifier 0 0 0 0 0000 258 1176LN Controls e een e nee e eee n eee e eee 259 1176SE Special Edition 00 0 e raene 261 Chapter 25 LA 3A Compressor ccccccccccccsssccccccssees 262 CA AA Gales oes ee bes Geen as Ge os ee ee 262 LA 3A Screenshot 0 00 0 eee aeoaea Eae 262 LA SA CONHOIS AA 263 Chapter 26 Lexicon 224 6646664066640 s haces enee dens aa ia aa 264 Classic Digital Reverb 22 22 264 Lexicon 224 Screenshot ccc ccc ruarua eeaeee arra 266 UAD Powered Plug Ins Manual 10 Table of Contents TABLE OF CONTENTS Operational Overview eee e nnn e nn eee e en as Piman Conois ssn aNG MAAN ANDY DADA N DOTARDN GATA onsen onewenshcnew suche nes glee GI AA AA nese Program Descriptions 0 00 c eee t tte Chapter 27 Little Labs IBP 4 4 3 616 6 6 56 4 0 6 6 6 54 ANGGE AN NA OVEIVIEW cae 5 ahs wee oe tin oe Gee a ee oe oe owe ones one oats Little Labs IBP Screenshot 0 0 0c c cece cece eet eect eee beeen nne Little Labs IBP Controls 0 0 e eee n eee n eee e ene Little Labs IBP Latency 0 0 0 ccc ccc cen eee een dette enn nes WebZine article 0 00 00 eee ete e eben tebe ete bene nan Chapter 28 Manley Massive Pas
574. ssor Mode s Yellow General Purpose G P Green Yellow Tracking most versatile ratio The Gain Reduction Meter displays the amount of gain reduction occurring within the FATSO compressor expressed as negative dB values Note At extreme settings the GR Meter may indicate gain reduction is oc curring even when the compressor is disabled This behavior is identical to the hardware unit ores This button defines the Warmth amount Warmth simulates pa the softening of the high frequencies that occurs with analog na Mi ni tape saturation see Warmth Processor on page 195 for detailed Warmth description Higher values increase the Warmth as indicated by the Warmth Meter Values of 1 to 7 are available The current value is indicated by the arc of Warmth LED s Warmth is off when all LED s are unlit The Warmth Meter is a very accurate display of the amount of high frequency attenuation as defined by the Warmth button The meter shows the amount of HF gain reduction occurring at 20 kHz al INPUT 00 1512 12 10 Warmth 5 3 2 1 OUTPUT pa shh NA af a Note At extreme settings the Warmth Meter may indicate activity even when Warmth is disabled This behavior is identical to the hardware unit UAD Powered Plug Ins Manual 199 Chapter 17 Empirical Labs EL7 FATSO Bypass Tranny Output This black button is a multifunction control Clicking the button re peatedly cycles through T
575. st be rebooted with the UAD Xpander connected Follow the Startup Se quence on page 123 for reconnection instructions System Sleep hibernate is not supported when using UAD Xpander under Windows Sleep should be disabled while the UAD Xpander is connected UAD Powered Plug Ins Manual 125 Chapter 10 UAD ExpressCard Products To disable Sleep in Windows 1 In the Control Panel gt Performance and Maintenance gt Power Op tions gt Power Scheme panel set the Power Scheme to Always On 2 To disable Sleep in when notebook lid is closed In Control Panel gt Perfor mance and Maintenance gt Power Options Click the Change when the computer sleeps option on the left side of the screen then select Never 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 sec onds 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 e 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 Doing so could cause the computer to crash unless the ExpressCard is prop erly powered down see Disconnect on page 124 e Disable system Sleep while the UAD Xpander is connected under Windows see Sys
576. st two bands when the Bandwidth value is at min imum the band becomes a high shelf filter and at maximum the band be comes a low pass filter Globally enables or disables all bands of the Equalizer You can use this switch to compare the EQ settings to the original signal or bypass the entire EQ section to reduce UAD DSP load unless UAD 2 DSP Loadlock on page 73 is enabled Adjusts the signal output level of the plug in This may be necessary if the sig nal is dramatically boosted or reduced by the EQ and or compressor set tings EX 1 Compressor Controls Attack Knob Release Knob Sets the amount of time that must elapse once the input signal reaches the Threshold level before compression will occur The faster the Attack the more rapidly compression is applied to signals above the Threshold The range is 0 05 milliseconds to 100 00 milliseconds Sets the amount of time it takes for compression to cease once the input signal drops below the Threshold level Slower release times can smooth the transi tion that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set too large of a Release time compression for sections of audio with loud signals may extend to lengthy sec tions of audio with lower signals The range is 25 milliseconds to 2500 milli seconds 2 5 seconds UAD Powered Plug Ins Manual 164 Chapter 14 CS 1 Channel Strip Ratio Knob Deter
577. stal set and a one tube radio By 15 he was taking the ham radio operator s exam and constructing his own equipment In high school both his artistic and technical sides emerged full on He worked repairing radios and renting out P A systems while also singing on weekends with dance bands for five dollars a night which included the P A rental developing his interest in the music business and realizing as he has said that musicians were my favorite people Universal Recording Corp Opens in Chicago Technical college followed then work at radio stations and radio engineering work for the Army during World War Il In 1946 Putnam started his own recording studio Universal Re cording Corp in Evanston Illinois His goals at the time besides having a successful business were the development of new recording tech niques and specialized equipment for recording studios To that end the manufacturing company Univer sal Audio which later became UREI was formed Most of the equipment including the console for Universal Recording was built by UAD Powered Plug Ins Manual 524 Chapter 54 History Universal Audio It wasn t long before the company relocated to Chicago and it was there in 1947 that Putnam recorded what is generally accepted to be the first pop record to use ar tificial reverberation The founder of the group The Harmonicats Jerry Murad wanted to record using an echo chamber like he d heard on effe
578. stem UAD Powered Plug Ins Manual 161 Chapter 13 Cooper Time Cube CHAPTER 14 CS 1 Channel Strip Overview The CS 1 Channel Strip provides the EX 1 Equalizer and Compressor DM 1 Delay Modulator and RS 1 Reflection Engine combined into one plug in In dividual effects in the CS 1 Channel Strip can be bypassed when not in use to preserve UAD DSP use The CS 1 effects can also be accessed individually by using the individual plug ins This is useful if you want to use the plug ins in a different order or if you want to use multiple instances of the same plug in such as a flange routed to a ping pong delay with the DM 1 plug in EQUALIZER E YPASS Ha COMPRESSOR a serrate RATIO GAIN REDUCTION THRESHOLD 7 ENBSLE 050 mo rey BYPASS RELEASE 700 res i DELAY MODULATOR a om NASLE G RECIR DAMPING af a NG O ee REFLECTOR f ENBSLE 8 BYPASS RECIR DAMPING NG WA 4 j iW M gt WID MIX s p 30 0 a 3 23k Figure 60 The CS 1 Channel Strip plug in window UAD Powered Plug Ins Manual 162 Chapter 14 CS 1 Channel Strip EX 1 Equalizer and Compressor EQUALIZER _ A ENBSLE S BYPASS a 1200 NG a Aa COMPRESSOR ATTACK Bo a yf Si 8 giria g BYPASS ee The EX 1 plug in consists of a five band parametric EQ and compressor EX 1 Equalizer Controls The Equalizer portion of the EX 1 is a five band fu
579. stener To adjust the distance of the source 1 Drag the Distance slider to the desired percentage value Larger percent ages yield a source that is further away from the listener A value of 0 places the source as close as possible to the listener The wet and dry mix of the reverb is controlled from the Mix slider in the Po sitioning panel see Figure 157 The two buttons above this slider labeled D and W represent Dry and Wet clicking either will create a 100 dry or 100 wet mix UAD Powered Plug Ins Manual 455 Chapter 45 RealVerb Pro Levels Morphing The Levels panel lets you adjust the Input Gain and Output Gain for RealVerb Pro These levels are adjusted by dragging the sliders to the desired values You can mute the input signal by clicking the Mute button TU 0 0 dB o Input Gain Output Gain Figure 158 RealVerb Pro Levels panel All RealVerb Pro controls vary continuously using proprietary technology to smoothly transition between selected values This capability enables RealVerb Pro to morph among presets by transitioning between their parameter sets This approach is in contrast to the traditional method of morphing by cross fading between the output of two static reverberators The method employed by RealVerb Pro produces more faithful physically meaningful intermediate states Morphing C Cathedral Concert Hall Figure 159 RealVerb Pro Morphing panel Figure 159
580. t The UAD Neve 33609 33609SE includes a bank of factory presets These presets can be useful starting points for your particular source audio The factory preset names begin with MSTR BUSS or TRAK These indicate the setting of the headroom parameter 14 dB 18 dB and 22 dB respec tively Mastering MSTR presets are optimized for mixed program material that is al ready at a relatively high level Buss group BUSS presets are optimized for subgroups of audio such as a drum group or vocal group This type of application often has lower levels than full mixes but higher levels than a track insert Track TRAK presets are optimized for track inserts where signal levels typi cally aren t as hot as groups or outputs The preset names are guidelines and not rules In many cases you can use any preset on any source with good results You will probably need to adjust the threshold and or gain controls to obtain the optimum results with your par ticular source audio The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Toggle the switch to change the Power state the switch is illuminated in red when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disa
581. t application documentation for specific instruc tions on loading and using plug ins with the application Cubase SX amp Nuendo SX w Wo Effect Directs UAC 1176LN LED 11765E UAD Cambridge USD 5 1 UAD DelayComp USD DM I USD DM IL UAC CDreamYerb LARA EY 1 Figure 16 Launching a UAD Powered Plug In in Steinberg Cubase and Nuendo UAD Powered Plug Ins Manual 84 Chapter 7 Using UAD Powered Plug Ins Logic Pro BP ISN WO UAD LAZA UAD LAJA UAD ModFilter UAD Neve 88R5 Inserts Inserts Inserts Nserhs Mo Plug in Amp Modeling P UAD Neve 1073 Delay E Sends UAD Neve 10735E Distortion b NGI vel UAD Neve 1081 Dynamics kk UAD Neve 10815E EQ JAD pile 9 Filter pe UAD Ave 336095E Imaging UAD Nigel Metering Er UAD Phasor Modulation ie UAD Plate 140 Figure 17 Launching a UAD Powered Plug In in Apple ET Pro The UAD Plug In Window A typical UAD Powered Plug In window is shown in Figure 18 The graphical user interface GUI typically contains several control parameters for modify ing the behavior of the plug in and display elements such as meters for visual feedback The UAD Toolbar is also displayed Typical interactive control parameters Display only element not a control parameter na ih PEAK Ta ee REDUCTION Er WL j SREE 4 Ps aes Pea a 7 a eX tame Di foo Ng a 10 OFF 2 OUTPUT LA JA COMP LIM GR AUDIO LEVELER 4 UAD 2 G pemouapays TFF
