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Universal Audio Ampex ATR-102, Manual

The Universal Audio Ampex ATR-102 is a highly sought-after analog tape recorder that revolutionized the music industry. With its rich sound and impeccable vintage design, this manual provides an in-depth understanding of its features. Download the free manual from manualshive.com, impressing audiophiles with your knowledge of this iconic product.

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UAD Powered Plug-Ins Manual

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Chapter 36: Precision Multiband

EQ Display

In the EQ Display, the entire audio spectrum from 20 Hz to 20 kHz is dis-
played along the horizontal axis. Gain and attenuation of the five band fre-
quencies (up to ±12 dB) are displayed along the vertical axis.

Band Curves

The Band Curves show the relative frequency and gain settings of the bands. 
The sides of the colored curves are a representation of each band’s frequency 
settings, and the top of each curve represents the band’s gain setting.

Note: 

The currently selected band is displayed with a thicker bold line. Dis-

abled bands (see 

“Band Enable & Solo” on page 316

) are displayed with a 

thinner line.

EQ Response

The EQ Display also shows the processed EQ response dynamically as a light 
blue line across all bands (if the Dynamic EQ display option is enabled; see 

“EQ Display Switch” on page 322

).

Curve Control 

Points

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.

Figure 97.  Precision Multiband EQ Display

Summary of Contents for Ampex ATR-102

Page 1: ...Universal Audio Inc 1700 Green Hills Road Scotts Valley CA 95066 4926 www uaudio com Customer Support USA toll free 1 877 698 2834 International 1 831 440 1176 UAD PLUG INS MANUAL SOFTWARE VERSION 6 4 ...

Page 2: ... normally or exhibits a marked change in performance 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 ...

Page 3: ...ls and online or electronic documentation accompanying or published for use with the Software the Documentation iii 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...

Page 4: ...ices 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 so that they may improve the way their products or services interact with the Software 12 Third Party Software and Informa...

Page 5: ...cies 44 Chapter 3 Cambridge EQ 46 Overview 46 Cambridge EQ Screenshot 46 Cambridge EQ Controls 47 Low Cut High Cut Filters 50 EQ Bands 51 Parametric EQ 52 Shelf EQ 55 Chapter 4 Cooper Time Cube 57 Dual Mechanical Delay Line 57 Cooper Time Cube Screenshot 57 Design Overview 58 Cooper Time Cube Controls 58 Channel Controls 61 Cooper Time Cube Hardware 62 Chapter 5 CS 1 Channel Strip 63 Overview 63 E...

Page 6: ...el 84 Reverberation Panel 86 Positioning Panel 87 Levels Panel 89 Spatial Characteristics 90 DreamVerb Presets 91 Preset Design Tips 91 Chapter 8 Empirical Labs EL7 FATSO 93 Introduction 93 FATSO Screenshots 94 FATSO Functional Overview 94 FATSO Controls 97 Channel Controls 98 Global Controls 101 FATSO Sr Controls 102 Chapter 9 EMT 140 Plate Reverb 106 Overview 106 EMT 140 Screenshot 106 EMT 140 C...

Page 7: ...133 Overview 133 Fairchild Screenshot 134 2 Compressors 4 Modes 134 Controls Overview 135 Fairchild Modes 136 Controls 137 Chapter 13 Harrison 32C EQ 141 Overview 141 Harrison 32C EQ Screenshot 141 Harrison 32C EQ and Harrison 32C SE Controls 142 Harrison 32C SE 144 Harrison 32C Latency 145 Chapter 14 Helios Type 69 Equalizer 146 Overview 146 Helios Type 69 Screenshot 146 Helios Type 69 Controls 1...

Page 8: ...Chapter 19 Little Labs VOG 182 Bass Resonance Processor 182 Little Labs VOG Screenshot 183 Operational Overview 183 Little Labs VOG Parameters 184 Chapter 20 Manley Massive Passive EQ 187 Overview 187 Massive Passive Screenshots 188 Unusual EQ Conventions 188 Massive Passive Mastering EQ 189 Standard vs Mastering Versions 190 Massive Passive Band Controls 190 Channel Controls 194 Other Controls 19...

Page 9: ...d 1073SE Controls 217 Neve 1073SE 220 Neve 1073 Latency 221 Chapter 24 Neve 1081 Equalizer 222 Overview 222 Neve 1081 Screenshot 222 Neve 1081 and 1081SE Controls 223 Neve 1081SE 228 Neve 1081 Latency 228 Chapter 25 Neve 31102 Console EQ 229 Overview 229 Neve 31102 Screenshot 229 Neve 31102 and 31102SE Controls 230 Neve 31102SE 233 Neve 31102 Latency 234 Chapter 26 Neve 33609 Compressor 235 Overvi...

Page 10: ...Precision De Esser 266 Overview 266 Precision De Esser Screenshot 266 Precision De Esser Controls 267 Operating Tips 269 Chapter 30 Precision Enhancer Hz 270 Overview 270 Precision Enhancer Hz Screenshot 270 Precision Enhancer Hz Controls 271 Precision Enhancer Hz Usage Notes 274 Chapter 31 Precision Enhancer kHz 275 Overview 275 Precision Enhancer kHz Screenshot 276 Precision Enhancer kHz Control...

Page 11: ...ision Limiter 296 Overview 296 Precision Limiter Screenshot 297 Controls Overview 297 Precision Limiter Controls 297 Precision Limiter Meters Overview 298 Precision Limiter Latency 303 Chapter 35 Precision Maximizer 304 Overview 304 Precision Maximizer Screenshot 305 Precision Maximizer Controls 305 Operating Tips 309 Precision Maximizer Latency 309 Chapter 36 Precision Multiband 310 Overview 310 ...

Page 12: ...9 MEQ 5 Response Curves 329 Chapter 38 RealVerb Pro 333 Overview 333 RealVerb Pro Background 334 Spectral Characteristics 335 Resonance Equalization 340 Timing 341 Positioning 343 Levels 345 Morphing 345 RealVerb Pro Preset Management 347 RealVerb Pro Preset List 347 Chapter 39 Boss CE 1 Chorus Ensemble 348 Overview 348 Boss CE 1 Screenshot 348 Boss CE 1 Controls 349 Chapter 40 Roland Dimension D ...

Page 13: ...ontrols 373 Filters 374 Dynamics 375 Compressor Limiter 375 Gate Expander 376 EQ 379 Global 383 Usage Notes 384 Chapter 44 SSL G Bus Compressor 386 Large Format Console Dynamics 386 SSL G Bus Compressor Screenshot 386 SSL G Bus Compressor Controls 387 General Usage Notes 389 Chapter 45 Studer A800 391 Multichannel Tape Recorder 391 Studer A800 Screenshot 392 Operational Overview 392 Primary Contro...

Page 14: ...ntents TABLE OF CONTENTS Trident A Range Latency 409 Chapter 47 UA 1176 Classic Limiter Collection 411 History 411 UA 1176 Screenshots 412 1176 Plug In Family 413 Operational Overview 415 1176 Controls 417 UA 1176 Limiter Collection Latency 421 ...

Page 15: ...nuals Documentation for UAD 2 and Powered Plug Ins are separated by areas of functionality as described below The user manuals are on the software CD ROM and also placed inside the Powered Plug Ins Documentation folder on the hard drive during software installation UAD System Manual The UAD System Manual is the complete operation manual for UAD function ality and applies to the entire UAD product ...

Page 16: ...lug 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 UAD 2 Satellite and Apollo are Mac only at this time Platforms Instructions in this guide that are platform specific are indicated with a head ing in red letters Instructions that are identical regardless of pl...

Page 17: ...lease notes host application notes and more The main UAD Powered Plug Ins support website is Support Website www 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 www uaudio com blog cat videos Blog Our online magazine is published regularly and ...

Page 18: ...ical Support USA toll free 877 MY UAUDIO 1 877 698 2834 International 1 831 440 1176 FAX 1 831 461 1550 Online Support To request online support please visit our support page then click the Sub mit Support Ticket button to create a help ticket www uaudio com support uad Factory Address Universal Audio Inc 1700 Green Hills Road Scotts Valley CA 95066 4926 USA Main Website www uaudio com Feedback Yo...

Page 19: ...characteristics of the original hardware Scrutinized and fully authenticated by the Ampex Corporation the sound of the Ampex ATR 102 plug in for UAD 2 is virtually indistinguishable from its analog cousin History Introduced in 1976 the Ampex ATR 102 2 Track Tape Recorder was a near instant hit thanks to its revolutionary servo controlled reel motors and capstan which provided smooth continuous tap...