582. t mode is active when the red indicator illu minates Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level The available range is 10 milliseconds to 3 seconds and au tomatic AUTO Automatic triple time constant program dependent release time is activated by turning the release control fully clockwise to 3s or by clicking the AUTO label text UAD Powered Plug Ins Manual 345 Chapter 34 Neve 88RS Channel Strip Slower release times can smooth the transition that occurs when the signal dips below the threshold which is especially useful for material with frequent peaks However if the release is too long compression for sections of audio with loud signals may extend to sections of audio with lower signals Note Fast release times are typically only suitable for certain types of percus sion and other instruments with very fast decays Using fast settings on other sources may produce undesirable results L C Meter This meter displays the amount of gain attenuation occurring in the limiter compressor module EQ The UAD Neve 88RS Formant Spectrum EQ AMS Neve s descriptor is di vided into four frequency bands see Figure 121 on page 347 High Fre quency HF High Midrange Frequency HMF Low Midrange Frequency LMF and Low Frequency LF The high and low bands can be switched into shelving and or High Q modes The two midrange bands are
583. t the plug in input will interact with the Effect control The Effect Meter indicates the amount of signal processing that is occurring More illuminated blue segments indicate more signal enhancement eran The Mode control determines the type of enhancement that will be applied to the signal The active Mode can be selected by clicking the Mode button repeatedly to rotate through the Modes or by clicking each Mode letter or LED All mode is se lected by shift clicking Mode letters or LEDs Mode A Mode A enhances the high frequency content statically Input dynamics have no affect on the enhancement process Mode B Mode B is optimized for vocal range content The kHz Frequency parameter is disabled in this mode UAD Powered Plug Ins Manual 397 Chapter 39 Precision Enhancer kHz Speed kHz Frequency Output Mode C Mode C dynamically enhances the high frequency content The enhancement amount is increased as the input signal level increases Mode D Mode D dynamically enhances both high and low frequency content The en hancement amount is increased as the input signal level increases The kHz Frequency parameter is disabled in this mode All Mode All mode is selected by shitt clicking Mode letters or LEDs All Mode ex pands all frequencies of the input signal The enhancement amount is in creased as the input signal level increases The kHz Frequency parameter is disabled in this mod
584. tailed below Midrange Gain The equalization gain for the midrange band is selected with the inner knob of the dual concentric control The available range is approximately 18 dB Midrange Frequency The Mid frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click directly on the silkscreen text to specify a frequency or disable the Mid band Note You can also click the midrange symbol above the knob to cycle through the available values or shift click to step back one frequency UAD Powered Plug Ins Manual 310 Chapter 30 Neve 1073 Equalizer Low Band Low Cut The available midrange center frequencies are 360 Hz 700 Hz 1 6 kHz 3 2 kHz 4 8 kHz 7 2 kHz and OFF When OFF is specified the band is dis abled UAD CPU usage is not reduced when the band is OFF The low frequency band is controlled by dual concentric knobs delivering smooth shelving equalization selects the frequency or band disable These two controls are detailed below Low Gain The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approximately 15 dB Rotate the control clockwise to boost the selected low band frequency or counter clockwise to reduce the bass response Low Frequency The Low frequency is selected with the outer ring of the dual concentric knob controls The ring
585. te Compensating for Pultec and Pultec Pro is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when if is used on oufputs See Host PDC Implementation on page 100 Pultec EQP 1A Screenshot BOOST ATTEN ATTEN SEL 4 55 45g 5 10 PULTE 2 E 1 PROGRAM EQUALIZEREQP4A 1 i UNIVERSAL AUDIO ING SANTA CRUZ CA La SHARP BROAD LOW FREQUENCY BANDWIDTH HIGH FREQUENCY Figure 144 The Pultec EQP 1A Program Equalizer plug in window Pultec EQP 1A Controls The EQP 1A can control three frequency ranges simultaneously using three groups of interacting parameters The first group controls the low frequencies and has three controls boost at tenuation and frequency select The second group controls the high frequen cies and has three controls boost bandwidth and frequency select The third group also controls the highs and has two controls attenuation amount and frequency select The placement and grouping of the sections and their related controls are shown in Figure 145 on page 437 UAD Powered Plug Ins Manual 436 Chapter 44 Pultec and Pultec Pro In Out Toggle Switch On Off Rotary Switch ATTEN SEL 5 10 2 SHARP BROAD in AA LOW FREQUENCY BANDWIDTH HIGH FREQUENCY Figure 145 Control grouping within the Pultec EQP 1A This is a signal bypass control It allows you to compare the processed and un processed signal It does NOT reduce
586. te of purchase including parts and labor Service amp Support Even the best built audio equipment in the world will sometimes fail In those rare instances our goal here at UA is to get you up and running again as soon as possible If you are experiencing problems with your UAD product please visit the Universal Audio website at http www uaudio com to validate compatibility and read the FAQs regarding UAD products If you still require service contact UA Tech Support at 877 MY UAUDIO or visit http www uaudio com support contact html to create a help ticket and we will help troubleshoot your system Canadian and overseas customers should contact their local distributor which can be found using the Dealer Locator at http www uaudio com When calling Tech Support for assistance please have the product serial number available and have your unit set up in front of you turned on and exhibiting the problem This will help us diagnose and solve any problems as quickly as possible Thank you The user should not attempt to service the unit beyond that described in the operating instructions All other servicing should be referred to qualified service personnel Universal Audio Inc End User License Agreement By installing the software you confirm your acceptance of the Universal Audio and third party End User License Agreements as well as the Universal Audio terms of service and privacy policy all of which can be found at
587. ted Rear Outs The Rear Outs control is available to select the alternate pair when the algorithm has alternate sonics at outputs B and D See Inputs amp Outputs on page 268 for an overview of the hardware implemen tation REAR Rear Outs Notes OUTS e The left right outputs of the plug in always reflect hardware outputs A and C respectively when Rear Outs is inactive and outputs B and D respectively when Rear Outs is active e Outputs A and C are recommended for stereo use the rear outs are gen erally not used in typical applications e Outputs A and C are identical to D and B respectively in the following pro grams P2 Vocal Plate A P5 Percussion Plate A P8 Constant Density Plate A and P9 Chorus A Consequently the Rear Outs control effectively swaps the left right outputs in these programs UAD Powered Plug Ins Manual 275 Chapter 26 Lexicon 224 Mode Enhancement Mode Enhance Enable Mode Enhance Amount Mode Enhance Pitch Shift Mode Enhancement makes the sound of the Lexicon 224 programs more nat ural by preventing room modes from ringing in the reverb tail Mode En hancement works by continuously modulating certain delay lines taps within the program algorithms which increases the effective density without thicken ing the reverb itself Mode Enhancement is factory optimized for each program and should not re quire adjustment in typical use For this reason it was deliberately made
588. tem Sleep on page 125 e The ExpressCard slot on notebook computers is non latching so it is possi ble to accidentally pull the device out e Select a suitable location for the unit See Xpander Install Location on page 121 e Do not bend sharp angles into or otherwise kink the UAD link cable The ca ble has a ferrite core and multiple conductors that could be damaged by im proper handling e The UAD ExpressCard 34 can be used in an ExpressCard 54 slot e The UAD Xpander contains a UAD 1e card that looks similar to the UAD 1e model for desktop computers However the cards are not the same Important Do not attempt to install a UAD Xpander card into a computer slot or put a UAD 1e into the Xpander chassis Doing so will damage the cards and or the computer logic board UAD Powered Plug Ins Manual 126 Chapter 10 UAD ExpressCard Products CHAPTER 11 UAD 2 Satellite Overview UAD Powered Plug Ins via FireWire Duo and Quad Versions Documentation UAD 2 Satellite is a UAD 2 DSP accelerator that connects to the host computer via FireWire 800 or FireWire 400 and hosts UAD 2 Powered Plug Ins on Mac OS systems Unlike previous UAD 2 PCle products UAD 2 Satellite is a com pletely external unit with power supply that does not require a PCI PCle or Ex pressCard interface This freedom from PCI PCle requirements enables the full UAD 2 Powered Plug Ins library and DSP acceleration for select FireWire equipped Int
589. ter 23 Helios Type 69 Equalizer Helios Type 69 Controls Overview Band Layout The simple yet powerful Helios Type 69 Passive EQ adds a unique sonic tex ture to the music that passes through it It can be pushed to its most extreme boost settings while retaining openness and clarity The Type 69 Passive EQ replicates all the controls of the original hardware The Treble band is a fixed 10 kHz shelf EQ while the Bass band functions as a stepped 50 Hz shelf filter 3 6 9 12 15 dB or frequency selectable Peak EQ 60 100 200 300 Hz The Mid band operates as a frequency selectable Peak or Trough Notch EQ with eight frequencies 7 1 1 4 2 2 8 3 5 4 5 6 kHz Other features include Level Adjust EQ Cut bypassing the EQ circuit while retain ing the native sound of the unit and Phase Reverse Helos ype 68 min Midrange Treble Global band band controls Figure 86 Helios 69 band control layout The Helios Type 69 design works in such a way that depending on the set tings entire EQ circuits are switched in and out In the hardware that often meant audible popping For the plug in we use smoothing to reduce these au dio spikes but they may be more audible than with other UAD plugs ins This is most audible when engaging the Bass or 10 kHz band from OFF to any other setting Each feature of the UAD Helios 69 interface is detailed below UAD Powered Plug Ins Manual 248 Chapter 23 Helios Type 69 Equalizer Bas
590. ters The most natural warmth and tube like distortion is obtained with Shape at 50 This setting generates the lowest amount of higher order harmonics and most closely emulates characteristic tube qualities Precision Maximizer can operate in one band or three band mode In one band mode all frequencies are processed equally In three band mode the frequency spectrum is split into three separate bands before maximizing is applied One band mode is the normal setting for general usage In this mode more dramatic results can often be obtained because more saturation effect is pos sible before the output is clipped At higher levels of distortion the phase of the harmonics are also better retained in this mode which usually produces a more desirable sound quality Higher levels of perceived loudness may be obtained in three band mode es pecially if the frequency spectrum of the source material is not balanced In this mode certain settings can produce higher output levels than input levels and potential clipping so it may be necessary to compensate by reducing the input output levels and or engaging the Limit control UAD Powered Plug Ins Manual 416 Chapter 42 Precision Maximizer Limit Mix The crossover frequencies in three band mode are 200 Hz and 2 45 kHz Click the Bands button to change the mode Alternately you can click hold the LED area and drag like a slider to change the value Note UAD DSP u
591. th positive and negative values The polarity refers to the phase of the delays as compared to the original signal If Recirculation dis plays a positive value all the delays will be in phase with the source If it dis plays a negative value then the phase of the delays flips back and forth be tween in phase and out of phase In the flanger mode Recirculation has the potential to make some very inter esting sounds Try turning RECIR fully clockwise or counter clockwise and set the delay to very short values This low pass filter reduces the amount of high frequencies in the signal Turn down this control to reduce the brightness of the sound Higher values yield a brighter signal Damping also mimics air absorption or high frequency rolloft inherent in tape based delay systems Determines the LFO low frequency oscillator source waveshape and phase used to modulate the Mod Delay signal When the LFO Type is set to one of the Trem modes the Rate is linked to the Trem Fade module rate In this scenario the Rate knob value changes to Trem and adjusting Rate will have no effect By using the Trem Fade amplitude processor as the LFO source of the Mod Delay module extraordinary new timbres can be realized UAD Powered Plug Ins Manual 377 Chapter 35 Nigel Mod Delay LFO Type Table Mode Menu Mod Delay On Off Button Table 25 Mod Delay LFO Types and Descriptions Trem Up The Trem Fade module is used as the LFO sou
592. than running the same 15 UAD plug ins on one device UAD Powered Plug Ins Manual 58 Chapter 5 Using Multiple UAD Devices For example if you are trying to minimize latency during tracking by using a smaller buffer size which will increase host CPU and need a bit more host CPU disabling one or more UAD devices during tracking may give the extra pinch of host CPU you need The buffer size can then be increased and the UAD device s re enabled for mixing i LU pai aia oa UAD Powered Plug Ins Manual 59 Chapter 5 Using Multiple UAD Devices CHAPTER 6 UAD Meter amp Control Panel Overview The UAD Meter amp Control Panel application is used to monitor UAD device resources confirm the UAD system is operating properly and configure the global UAD Powered Plug Ins system parameters The UAD Meter window displays the current DSP pro gram and memory status of the UAD hardware in real time Figure 7 shows how the UAD Meter appears on when UAD 1 and UAD 2 devices are installed together in the same system When only one de vice type is installed only that device type is displayed The UAD Control Panel Window page 63 has multiple panels that display and modify various system plug in and configuration parameters Quit Minimize Control Panel menu Program memory gauge FireWire Bandwidth gauge UAD 2 devices only UAD 2 Satellite only DSP PGM MEM FRW DSP MER Figure 7 The UAD Mete
593. the EQ it sounds better It s just a combination of the amps also use LA 2As all the time use them on bass and it s one of the compressors use for re verb Often I ll send a bunch of things to one LA2A and bring it back into the console like a re turn it s great for drums great for kick drum especially LA 2As warm things up They re the opposite of the 1176 they EQ all the warmth and low mids and bass When you put bass and drums in them they get fatter and bigger And unless you hit them way hard and make the tubes sizzle they don t really distort Of course you can get them to sound like an AC30 if you want to just turn them all the way up They are very loud powerful amplifiers I ve also used both the 1176 and the LA 2A for ste reo buss compressors you just have to be a little bit careful that your mixes don t go one sided Tom s Petty s records have often been mixed through 1176s I ve also done that with LA 2As they are of course more inconsistent piece to piece than the 1176s because of the tubes and the difference in fa tigue of the tubes UAD Powered Plug Ins Manual 533 Chapter 54 History My big mentors were Andy Johns and Lee DeCarlo and Ron Nevision because they were all Record Plant guys 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
594. the Plate Select switch and the Reverb Time meters The Reverb Time Meters display the re verb time of plates A B and C in sec onds The meter for the active plate model as specitied by the Plate Select switch is illuminated The Damper Controls the buttons beneath the Reverb Time Meters change the reverb time for each plate The range is from 0 5 to 5 5 seconds in intervals of O 1 sec Click the buttons to increment or decrement the reverb time Note The reverb time can be changed by dragging a Reverb Time Meter needle in addition to its corresponding Damper controls UAD Powered Plug Ins Manual 208 Chapter 18 EMT 140 Plate Reverb Stereo Controls Width gii Width allows you to narrow the stereo image of EMT 140 The pi range is from O 100 At a value of zero EMT 140 returns a 100 monophonic reverb At 100 the stereo reverb field is as wide as possible Balance This control balances the level between the left and right channels of BALANCE the reverb return Rotating the knob to the left attenuates the right channel and vice versa it is not a mono pan control EQ Controls ar elli h 4 This group of parameters contains the controls for EMT 140 s onboard utility equalizer It is a two band low and high shelving EQ that uses analog sounding algorithms for great tonal shaping options The EQ section is independent from the reverb algorithms and the
595. the amount of Gain Reduction in dB Power The Power switch determines whether the plug in is active Click the button to toggle the state When the Power switch is in the Off lighter position plug in processing is disabled and UAD DSP us age is reduced load is not reduced if UAD 2 DSP Loadlock on page 73 is enabled WebZine Articles Some interesting technical articles are available in our online Webzine at www uqudio com Ask the Doctors Signal Detection in the dbx 160 e htto www uaudio com webzine 2008 march index2 html Analog Obsession David Blackmer and the dbx 160 e htto www uaudio com webzine 2008 march index4 html Ask the Doctors VCA Compressors e htto www uaudio com webzine 2007 december index2 html UAD Powered Plug Ins Manual 174 Chapter 15 dbx 160 Compressor Limiter CHAPTER 16 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 DreamVerb also features a flexible 5 band active EQ and unique level ramp ing for the early and late reflections for ultra realistic dynamic room simula tion And wit
596. the knee The slopes are 18 dB per octave on the mastering filters except for the highest value 52K which is 30 dB octave The Power and Link controls are global to both channels Power is a two state knob that determines whether the plug in is ac Wy tive When the knob is in the Off counter clockwise position all LED elements are unlit plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP Loadlock on page 73 is en abled The Link switch is a software only addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels re quire the same values or unlinked when dual mono operation is desired The Link parameter is stored within presets and can be accessed via automation Important When unlink is switched to link channel 1 controls are copied to channel 2 Control offsets between channels are lost in this case UAD Powered Plug Ins Manual 296 Chapter 28 Manley Massive Passive EQ When set to Link up position modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same po sition channel 1 4 2 controls are ganged together in Link mode When Link is active automation data is written and read for channel one only In this case the automation data for channel one will control both chan nels Note When Link is active changing channel two parameters from a control su
597. the output amplifier The 1176LN is a feed back style compressor since the signal level is sensed after the gain reduction is applied to the signal Input GR Pre Output Output Transformer Circuit Amplifier Amplifier gt GR Control Circuit Input LP Figure 91 1176LN signal flow UAD Powered Plug Ins Manual 258 Chapter 24 LA 2A and 1176LN 1176LN Controls co INPUT E i OFF Ca O r 1176LN LIMITING AMPLIFIER OUTPUT UNIVERSAL AUDIO Figure 92 The 1176LN plug in window Input Output Attack Release Ratio Adjusts the amount of gain reduction as well as the relative threshold An In put value of turned fully counterclockwise yields no compression and no signal level Rotate this control clockwise to increase the amount of compres sion Adjusts the output level by up to 45 dB Make sure to adjust the Output con trol after the desired amount of compression is achieved with the Input and At tack controls To monitor the Output level set the VU Meter to 8 or 4 The Output control does not affect the amount of compression Sets the amount of time from 20 800 microseconds that must elapse once the input signal reaches the Threshold level before compression is applied Faster attack times are achieved by rotating the Attack control clockwise The faster the Attack the more rapidly compression is applied to signals above the threshold Sets the amount of time from 50 1100 ms
598. the second band To lower the fre quency for the high shelf drag to the left with the Band edge control for the third band 4 To attenuate the frequencies above the shelf frequency drag the Amplitude controls for the first and second bands up or down For a true shelf EQ make sure these amplitudes are set to equal values To configure the reverb s Resonance as a low shelf EQ 1 Drag the Amplitude control for the second EQ band all the way up 2 Drag the Amplitude controls for the first and third bands all the way down to equal values 3 Adjust the Band edge controls for the second and third bands so they are adjacent to each other To raise the frequency for the low shelf drag to the right with the Band edge control for the second band To lower the fre quency for the low shelf drag to the left with the Band edge control for the third band 4 To attenuate the frequencies below the shelf frequency drag the Amplitude controls for the first and second bands up or down For a true shelf EQ make sure these amplitudes are set to equal values The Timing panel offers control over the timing and relative energies of the early reflections and late field reverberations These elements affect the re verb s perceived clarity and intimacy The early reflections are displayed at the top of the Timing panel with controls for Amplitude and Pre delay The late field reverberations are displayed at the bottom with controls for Ampli
599. the value is set to NAB the Hum Noise frequency is 60 Hz the United States standard When set to CCIR the Hum Noise frequency is 50 Hz the standard in Europe and other regions See Noise Enable on page 51 1 and Hum Noise on page 516 for more information about Hum Note When IPS Tape Speed is set to 30 IPS the yellow LEDs are not illu minated indicating that the Emphasis EQ is set to AES However in 30 IPS mode the Equaliser switch can still be changed to set the frequency of Hum Noise Tape Speed and Emphasis EQ were originally practical controls for record duration vs noise and local standards It is important to note that historically the origin of the tape machine US or European dictated the builtin EQ em phasis but later machines like the A800 had both circuits available While the hardware A800 has discrete controls for tape soeed and emphasis EQ the user has to recalibrate the machine for various speeds and re jumper the whole machine for 30 15 or 15 7 5 IPS usage The A800 plug in has three speeds and related EQ pre emphasis de emphasis filtering presented as two easy to use controls for simple auditioning of the sonic variations CCIR also known as IEC is the EQ pre emphasis made famous on British records and is considered the technically superior EQ many say this EQ was part of the British sound during tape s heyday NAB also referred to as IEC2 was the American standard with its own sound A