Page 20: ...UAD Powered Plug Ins Manual 20 Chapter 2 Ampex ATR 102 Ampex ATR 102 Screenshots Figure 1 The UAD Ampex ATR 102 plug in window Figure 2 Ampex ATR 102 secondary controls in open mode ...

Page 21: ...re signal coloration options Multiple Tape Heads The original hardware machine was manufactured with an interchangeable head block system which enabled the system to be quickly converted to use ei ther 1 4 or 1 2 tape stock by simply swapping out the heads and recali brating the electronics As track width increases subtle improvements to sta bility fidelity and noise become apparent A popular cust...

Page 22: ...optionally disabled in the plug in providing both sonic options Tape Delay A popular application of multi head tape recorders is to employ them for slap back tape echo effects If the machine is running in record mode but the re corded signal is monitored from the repro head as opposed to the sync head the physical space between these two heads results in a short delay be tween the signal sent to t...

Page 23: ...rocessor which can then be adjusted indepen dently When used in a mono in mono out configuration adjusting any left or right control will change both the left and right controls the left right controls are always linked in mono mode Quick Setup Set up the plug in by first adjusting Tape Speed Tape Type tape formulation and Emphasis EQ or simply select a factory preset Note that as you lower the ta...

Page 24: ...ough there are separate left right Meter controls for VU Peak and Input Output these controls are permanently linked and cannot be switched individually for the left and right channels Input Output These switches change the Meter to display levels at the input or output of the plug in Input metering is a UAD only feature which is unavailable in the orig inal hardware Input When in Input mode the M...

Page 25: ...eproduce to 0 dB The Meters accurately reflect the output level when set to Output mode even if Reproduce is not in its calibrated position However if Reproduce is moved from the cal position the Meters will no longer correspond to a particular level being recorded onto the virtual tape In this case the Meters will not re flect the actual operating level of the tape because Reproduce changes the s...

Page 26: ...igure 4 on page 32 are accessed by clicking the OPEN button beneath the AMPEX label Con versely the panel is closed by clicking the CLOSE button Link Unlink Link mode is a software only addition that enables controls that are identical for the left and right channels to be linked for ease of operation when both channels require the same values or unlinked when independent left right control is des...

Page 27: ...itionally the United States standard the Hum Noise frequency is 60 Hz When set to CCIR traditionally the standard in Europe and other regions the Hum Noise frequency is 50 Hz See Noise Enable on page 34 and Hum on page 34 for more information about Hum Tape Speed and Emphasis EQ were originally practical controls for recording duration versus noise and local standards Historically the origin of th...

Page 28: ... quency head bump low frequency rise and warmer sound while 30 IPS is the norm for classical and jazz due to its lower noise floor greater fidelity and flatter response 7 5 and 3 75 IPS are also available for an even more col ored experience with even greater frequency shift and other artifacts Note The available parameter ranges of Tape Type Head Width and Em phasis EQ are affected by Tape Speed ...

Page 29: ...ed their output level increased thus lowering rela tive noise floor Under normal use the machine would be calibrated to the tape s output level However sometimes the machine is under calibrated to leave more headroom for a broader sweet spot or to prevent electronics from clipping Therefore one can go traditional and calibrate to the recom mended levels Table 1 or select a non corresponding calibr...

Page 30: ...active in the Ampex ATR 102 The active mode is indicated by an illuminated LED above its associated button The default value is Repro Sync Sync mode models the sound of direct tape recording and playback via the sync record head plus all corresponding machine electronics Sync mode is generally not used for playback due to its poorer frequency re sponse but it is included for authenticity and creat...

Page 31: ...duced only when DSP LoadLock is disabled If DSP LoadLock is enabled the default setting activating Thru will not reduce DSP usage Tape Reels Animation When the secondary controls panel is closed Figure 1 on page 20 by default the graphi cal tape reels spin if the DAW transport is running The tape reels animation can be dis abled by clicking the capstan graphic Re clicking the capstan will re start...