600. ther in frequency and or at extreme gain values the bat may not touch the curve itself UAD Powered Plug Ins Manual 147 Chapter 12 Cambridge EQ Master Level Knob A B Selector Button EQ Enable Button Tanay This control adjusts the signal output level of Cambridge EQ This ae may be necessary if the signal is dramatically boosted or re i Pi a a i u E a b a duced by the EQ settings The available range is 20 dB The A B Selector switches between two separate sets of Cam bridge EQ plug in values This feature enables easy switching between two completely independent EQ curves which can be useful for comparison purposes or for automating radical tim bre changes Both the A and B curves reside within a single Cambridge EQ preset Click the A B Selector button to switch between the two curves When A is displayed the button and the EQ response curve is yellow When B is dis played the button and the curve is green Note To reset the A or B curve to a null flat response control click the A B Selector button The active curve will be nulled Note To copy one curve to another shift click the button The active curve will be copied to the inactive curve This button enables or disables the Cambridge EQ alto gether You can use this switch to compare the processed settings to that of the original signal or to bypass the plug in to reduce UAD DSP load load is not reduced if UAD 2 DSP Load
601. these different companies before production was discontinued around 1969 1176LN It was Bill Putnam himself who in 1966 was responsible for the initial design of the 1176 Its circuit was rooted in the 1108 A be gu CF preamplifier which was also designed by Putnam As is evident ee Se from entries and schematics in his design notebook he experi mented with the recently developed Field Effect Transistor F E T in various configurations to control the gain reduction in the cir cuit He began using F E T s as voltage variable resistors in which the resistance between the drain and the source terminals is con trolled by a voltage applied to the gate His greatest challenge was to ensure that distortion was minimized by operating the F E T s within a linear region of operation Orage A er a s the for A mv Atl UAD Powered Plug Ins Manual 529 Chapter 54 History After several unsuccessful attempts at using F E T s in gain reduction circuits Putnam settled upon the straightforward approach of using the F E T as the bottom leg in a voltage divider cir cuit which is placed ahead of a preamp stage The output stage of the 1176 is a carefully crafted class A line level amplifier designed to work with the then standard load of 600 ohms The heart of this stage is the output transformer whose design and performance is critical Its primary function is to convert the unbalanced na ture of the 1176 circuit to
602. tibility Load Save Preset The Settings menu provides a convenient way to manage your UAD plug in parameter settings To select the func tions click the folder icon in the Toolbar then select an ac tion from the drop menu that appears LENIN gad Preset save Preset Copy Settings ANG The Settings load save feature supports presets but not banks To load and save banks use the host s bank management feature if available Note UAD plug in settings are saved within a project session file by the host software and settings are recalled when the project file is loaded This occurs automatically without using the preset load save feature Load save and copy paste of parameter values between the same UAD plug in type is supported You can also load save copy paste between SE and full plug ins of the same type for example between UAD Neve 33609 and UAD Neve 33609SE when you need to squeeze out a bit more DSP perfor mance without losing your settings Preset Families Functions in the menu are also supported between family based plug ins For example preset load save and settings copy paste are all interchange able within the UAD CS 1 family which includes CS 1 DM 1 DM 1L EX 1 and RS 1 The Nigel family can share presets and settings as well When the Load Preset or Save Preset function is selected the standard oper ating system load save file dialogs are presented Preset files can then be load
603. time processing for mix bounces e LiveTrack low latency mode for monitoring tracking and performance not available on UAD 2 Satellite e SessionMap bi directional UAD 1 lt gt UAD 2 session compatibility e 1 0 D E Live Optimizing DSP Engine automatically balances DSP loads e LoadLock ensures resource availability on loaded plug ins e Redesigned plug in Toolbar includes improved preset management e Redesigned UAD Meter amp Control Panel application e Simplified Registration Authorization process via one button click e World s best plug in library with premier titles from Neve Roland Moog SPL Manley Empirical Labs SSL Pultec and more e 14 day full function demo for all plug ins try before you buy e Powered Plug Ins available 24 7 my uaudio com e Easy license transfer for existing UAD 1 1e Xpander users e Generous upgrade promotions for existing UAD 1 users e UAD v5 x supports all existing UAD hardware UAD Powered Plug Ins Manual 19 Chapter 1 Introduction The UAD System The UAD Powered Plug Ins package is a hardware plus software system that consists of one or more UAD DSP devices 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 bud get The difference between each package are the UAD device type and the se lection of plug ins that are bundled with
604. tion File 48 Authorization Notes 49 Authorization Overview 47 Authorize Plug Ins 48 Authorize Plug ins button 67 Authorize Plug Ins Procedure 32 Authorizing Multiple Cards 56 Auto Mode 408 Automation 93 automation 93 Balance 240 Balance Control 209 Band Controls 335 403 463 465 471 Band Curves 428 Band Disable Button 163 Band Enable Button 403 Band Parameters 424 Bands 416 Bandwidth Q Knob 164 Bandwidth Knob 403 438 Bass 249 Bent Knob 360 Blending Bar 180 Blending Bars 183 Boost Button 356 Boost Knob 437 438 440 Boss CE 1 Chorus Ensemble 460 Boss CE 1 Controls 461 Boss CE 1 Screenshot 460 Bright Button 361 Buy Button 70 90 Buying Plug Ins 52 Bypass 184 185 536 INDEX Cabinet 362 Cabinet On Off Button 364 Cabinet Type Menu 362 Cambridge EQ Controls 146 Cambridge EQ Screenshot 145 Cambridge Equaliser 145 Card Info Display 58 Card Status 66 CE 1 Chorus Intensity Knob 462 CE 1 Clip LED 461 CE 1 Depth Knob 463 CE 1 Normal Effect Switch 461 CE 1 Output Level Knob 462 CE 1 Rate Knob 463 CE 1 Rate LED 461 CE 1 Stereo Mode Switch 462 CE 1 Vibrato Controls 463 CE 1 Vibrato Chorus Switch 461 Channel Input Gain 241 Circular jump 76 Classic Mode 462 Color and Bent 358 Color Knob 360 Compensating Upsampled Plug Ins 107 Compressor Attack Menu 357 Compressor On Off Button 357 Compressor Output Knob 165 Compressor Ratio Knob 356 Compressor Release Menu 357 Compressor Threshold K
605. tion and control is detailed below In the UAD Neve 88RS plug in O dBFS is calibrated to 4 dBU plus 18 dB of headroom so O aBFS is equivalent to 22 dBU The output of the cut filters is fed to the input of the dynamics or EQ section dependent upon the Pre Dyn switch Understanding this signal flow will help you obtain a more predictable result see Figure 18 below Gate E ae TEA 7 Comp Limit Input Cut Filters Pre Dyn Switch Output swaps Dyn EQ order Figure 118 Simplified signal flow within UAD Neve 88RS The dynamics section consists of a gate expander and a lim iter compressor The controls for each of these two dynamics pro cessors are arranged in vertical columns with the gate expander controls in the left column and the limiter compressor controls in the right column Both processors can be individually activated or disabled The settings of the gate do not affect operation of the compressor and vice versa The same sidechain signal EQ d or not depend ing upon Pre EQ switch is sent to both the gate and compressor The gains for both the gate and compressor are computed based on that same signal then both the gate and compressor gains are applied in the same place by a single gain reduction VCA see Figure 118 above UAD Powered Plug Ins Manual 339 Chapter 34 Neve 88RS Channel Strip Gate Expander The gate expander module operates in either gate or expansion mode In gate mode
606. tion of the ae amat processor when set to NORMAL The switch will have no effect it Mode Selector on page 468 is set to Reverb Only This control is some times affectionately referred to as the dub switch Sma This switch puts the plug in into tempo sync mode See Chapter 8 3 Tempo Sync for information including additional sync info spe cific to the RE 201 page 99 These LCD style readouts display the current de lay time s of the RE 201 The three displays correspond to the three virtual heads in the plug in and always maintain their proportional relationship to each other The delay time values are displayed in milliseconds unless tempo sync is ac tive in which case beat values are displayed When a particular head is in active see Mode Selector on page 468 a dash is displayed When in tempo sync mode note values that are out of range will flash Im precise note values due to head relationships are displayed with superscript or symbol before the note Ge n the original hardware the tape loop is contained in a user re new uen Placeable cartridge As the tape wears out it is subject to fidelity BUR 055 plus increased wow and flutter The Tape Age switch allows maa the plug in to mimic the behavior of new used and old tape car tridges Newer tape may be ideal for a pristine vocal track while older tape could be described as having more character and
607. tional latency compensation because it is not upsampled Note Compensating for Neve 1081 is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS Neve s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 320 Chapter 31 Neve 1081 Equalizer CHAPTER 32 Neve 31 Overview 102 Console EQ The Neve 8068 console featuring the 31 102 EQ was used to hand mix one of the best selling debut albums of all time Appetite For Destruction by Guns N Roses Artists ranging from Primus and Metallica to My Morning Jacket and The Red Hot Chili Peppers have also called on the distinct tone of the Neve 8068 and 31102 EQ in the studio Universal Audio s officially licensed and endorsed Neve 31102 EQ plug in delivers the same sonic experience as its analog cousin with exacting detail Complete with its own distinct filter shap ing and unmistakable sheen and bite the 31102 provides another step in the evolution of classic Neve EQs 3 band active EQ and High Low filters offer enhanced tone shaping possibilities and a feature complexity that sits squarely between its cousins the 1073 and the 1081 The Neve 31102 SE EQ is a three band 10 12 and 16 kHz high
608. to Chapter 11 UAD 2 Satellite for complete details Our support website contains many helpful videos that explain how to install the hardware and software register and authorize the product obtain op tional plug ins and more e htto www uaudio com support uad videos html UAD Powered Plug Ins Manual 24 Chapter 2 UAD Installation System Requirements Windows Mac All Platforms Supported Hosts UAD Powered Plug Ins require the following hardware and software e Microsoft Windows XP Home Professional or x64 Edition Windows Vista x86 or x64 or Windows 7 x86 or x64 e Mac OS 10 5 Leopard or OS 10 6 Snow Leopard Processor upgrade cards are not officially supported e Available PCle x1 x4 x8 x16 slot for each UAD 2 and UAD le card e Available PCI or PCI X slot for each UAD 1 card e ExpressCard 34 or ExpressCard 54 expansion slot for each UAD 2 Solo Laptop and UAD 1 Xpander e Available Firewire 400 or Firewire 800 expansion port for UAD 2 Satellite e 512 MB RAM 1 GB or higher is strongly recommended e 550 MB available hard drive space for UAD 2 or UAD 1 install e 750 MB available HD space for combined UAD 2 plus UAD 1 install e 1024 x 768 or higher resolution monitor e CD ROM drive or internet connection for software installation e Internet connection required for registration and plug in authorization e Compatible VST RTAS or Audio Units plug in host application software see
609. to the early reflections The Materials effect upon the ER is most pronounced when Filtering is set to 100 Note The parameters in the Materials panel have no effect on the early re flections unless this parameter value is above 0 UAD Powered Plug Ins Manual 184 Chapter 16 DreamVerb Late Field Relative Timing To highlight the relative timing relationship between the early reflections and late field reverberation components the shape and timing of the late field is represented as an outline in the Reflections panel The shape of this outline is modified by parameters in the Reverberations panel not the Reflections panel Reverberation Panel Bypass switch Early reflections relative timing display Late field start time control bat The Reverberation panel Figure 73 contains the parameters that control the late field LF reverb tail for DreamVerb The primary spectral characteristics of the late field reverberation are deter mined by the parameters in the Materials panel page 181 in conjunction with the Reverberation panel settings Note The values for the late field controls are displayed in the text fields at the bottom of the Reverberations panel These values can also be entered di rectly using the text entry method Amplitude and Slope control bat Diffusion 7 LATE TIMIN Diffusion control Decay Time 100 me control bat 4 3 dE er mE Figure 73 DreamVerb Reverberation panel
610. to the left Sets the stereo position for the right channel allowing you to adjust the width or balance of the stereo signal For a mono signal set both the L Pan and R Pan to the left Enables or disables the Reflection Engine You can use this switch to compare the RS 1 settings to the original signal or bypass the entire RS 1 section to re duce UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Adjusts the relative output of the plug in UAD Powered Plug Ins Manual 171 Chapter 14 CS 1 Channel Strip CHAPTER 15 dbx 160 Compressor Limiter Overview The dbx 160 Compressor Limiter is an officially licensed and faithful emu lation of the legendary dbx 160 hardware compressor limiter still widely considered the best VCA compressor ever made Originally designed and sold by David Blackmer in 1971 this solid state design set the standard for performance and affordability The dbx 160 commonly referred to as the VU is a highly regarded studio staple famous for its simple control set and tirm distinct compression characteristics Unlike later monolithic IC units the VU uses a series of discrete components for gain reduction resulting in unique nonlinearities not found in other VCA compressors a sonic distinc tion from later models The UAD Powered Plug In version of the dbx 160 cap tures all of the sonic nuances from our golden modeling unit plus the simple control s
611. top UAD Xpander UAD Xtenda Documentation ExpressCard is a computer expansion slot typically used in notebook com puters Utilizing a 2 5Gbps differential serial link ExpressCard conveniently leaves slower USB and Firewire connections free for dongles Audio I O and hard drives while operating at full PCI Express bandwidth Universal Audio has three ExpressCard products UAD 2 SOLO Laptop UAD Xpander and UAD Xtenda Once installed and configured these products are functionally identical to their UAD card counterparts see The UAD Hardware on page 37 for a UAD hardware overview UAD 2 SOLO Laptop is a compact ExpressCard version of the UAD 2 Solo card The UAD 2 SOLO Laptop brings all the power of the UAD 2 to portable digital audio workstation users The UAD 2 SOLO Laptop enables large pro fessional mixes on notebook DAWs without the need for external cabling or a power supply See UAD 2 SOLO Laptop Details on page 115 The UAD Xpander is the world s first ExpressCard audio DSP expansion sys tem for Mac OS X and Windows Vista notebook computers The UAD Xpander has identical DSP power as the UAD 1 series of desktop prod ucts and is fully compatible with all UAD 1 Powered Plug Ins See UAD Xpander Details on page 120 UAD Xtenda is a PCle to ExpressCard adapter card offered by Universal Au dio It enables UAD ExpressCard products to be used in a desktop computer that has PCle expansion slots
612. tral characteristics 185 Speed 388 SPL Transient Designer 473 543 INDEX SPL Transient Designer Applications 476 SPL Transient Designer Controls 474 SPL Transient Designer Screenshot 473 SPL Transient Designer Technology 480 Split 389 SSL G Buss Compressor 498 SSL G Buss Compressor Controls 499 SSL G Buss Compressor Screenshot 498 SSL G Channel Strip 484 SSL G Channel Strip Controls 485 SSL G Channel Strip Screenshot 485 Startup Sequence 123 Stereo 263 Stereo Mode 401 Stereo Operation 237 261 Studer A800 503 Studer A800 Screenshot 504 Studer Operational Overview 504 Support Website 22 Supported Hosts 25 Sweep Hi Knob 365 369 376 Sweep Knobs 364 368 376 Sweep Lo Knob 365 368 376 Sync Button 166 170 System 49 System Information Panel 64 System Overview 37 System Requirements 25 26 115 120 129 Target Link Speed 79 Tempo Sync 95 Tempo Sync Modes 98 Tempo Sync Plugins 95 Text Entry 91 Thank You 535 The UAD System 20 Threshold 239 382 388 Threshold Thresh Knob 372 Threshold Knob 165 UAD Powered Plug Ins Manual Time Constant 240 Time Knob 379 Toggle initial value modifier 77 Toolbar 86 Track Advance 105 TrackAdv Examples 106 Transfer Video 53 Transferring UAD cards and licenses 53 Transient Designer 473 Trem Fade 372 Trem Fade On Off Button 374 TremModEcho Module 371 Tremolo Mode 374 Trident A Range EQ 518 Trident A Range EQ Controls 520 Trident A Range EQ Scre
613. true bypass is desired use the host disable switch Low Peak Controls an l This switch determines the frequency of the low midrange portion of the equal Selector Switch izer Five frequencies are available 200 Hz 300 Hz 500 Hz 700 Hz and 1 kHz Boost Knob This knob determines the amount of low midrange Peak gain to be applied to the frequency set by the low midrange frequency selector Dip Controls weng l This switch determines the frequency of the midrange portion of the equalizer Selector Switch Eleven frequencies are available 200 Hz 300 Hz 500 Hz 700 Hz 1 kHz 1 5 kHz 2 kHz 3 kHz 4 kHz 5 kHz and 7 kHz Attenuation This knob determines the amount of midrange Dip cut to be applied to the Knob frequency set by the midrange frequency selector High Peak Controls Ira l This switch determines the frequency of the high midrange portion of the Selector Switch equalizer Five frequencies are available 1 5 kHz 2 kHz 3 kHz 4 kHz and 5 kHz Boost Knob This knob determines the amount of high midrange Peak gain to be ap plied to the frequency set by the high mid frequency selector MEQ 5 Response Curves We ve included a few frequency response plots that illustrate the response curves of the MEQ 5 All plots were taken at a sample rate of 192 kHz UAD Powered Plug Ins Manual 440 Chapter 44 Pultec and Pultec Pro Low Peak Response MEQ 5 Frequency Response Low Peak 500Hz 12 B A A
614. ts or for special effects Note The values for the Start and End bats are displayed in the text fields at the bottom of the Reflections panel These values can also be entered directly using the text entry method UAD Powered Plug Ins Manual 183 Chapter 16 DreamVerb Bypass switch ER Start control bat predelay 4 amplitude bat time amp Ta mi ERE Reflections 3 Filtering 5 omi a EARLY TIMING e amplitude E Er Materials Filtering control bat 100 re f 4 ms 2 6 JE 17 me Late field relative timing display Figure 72 DreamVerb Reflections panel Bypass Reflections Start Reflections End Filtering The early reflections can be disabled with this switch When the switch is off black instead of grey the other Reflections controls have no effect This switch has no effect on the direct signal path This bat controls two early reflections start parameters Dragging the bat hor izontally controls the ER predelay the delay between the dry signal and the onset of the ER Dragging it vertically controls the amplitude of the reflections energy at the ER start time This bat controls two ER end point parameters Dragging the bat horizontally controls the ER end time the time at which the ER is no longer heard Drag ging it vertically controls the amplitude of the reflections energy at the end point This parameter determines the amount of filtering from the Materials panel to be applied
615. ts the control signal sidechain of the com pressor only It does not filter the audio signal maa This parameter determines the threshold level for the onset of Pa compression Incoming signals that exceed this level are com pressed Signals below the level are unaffected pr The available threshold range depends on ratio setting At higher Ratio values more headroom is available Since the plug in is designed primarily as a buss compressor where signal levels typi cally run hotter than individual tracks this feature increases the control reso lution for fine tuning these higher levels UAD Powered Plug Ins Manual 382 Chapter 36 Precision Buss Compressor Ratio Attack Release When Ratio is changed the Threshold value is updated accordingly When Ratio is set to 2 1 the Threshold range is 55 dB to O dB When Ratio is set to 4 1 the Threshold range is 45 dB to 10 dB When Ratio is set to 10 1 the Threshold range is 40 dB to 15 dB Note When Ratio is changed Threshold numerical values are updated but the Threshold knob position does not move As the Threshold control is decreased and more compression occurs output level is typically reduced Adjust the Gain control to modify the output to com pensate if desired Ratio determines the amount of gain reduction for the compres sor For example a 2 1 ratio reduces the signal above the threshold by half with an input signal of 20 dB being reduced to 10
616. tulations 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 software represents the culmination of a multi year develop ment effort delivering the latest in state of the art audio processing technology and is the next evolution of the revolutionary award winning UAD 1 Powered Plug Ins amp DSP Device Platform For many years our customers have been asking for a UAD with more power and the UAD 2 is all about putting more power in your hands more power to track mix and master The UAD 2 Quad offers on average an incredible 10 times the power of the UAD 1 while the UAD 2 Duo offers 5 times and UAD 2 Solo offers 2 5 times the power The UAD 2 Quad supports an awe inspiring 128 channel Neve 88RS mixer at 44 1k That s a full console for the largest of professional mixes on ONE incredibly priced UAD 2 device The UAD 2 of course seamlessly works alongside up to 4 UAD 1 s or UAD le s but also allows any 4 UAD 2 devices to be mixed and matched to con veniently scale the DSP power you want at the price you can afford Start with a Nevana 32 and instantly run a 32 channel Neve 88RS console Then sim ply add more devices for additional outboard FX or more mix channels as your needs grow Pro power users can now use up to four UAD 2 Quads for the most demanding applications with equivalent potency to 40 UAD 1 cards Now inside the box mixing is as powerful as
617. ual Mode In Dual mode the CE 1 behaves as a dual mono device functioning as two in dependent CE 1 s each running in mono mode on one side of the stereo sig nal The left output contains a mix of the dry left input signal and the processed left channel signal while the right output contains a mix of the dry right input sig nal and the processed right channel signal Additionally the LFO s of the dual CE 1 channels are 90 degrees out of phase quadrature for maximum effect Classic Mode In Classic mode the CE 1 behavior is similar to that of a mono in stereo out configuration The left and right channel inputs are mixed to mono and the dry signal mixed left and right channels appear at the left output and the wet effect signal appears at the right output This knob determines the signal level at the output of the plug aag in The range is O 100 NI Vie a Note This is not a wet dry mix control lic aye fer When CE 1 is in chorus mode the amount of chorusing effect is me determined by this knob Note When in vibrato mode chorus intensity has no aftect UAD Powered Plug Ins Manual 462 Chapter 46 Boss CE 1 Chorus Ensemble Vibrato Controls These two knobs control rate and depth of the vibrato effect when CE 1 is in vibrato mode Depth Knob The depth knob controls the intensity of the vibrato ef fect Rate Knob The rate knob controls the rate of the vibrato LFO The rate is indicated b