Page 32: ...ed When the Auto Cal Automatic Calibration ON button is clicked the calibra tion EQ and bias controls are automatically adjusted to their flat calibrated position for the currently active Tape Type Tape Speed Emphasis EQ and Head Type The Auto Cal ON LED illuminates green when the calibration pa rameters Shelf EQ HF EQ Repro HF Repro LF and Bias are in their cali brated position Auto Cal is enable...

Page 33: ...on manually Record EQ The Record EQ controls HF EQ and Shelf EQ are applied in the tape recording circuit and affect tape saturation character istics They compensate for common residual HF loss due to bias optimization and system filtering and affect HF content in the signal prior to the tape non linearity HF EQ HF EQ provides high frequency emphasis in the signal recorded to tape Shelf EQ Shelf E...

Page 34: ...io to drop out entirely Bias voltage HF Shelf EQ and Emphasis EQ CCIR NAB AES all work to gether to provide a linear response to the recorded signal The flat cali brated position is determined by tape speed tape type emphasis EQ and head width Noise Enable This is a global enable control for the Hum and Hiss effect When Noise is ON the level of Hum and Hiss can be indepen dently adjusted using the...

Page 35: ...Output Level Hiss Level is not affected by automatic calibration so its level does not change with Tape Speed When Hiss Level is at its default position 0 dB the amount of hiss present in the signal is as if the Tape Speed is 15 IPS To emulate the amount of hiss at the other tape speeds enter the offsets from Table 2 Note Because hiss noise is an element of tape playback Hiss is disabled when Path...

Page 36: ...nt of signal bleed between the left and right channels Crosstalk sonics can vary based upon the Tape Speed and Head Width pa rameters however the amount of crosstalk does not vary with these settings Crosstalk Level This control determines the amount of signal crosstalk Crosstalk En able must be ON for the Crosstalk Level control to function The default value of 45 dB is the actual modeled level i...

Page 37: ...ick the or buttons to change the delay times in incre ments of 10 milliseconds The available range is 0 1000 milliseconds Tip Hold the buttons down to rapidly change the delay times For fine control in increments decrements of 1ms hold down Shift while changing values The default Delay Time values depend on the current Tape Speed and represent the actual delay time that would occur in the physical...

Page 38: ...stem calibration see the Manual Calibration Procedure on page 40 About MRL Alignment Tapes Alignment tapes are carefully recorded with accurate and consistent flux lev els and test tone frequencies They are constant companions to all well main tained professional tape machines Different alignment tapes are required for each tape speed head width equalization standard CCIR IEC or NAB and fluxivity ...

Page 39: ...ther tape parameter values Tones The Tones buttons set the frequency of the external test tone generator and the MRL tape test tones Tone fre quencies of 50 Hz 100 Hz 1 kHz 2 5 kHz 5 kHz 10 kHz 15 kHz and 20 kHz are available Click a button to specify that frequency the active frequency s button is shad owed gray as if in the down position Distortion Meter The red numerical display between the Man...

Page 40: ...e con trols that force automatic calibration Tape Type Tape Speed Emphasis EQ and Head Width are inadvertently modified Preparation Reduce monitoring system volume to avoid loud sine wave Tones Insert UAD Ampex ATR 102 on the DAW output bus see note below Set Path Select to Repro mode Sync mode is not supported for manual cal Set left and right Meter Input Output switches to the OUTPUT position Se...

Page 41: ...om MRL mode to the external tones then readjust Repro LF for flat response 0 dB using the external tones instead of the MRL tones Note If Repro HF and or Repro LF EQs are adjusted by a large amount it may be necessary to recalibrate the output level steps 1 3 Record Bias Calibration 8 Set the Manual Cal Knob to the tone level position in Table 3 below the tone level depends on tape speed 9 Set the...

Page 42: ...libration 14 Set the Tones frequency to the value in Table 5 below the frequency de pends on tape speed 15 Adjust Record HF EQ not to be confused with Repro HF so the Meters display the level in Table 4 above the level depends on tape speed Note If HF EQ is adjusted by a large amount it may be necessary to reca librate the record level steps 12 13 The manual calibration procedure is complete For r...

Page 43: ...nt the Reproduce control performs the same function We chose to calibrate our reference machine using MRL fringing compen sated calibration tapes without later adjusting the Repro LF EQ for unity gain using external test tones Therefore the calibrated values in the plug in reflect this alignment method In depth discussions about fringing compen sation and system alignment are beyond the scope of t...