618. uch of its revered sonic char acter Because analog mixing consoles can typically output high signal levels audio engineers often take advantage of the ability to push the hardware 33609 into the colorful arena This complete pallet of sonic nuance including the dynamic input response is captured in the UAD Neve 33609 model The plug in is calibrated inter nally so that O dBFS at its input is equivalent to an input level of approximately 26 dBu on the 33609 hardware where the coloring is more prominent The result is that a typical signal within a DAW will drive the UAD Neve 33609 into these virtual higher levels resulting in fairly high amounts gain reduc tion UAD Powered Plug Ins Manual 333 Chapter 33 Neve 33609 Compressor Headroom Switch The Headroom switch is provided to accommodate applications where high amounts of gain reduction are not desired Headroom simply lowers the in ternal operating level so that the plug in is not pushed into gain reduction as much Headroom can be set to 22 dB 18 dB or 14 dB At 22 dB signals will push the plug in into gain reduction and more non linearity and good harmonic distortion more easily Set the switch to a lower value when less gain reduc tion and color is desired The numbers on the switch indicate where O dBFS falls relative to nominal 4 dBu For example with 22 dB of headroom O dBFS corresponds to 4 dBu 22 dB 26 dBu With 18 dB of headroom
619. udio com Bundled Plug Ins UAD plug ins that are bundled with the UAD device are automatically li censed when the device is registered After registration the Authorization File must be loaded Note UAD devices must be authorized to run bundled included plug ins See Authorization Overview on page 47 for details Vouchers Vouchers included in UAD retail packages have dollar values that are as good as cash for buying UAD plug ins at my uaudio com Vouchers are ap plied to your my uaudio com account automatically when you register your device by clicking the Authorize Plug ins button After registration the voucher dollar amount is in your account as a credit ready to be applied to your store purchase Coupons Like vouchers coupons are as good as cash and are redeemed for UAD plug ins at my uaudio com Unlike vouchers however coupons expire after a limited time period Coupons are used for promotional offers only they are not included in retail packages Coupons can be used only once Tip Coupons are a great reason to subscribe to promotional announce ments Email subscription preferences are specified on your My Profile page at my uaudio com see My Profile on page 52 Plug Ins are The UAD software installer always installs the complete suite of available already installed UAD plug ins to the hard drive during installation Therefore when you pur chase an optional license you don t download that ind
620. ue to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins The latency and its compensation is identical to that of the UAD Precision Equalizer See Compensating Upsam pled Plug Ins on page 107 for more information The Neve 1073SE does not require additional latency compensation because it is not upsampled Note Compensating for Neve 1073 is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs See Host PDC Implementation on page 100 EIIE i aiii T E ee DE a FZ ls 5 SET AYAH ee RENE EPEA AE All visual and aural references to the Neve 1073 1081 31102 88RS and 33609 products and all use of AMS Neve s trademarks are being made with written permission from AMS Neve Limited UAD Powered Plug Ins Manual 313 Chapter 30 Neve 1073 Equalizer CHAPTER 31 Neve 1081 Equalizer Overview The Neve 1081 channel module was first produced in 1972 by Neve and was used to provide the mic line amp and EQ sections in consoles such as the Neve 8048 Vintage 8048 consoles with 1081 modules are still in wide use today at classic facilities such as The Village in Los Angeles and have been chosen by artists ranging from The Rolling Stones to The Red Hot Chili Peppers Universal Audio s Neve 1081 EQ delivers the same sonic experience as its analog cousin with exacting
621. ue for each instance of the upsampled plug in Note that the compensation value to use depends on the session sample rate e Compensating for upsampled UAD plug ins is not required if the host appli cation supports full plug in delay compensation throughout the signal path UAD Powered Plug Ins Manual 107 Chapter 9 UAD Delay Compensation e Compensating for upsampled UAD plug ins is not required when these plug ins are used for program material on the output bus where latency is not a consideration e If only one latency value is shown in Table 7 on page 109 the value ap plies to both UAD 1 and UAD 2 N A means that sample rate is not sup ported e 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 in stance compensation is required e Since the maximum Samples value in one DelayComp instance is 128 more than one DelayComp instance will be required in series if the com pensation value from Table 7 on page 109 exceeds 128 e Latency compensation techniques for upsampled plug ins apply to UAD Track Advance page 112 as well e The latency in Table 7 on page 109 is also produced when LiveTrack mode page 88 is used with upsampled plug ins e Upsampled plug in latency cannot be displayed in the Plug In Latency Sec tion on page 65 due to technical limitations UAD Powered Plug Ins Manual 108 Chapter 9 UAD Delay Compensation
622. ug in processing Extra Latency using LiveTrack When extra buffering is enabled page 73 or when upsampled UAD plug ins page 107 are used with LiveTrack latency is increased Extra buffering adds 64 samples and each upsampled plug in using LiveTrack adds the value from Table 7 on page 109 Note For more detailed information about latency and buffers see Chapter 9 UAD Delay Compensation To activate LiveTrack Mode click the microphone icon in the UAD 2 Toolbar The mode is active when the mic icon is red LiveTrack Mode can be activated simultaneously on multiple UAD 2 plug ins However host system CPU loads will increase with each LiveTrack Mode in stance The Status indicator see Figure 20 on page 86 displays information about the current state of the plug in Each state is described below Start Demo When START DEMO is displayed the 14 day trial period for the particular plug in has never been activated Clicking this button will start the demonstration period you can also start the demo in the Control Panel s Plug In Status column page 68 Demo Active DEMO 14 DAYS After starting the demo and when the plug in is still within the active 14 day trial period the number of days remain ing in demo mode is displayed here Important The 14 day demo period can only be activated once and can not be stopped or restarted during this period We recommend you do not ac tivate demo mode until
623. um system requirements for UAD Powered Plug Ins see System Requirements on page 25 in addition to the UAD ExpressCard product specific requirements UAD 2 SOLO Laptop requires the following hardware and software e UAD Powered Plug ins software v5 3 1 or higher included e Available ExpressCard 34 or ExpressCard 54 expansion slot e UAD version 5 5 0 or higher is recommended for best performance Install Software First Software installation for UAD ExpressCard products is the exact same proce dure as those for UAD cards Install the software before the hardware Please refer to UAD Software Installation on page 27 for detailed procedures UAD Powered Plug Ins Manual 115 Chapter 10 UAD ExpressCard Products ExpressCard 34 to ExpressCard 54 Adapter Inserting the SOLO Laptop Software Updates The CD ROM in the retail package may not contain the latest UAD software Please check our website for software updates e hitp www uaudio com support uad downloads e If the UAD software is already installed the UAD Meter amp Control Panel has a convenient button that links to the updates page Check for Updates on page 64 The UAD 2 SOLO Laptop device uses the Express Card 34 form factor When the device is installed in systems with the wider ExpressCard 54 slot the en closed ExpressCard 34 to ExpressCard 54 adapter should be used for the most reliable connection The adapter has two tabs on t
624. un optional plug ins however multiple installed devices are authorized simultaneously If one de vice is authorized then another device is added without downloading a new authorization the optional plug in will only load on the previously authorized device To obtain a new authorization file for additional devices use the Au thorize Plug ins button page 67 in the UAD Meter amp Control Panel UAD 1 with UAD 2 When using UAD 1 and UAD 2 devices together in the same system the Run On Menu page 69 in the UAD Meter amp Control Panel s Plug Ins Panel page 67 specifies which de vice UAD 2 or UAD 1 each plug in will load and run on You can use this menu when both UAD 2 and UAD 1 are in stalled to help manage your DSP resources Note The Run On menu should not be used dynamically it is designed to be set and forget because the value is not stored within sessions Power Requirement Each UAD card draws power from the expansion slot that it is installed in PCI PCI X or PCle The total power draw of all the installed cards must not exceed the power that can be adequately delivered by the host computer UAD Powered Plug Ins Manual 56 Chapter 5 Using Multiple UAD Devices Windows IRQ Conflicts The UAD device power requirements are listed in Table 2 on page 57 These tigures are measurements of the actual power draw for these devices when running at full DSP load Note UAD 2 Satellite cannot
625. understandings or agreements written or oral regarding such subject matter No amendment to or modification of this License will be binding unless in writing and signed by a duly authorized representative of Universal Audio Should you have any questions concerning this Agreement please contact Universal Audio at 1700 Green Hills Road Scotts Valley CA 95066 4926 USA 1 831 440 1176 voice 1 831 461 1550 fax www uaudio com web Copyright 2011 Universal Audio Inc All rights reserved This manual and any associated software artwork product designs and design concepts are subject to copyright protection No part of this document may be reproduced in any form without prior written permission of Universal Audio Inc Your rights to the Software are governed by the accompanying End User license agreement Trademarks Universal Audio the Universal Audio diamond logo UAD UAD Series UAD 1 UAD 2 UAD 2 SOLO UAD 2 DUO UAD 2 QUAD Powered Plug Ins 1176LN 1176SE Teletronix LA 2A LA 3A LA 610 LA 610MkII 2 1176 2 610 6176 710 Twin Finity 2192 Cambridge EQ DreamVerb Plate 140 Precision Limiter RealVerb Pro Precision Buss Compressor Precision De Esser Precision Maximizer Satellite DUO Satellite QUAD and Analog Ears Digital Minds are trademarks or registered trademarks of Universal Audio Inc Other company and product names mentioned herein are trademarks of their respective owners EULA v110412 TA
626. us the The LC is a steeper 18 dB per oc tave The normal arrangement is dynamics first but the EQ can be put as the tirst process with the PRE DYN Pre Dynamics button It is interesting to note that the console labels did not change on the consoles moving from the 15 dB gain range to the 18 dB of the black EQ nor did the frequency or Q labels The gain section has remained largely the same on SSL consoles from the be ginning until now with dedicated VCA compressor and expand gate cir cuits UAD Powered Plug Ins Manual 496 Chapter 50 SSL E Channel Strip The compressor s simple control set allows for a wide variety dynamics con trol from transparent to aggressive A fully continuous ratio allows for the full range of knee from very gentle to fully limited A fixed two position attack and the continuously adjustable release are perfect control sets for general con sole dynamics control it is interesting to note that at heavy compression with quick release times the SSL design has a similar room expanding quality as the 1176 on things like drums and room mics While gates are not as relevant in the DAW as they once were for analog mixing the SSL has one of the most transparent and musical console gates available which can be used for fixative or creative purposes There are two gate modes G1 is the original E series gate response with G2 has a minimal chatter response borrowed from the later G series gate The
627. useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock on page 73 is enabled Power Toggle the switch or click the UA logo to change the Power state the UA logo is illuminated in blue when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled state UAD Powered Plug Ins Manual 399 Chapter 39 Precision Enhancer kHz CHAPTER 40 Precision Equalizer Overview The Universal Audio Precision Equalizer is a stereo or dual mono four band EQ and high pass filter designed primarily for mastering program material The Precision Equalizer may also be used in recording and mixing where the utmost in EQ quality is required The Precision Equalizer is based on industry standard analog mastering filters and uses the classic parametric controls ar rangement The Precision Equalizer utilizes the best from those designs while incorporating features convenient to digital mastering To preserve the great est sonic detail and ensure a minimum of artifacts in the upper frequency range the Precision Equalizer is upsampled to 192 kHz Precision Equalizer Screenshot a i iil ba r j aT Wl id HU FF 7 iii Kala STEREO UAL H Arh TNEI UNIVERSAL AUDIO EQUALIZER Figure 137 The UAD Precision Equalizer plug in w
628. values mean the peak trough has steeper slopes Hi Q is active when the button is gray and the yellow indicator illuminates Hi Q is off by default Note Hi Q has no effect when the band is in shelf mode In addition to the four band EQ UAD Neve 88RS offers ae two cut filters one each for low and high frequencies IE The slope of the cut filters is 12 dB per octave Each cut ar a tilter has two controls Cut Enable and Frequency Both controls are detailed below Note UAD DSP load is not reduced when the cut filters are disabled UAD Powered Plug Ins Manual 349 Chapter 34 Neve 88RS Channel Strip Cut Enable Cut Frequency Global Sidechain EQ SC EQ Pre Dynami es we Phase Output This button activates the cut filter The cut filter is active when the button is gray and the red indicator illuminates This knob determines the cutoff frequency for the cut filter The available range is 7 5 kHz to 18 kHz for the high cut fil il ter lighter blue control and 31 5 Hz to 315 Hz for the low cut filter darker blue control This control enables the UAD Neve 88RS sidechain function When sidechain is active signal output from the EQ module is re moved from the audio path and is instead routed to control the dy namics module Sidechaining is typically used for de essing and similar frequency conscious techniques To listen to the sidechain key simply disengage SC EQ to hear the EQ d signal
629. ve Circular grab 76 Release 259 Release all DSP resources on Audio Unit bypass 75 Release all DSP resources on AudioUnit bypass 75 Release Knob 164 Resonance Res Knob 369 Resonance panel 177 Resource Gauges 62 resources 84 Response Curve Color 146 Response Curve Display 146 Retail Packages 46 Reverb Time Meters 208 Reverberation panel 177 185 Roland 464 465 Roland CE 1 Controls 461 Roland CE 1 Overview 460 Roland Dimension D 464 Roland Dimension D Controls 465 Roland Dimension D Overview 464 Roland Dimension D Screenshot 464 Roland RE 201 466 Roland RE 201 Controls 467 Roland RE 201 Interface 467 Roland RE 201 Screenshot 467 Room Shape and Material 444 R Pan Knob 168 171 RS 1 Controls 170 RS 1 Reflection Engine 169 Run On Menu 70 UAD Powered Plug Ins Manual Samples parameter 103 106 Satellite 127 Save Load 189 Screen Shots 21 Scroll Wheel 91 Secondary Controls 510 Sends 104 Sens 368 Sens Rate Wah Knob 368 Settings Menu 87 Shape 416 Shape Blending Bar 180 Shape Menus 180 Shape Panel 179 Shape panel 177 Shape Pop up Menu 170 Shelf Enable Button 154 Shelf EQ 154 Shelf Type Button 154 Shimmer Mode 373 Shortcuts 91 Sidechain Link 240 Signal Flow 176 Size 190 Size Knob 170 Slope 186 Software Installation 27 Software Instructions 123 Software Removal 36 Software Updates 26 Solo 388 Solo Display 432 Space 191 Spatial Characteristics 190 Spectral Characteristics 446 spec
630. ve also added a Tape Age switch to emulate new and older tape a Wet Solo control for use as a bus send effect and an output volume control for utility The clever Splice switch allows the user to trigger the tape splice at will Tempo synchronization controls round out the modernization of this classic analog processor The fabulous sound of the original is untouched Roland RE 201 Controls Each feature of the Roland RE 201 interface is detailed below Peak Level The Peak lamp indicates when transient signal peaks and clipping are SA detected just after the input volume control It begins illuminating at ap i proximately 2 dB to 1 5 dB then gets brighter as the level in creases VU Meter The VU meter indicates the average signal that is about to lamp an indication of signal level can be deduced be written to the tape Used in conjunction with the Peak UAD Powered Plug Ins Manual 467 Chapter 48 Roland RE 201 Space Echo Echo Pan Reverb Pan Input Volume Mode Selector The VU is essentially an input meter therefore it doesn t react when the Echo Normal switch is switched from Echo to Normal Note The Peak lamp and VU meter measure signal just after the input volume control However like the original hardware echo intensity feedback is ap plied just before the level detection circuit For this reason the Intensity control will affect the level readings Echo Pan determines the p
631. ve any effect Tip Click the control label text to return to the Hum or Hiss value to O UAD Powered Plug Ins Manual 515 Chapter 52 Studer A800 Hum Noise The Hum Noise frequency is dependent on the setting of the Equaliser Em phasis EQ control page 510 The frequency is 60 Hz when set to NAB US and 50 Hz when set to CCIR European Note When IPS Tape Speed is set fo 30 IPS the yellow Equaliser Empha sis EQ LEDs are not illuminated indicating that the Emphasis EQ is set to AES However in 30 IPS mode the Equaliser switch can still be changed to set the frequency of Hum Noise Hiss Noise Just like the hardware the amount of hiss is dependent on settings of the var ious controls Overall Hiss Noise is set with this control but may change based on the Path Select Tape Speed Tape Type Emphasis EQ Cal Level Bias Playback EQs and Output Level controls Studer A800 Latency The Studer A800 uses an internal upsampling technique to facilitate its amaz ing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Compensating Upsampled Plug Ins on page 107 for more information UAD Powered Plug Ins Manual 516 Chapter 52 Studer A800 The Studer A800 Professional Multichannel Magnetic Tape Recorder All visual and aural references to Studer products and all use of Studer trademarks are being made with written permission from Harman International Industries
632. ven when the UAD Meter says you should have DSP available when compared to the DSP Load Limit value Note When Limit DSP Load is enabled and the DSP load limit is exceeded when instantiating a new UAD plug in an overload message will appear and the plug in toolbar will display DISABLED Even though its interface will load the plug in will not process audio UAD 2 DSP Settings in this area apply to UAD 2 devices only If no UAD 2 device s are installed these settings are not displayed Note UAD 2 DSP parameters apply to UAD 2 PCle cards UAD 2 SOLO Laptop and UAD 2 Satellite unless otherwise noted Limit DSP Load This setting determines the maximum Limit DSP load to UAD DSP load If performance issues such as overloads dropouts stuttering and or crackles persist change the UAD DSP load value by clicking the tri angles to the right of the percentage display UAD 2 DSP load limiting is always on 100 is the maximum value Unlike the UAD 2 which has a different architecture load limiting on UAD 1 can be disabled altogether by unticking the checkbox However enabling UAD 1 DSP load limiting is recommended for optimum performance UAD Powered Plug Ins Manual 72 Chapter 6 UAD Meter amp Control Panel UAD 2 DSP LoadLock UAD 2 Extra Buffering UAD 1 PCI MIN GNT DSP LoadLock UAD 2 only reserves the maximum UAD 2 DSP load required by each plug in even if cer tain plug in features are disabled This e
633. vers e The UAD plug ins e The host computer system e The plug in host application software e An audio 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 com page 46 and the UA online store where UAD devices are registered UAD vouchers are re deemed and UAD plug in licenses and authorizations are obtained Al though my uaudio com is not required during normal system use it is essen tial for initializing the overall UAD system because authorization is required to use UAD Powered Plug Ins see Authorization Overview on page 47 The UAD Hardware The UAD DSP Digital Signal Processing hardware devices provide the power behind UAD Powered Plug Ins Most of the UAD plug ins use ex tremely complex algorithms to provide the quality sound and accurate mod eling Universal Audio is famous for The UAD processor engines are signifi cantly more optimized to perform the complex DSP routines required for these algorithms than a standard desktop computer CPU can deliver Two main UAD device families are available UAD 2 and UAD 1 Each de vice family has its own set of drivers which are specified during UAD software installation All UAD devices are Mac and Windows compatible unless stated otherwise the hardware is identical for both OS platforms UAD Powered Plug Ins M
634. wered Plug Ins Manual 476 Chapter 49 SPL Transient Designer Drums Ambience e Shorten the sustain period of a snare or a reverb tail in a very musical way to obtain more transparency in the mix e When recording a live drum set shorten the toms or overheads without physically damping them Usual efforts to damp and mike are reduced re markably Since muffling of any drum also changes the dynamic response the Transient Designer opens up a whole new soundscape Micing live drums is considerably faster and easier because you can correct the apparent distance of the microphone by simply varying the ATTACK and SUSTAIN values The Transient Designer is a perfect alternative to noise gates in live drum micing Adaptively reacting to the duration of the original signal the sustain is shortened more musically than with fixed release times and a drumset is freed from any crosstalk quickly and effectively Create unusual dynamic effects including new and interesting pan effects For example patch a mono loop through two channels of the Transient De signer and pan fully left and right in the mix Process the left channel with increased ATTACK and reduced SUSTAIN while you adjust the right chan nel the opposite way and you get very special stereo loop sounds You have to try this to appreciate what it sounds like but expect to hear a lot of un usual stereo movement Enjoy an amazingly simple integration of drum sounds into a mix
635. when the input signal has exceeded the Threshold value indicating that compression is occurring The higher the signal is above the Threshold the brighter the LED glows eases The Compression parameter determines the ratio for the compressor Less compression occurs at lower values The available range is continuous from 1 00 1 to Infinity 1 Note For compression to occur signals must exceed the Threshold value At values above approximately 10 1 the compressor behaves more like a peak limiter See Compressor Basics on page 253 for more information about compressor limiter theory of operation UAD Powered Plug Ins Manual 173 Chapter 15 dbx 160 Compressor Limiter Output Gain OUTPUT Output Gain controls the signal level that is output from the CSA plug in The available range is 20 dB Generally speaking adjust the Output control after the de sired amount of compression is achieved with the Threshold and Compression controls Output does not affect the amount of compression Meter Buttons era The Meter buttons define the mode of the VU Meter ieee The buttons do not change the sound of the signal u e processor The active button has a darker appear saa ance when compared to the inactive buttons VU Meter When set to Input the VU Meter indicates the plug in input level in AB When set to Output the VU Meter indicates the plug in output level in dB When set to Gain Change the VU Meter indicates
636. 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 400us Sets the amount of time it takes for compression to cease once the input signal drops below the Threshold level Slower release times can smooth the transi tion that occurs when the signal dips below the threshold especially useful for material with frequent peaks However if you set too large of a Release time compression for sections of audio with loud signals may extend to lengthy sec tions of audio with lower signals Three Release values are available Slow 500ms Medium 120ms and Fast 40ms Enables or disables the Compressor module within Pretlex The Compressor is engaged when the button indicator is bright red You can use this switch to compare the compressor settings to the original signal or bypass the entire compressor section to reduce UAD DSP load UAD Powered Plug Ins Manual 357 Chapter 35 Nigel Amp Module Amp Type and Variable Knob Functions Color and Bent Supercontrol The Preflex Amp is where Nigel s real magic happens Behind its deceptively simple user interface is rocket science in action The input to the Amp mod ule is received from the Compressor output The Amp output is passed to the input of the Cabinet module Figure 125 The Amp module within Preflex The function of the amp knobs vary
637. xposed to rain e The unit does not operate normally or exhibits a marked change in performance e The unit has been dropped or the enclosure damaged FCC Compliance This equipment has been tested and found to comply with the limits for a Class B digital device pursuant to part 15 of the FCC Rules These limits are designed to provide reasonable protection against harmful interference in a residential installation This equipment generates uses and can radiate radio frequency energy and if not installed and used in accordance with the instructions may cause harmful interference to radio communications However there is no guarantee that interference will not occur in a particular installation If this equipment does cause harmful interference to radio or television reception which can be determined by turning the equipment off and on the user is encouraged to try to correct the interference by one or more of the following measures e Reorient or relocate the receiving antenna e Increase the separation between the equipment and receiver e Connect the equipment into an outlet on a circuit different from that to which the receiver is connected e Consult the dealer or an experienced radio TV technician for help Caution Changes or modifications not expressly approved by Universal Audio could void the user s authority to operate the equipment Warranty The Warranty for all Universal Audio hardware is one 1 year from da
638. y flexible offering a broad spectrum of options facili tating surgical precision and delivering superior aural results in every appli cation This may be the most satisfying full featured equalizer in your arsenal of creative tools Cambridge EQ Screenshot 40 20 i00 cai ik Ch ank 20k FREE aae pk RE MENG ES HM 1g ALE E gray KUTA he 0 I OQO O a Lre mr pr ae esi aia aa UNIVERSAL AUDIO CAMBRIDGE EQUALISER amp FILTERS SANTA CRUZ CA Figure 44 The UAD Cambridge EQ plug in window UAD Powered Plug Ins Manual 145 Chapter 12 Cambridge EQ Cambridge EQ Controls Response Curve Display Each feature of the Cambridge EQ interface is detailed below The Response Curve Display plots the frequency response of the current Cam bridge EQ settings It provides instant visual feedback of how audio is being processed by the equalizer wk 20k 10 10k 20k Figure 45 Cambridge EQ Response Curve display The entire audio spectrum from 20 Hz to 20 kHz is displayed along the hor izontal axis Gain and attenuation of frequencies up to 40 dB are dis played along the vertical axis The vertical resolution of this display can be modified with the Zoom buttons Response Curve Color The color of the response curve depends on the value of the A B Selector con trol When A is active the curve is yellow When B is active the curve is green see A B Selector Button on page 148 Wh
639. y the the Rate LED indicator Note When in chorus mode the vibrato controls have no affect Power Switch This switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP Loadlock on page 73 is enabled Click the rocker switch to change the Power state UAD Powered Plug Ins Manual 463 Chapter 46 Boss CE 1 Chorus Ensemble CHAPTER 47 Overview Roland Dimension The Roland SDD 320 Dimension D is another classic effect faithfully repro duced by our ace modeling engineers The Dimension D is a one of a kind stu dio gem that adheres to the principle of doing one thing and doing it ex tremely well Its one and only function some of the best sounding stereo chorus ever made However the Dimension D is more than a chorus it is re ally a unique sound enhancer for adding spatial effects to mono or stereo sources The Dimension D does not create a dramatically new sound but en hances the characteristics of any voice or instrument and gives a new di mension without the apparent movement of sound produced by other chorus devices The strength of the Dimension D is in its subtlety This classic 1979 Roland device has been heard on countless records from luminaries such as Peter Gabriel Talking Heads and INXS Entrusted by the Roland company to emulate this classic stud
640. you have the opportunity to thoroughly check out its sound and functionality See Demo Mode on page 50 for more informa tion UAD Powered Plug Ins Manual 89 Chapter 7 Using UAD Powered Plug Ins Disabled When DISABLED is displayed in red the plug in will not pro cess audio This can occur in two situations either the demo pe riod has expired click the Buy button or the UAD DSP is over loaded and there are not enough device resources to run the plug in Status Blank When no text is displayed in the Status area the plug in is fully authorized li censed and operating normally In this state the Buy button is not displayed Buy Button When the plug in is not fully licensed the Buy button is displayed If the computer is connected to the internet clicking Buy links to the UA online store so you can purchase the license See UA Online Store on page 51 for purchasing details The Help drop menu contains a couple handy shortcuts for your convenience To select the shortcuts click the question icon in sagana the Toolbar then a shortcut from the drop menu that appears web into Help Menu Select Manual to open the UADManual pdf the file you are reading now Select Web Info to visit the product pages for the plug in on our website re quires internet connection Adjusting Parameters The parameter settings for each of the UAD Powered Plug Ins can be adjusted to achiev
641. ystem meter scales with O dB at either 20 14 or 12 dB below full scale for typical headroom and SNR requirements of various program materials UAD Powered Plug Ins Manual 409 Chapter 41 Precision Limiter Each of these modes displays the The RMS and instantaneous peak levels which follow the signal and the peak hold level see Meter Response on page 411 PK RMS Figure 139 Precision Limiter Meter Types K 20 K 20 mode displays O dB at 20 dB below full scale K 20 is intended for ma terial with very wide dynamic range such as symphonic music and mixing for film for theatre K 14 K 14 mode displays O dB at 14 dB below full scale K 14 is intended for the vast majority of moderately compressed material destined for home listening such as rock pop and folk music K 12 K 12 mode displays O dB at 12 AB below full scale K 12 is recommended for material intended for broadcast Peak RMS This is what is often considered a normal digital meter where O dB is full scale digital code UAD Powered Plug Ins Manual 410 Chapter 41 Precision Limiter Meter Response Gain Reduction Meter Meter Scale Note When the meters are in the K modes the displayed RMS level is 3 01 dB higher when compared to the same signal level in the Peak RMS mode This is done to conform to the AES 17 specification so that peak and average measurements are referenced to the same decibel value with sine waves
642. z Sets the modulation depth for the delayed signal expressed as a percentage In Dual Delay and Ping Pong Delay modes adjusting the Depth and Rate con trols can offer some very otherworldly sounds Determines the LFO low frequency oscillator waveshape and phase used to modulate the delayed signal The waveshape can be set to triangle or sine each with a phase value of O 90 or 180 degrees Sets the amount of processed signal fed back into its input Higher values in crease the number of delays and intensity of the processed signal Recirculation allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If Recirculation dis plays a positive value all the delays will be in phase with the source If it dis plays a negative value then the phase of the delays flips back and forth be tween in phase and out of phase In the flanger mode Recir has the potential to make some very interesting sounds Try turning RECIR fully clockwise or counter clockwise and set the de lay to very short but different values UAD Powered Plug Ins Manual 167 Chapter 14 CS 1 Channel Strip Damping Knob Wet Dry Mix Knob L Pan Knob R Pan Knob Enable Bypass Switch Output Knob DM IL The RECIR units are expressed as a percentage in all Modes except Dual De lay and Ping Pong In these modes RECIR values are expressed as T60 time or the time before the signal dro
643. zed for all cards Authorized far all cards Authorized for all cards Authorized for all cards 69 Firewire 5 The Run On column indicates which device UAD 2 or UAD 1 the specified plug in will load onto When both UAD 2 and UAD 1 are installed you can select between them with the Run On menu in order to better manage your DSP resources Chapter 6 UAD Meter amp Control Panel For example you could run low DSP plug ins such as the UAD CS 1 on the UAD 1 while specifying that resource hungry plug ins such as Neve 33609 run on the UAD 2 Run On Menu The Run On column contains a drop menu for each plug in Spec ity which device type UAD 2 or UAD 1 the plug in will load onto with the Run On drop menu Click the disclosure triangle to see ka the menu then drag and release on the desired device type Tip Hold Shift when specifying a device to quickly change all plug ins in the list to that device type If only one device type UAD 2 or UAD 1 is installed the disclosure triangle is not displayed and the drop menu is unavailable Note The Run On menu should not be used dynamically it is designed to be set and forget because the value is not stored within sessions Help Column H Click the Help button 2 to open the UADManual pdf the file you are reading now Buy Column If the computer is connected to the internet clicking Buy links to th

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