Page 44: ...ay Compensation in the UAD System Manual for more information Table 6 Ampex ATR 102 parameter dependencies Tape Speed Head Width Tape 1 Tape 2 Tape 3 Tape 4 Emphasis EQ 30 IPS 1 250 456 468 GP9 AES 30 IPS 1 2 250 456 900 GP9 AES 30 IPS 1 4 250 456 900 GP9 AES 15 IPS 1 250 456 468 GP9 NAB 15 IPS 1 250 456 468 GP9 CCIR 15 IPS 1 2 250 456 900 GP9 NAB 15 IPS 1 2 250 456 900 GP9 CCIR 15 IPS 1 4 250 456...

Page 45: ...UAD Powered Plug Ins Manual 45 Chapter 2 Ampex ATR 102 Original Ampex ATR 102 Mastering Recorder Brochure ...

Page 46: ...n for timbral manipulation Special attention was given to the han dling of higher frequencies resulting in a much smoother and more satisfying high end response than is found in most digital filters Cambridge EQ is highly flexible offering a broad spectrum of options facili tating surgical precision and delivering superior aural results in every appli cation This may be the most satisfying full fe...

Page 47: ...udio 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...

Page 48: ...frequency and gain of its corresponding band even if the band is disabled 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 usuall...

Page 49: ...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 shif...

Page 50: ...offers a different sound To select a new cut response drag to the desired response and release The responses are more gentle on filters with lower numbers and get steeper and more aggressive as the numbers increase The coincident pole filters are first order filters cascaded in series and offer gentle slopes Bessel filters are popular because of their smooth phase characteristic with decent reject...

Page 51: ... EQ on page 52 and Shelf EQ on page 55 Enable Button 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 ...

Page 52: ...s analog equalizers It is a global control for all 5 bands and has no effect on the low and high cut filters Click the Parametric Type display to rotate between Types I II and III 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 I mode the Q remains ...

Page 53: ...he 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 10 Type II When set to Type II 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 ...

Page 54: ...ases 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...

Page 55: ...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 13 on page 56 B the edge of the passband Figure 14 or C at the edge of the stopband and the passband Figure 15 Shelf Q When a band is in shelf mode the Q knob sets th...

Page 56: ...UAD Powered Plug Ins Manual 56 Chapter 3 Cambridge EQ Figure 13 Shelf Type A Figure 14 Shelf Type B Figure 15 Shelf Type C Shelf Mode Indicator Line ...

Page 57: ... 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 MkII has all the sound of the original delay system de sign and offers all the necessary features expected from a modern delay de vice The distinct sound of the single or double hose Coil is preserved rega...

Page 58: ...e 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 control...

Page 59: ...entheses This occurs in Sync mode when the time of the note value exceeds 2500ms as defined by the current tempo of the host application Sync 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 beat...

Page 60: ... 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 Wet Solo The Wet Solo switch puts the Cooper Time Cube into 100 Wet mode When Wet Solo is on in the up position it mutes the dry un processed signal Wet Solo is optimal when the plug in is used on an effect group bus that is configured for use with channel sends When the plug in is...

Page 61: ... as defined by the current tempo of the host application See Temp Sync in Chapter 8 of the UAD System Manual for detailed information about tempo synchronization Tip Click the knob then use the computer keyboard arrow keys to incre ment decrement beat values in Sync mode Decay A B Decay sets the amount of processed signal fed back into its input feedback At the minimum value one delayed repeat is ...

Page 62: ...kwise 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 Figure 19 The original Cooper Time Cube hardware front panel Figure 20 The opened acoustic module and the complete system ...

Page 63: ...g 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 Figure 21 The...

Page 64: ...unction 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 Button Each band can be individually deactivated with the Band Disable button All 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 ...

Page 65: ...ables all bands of the Equalizer You can use this switch to compare the EQ settings to the original signal or bypass the entire EQ section to reduce UAD DSP load unless UAD 2 DSP LoadLock is enabled Output Knob 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 ...

Page 66: ...djust the Output level control if more gain is desired Meter Pop up Menu Determines whether the VU Meter monitors the Input Level Output Level Gain Reduction or Meter Off Click the menu above the meter display to select a different metering function Enable Bypass Switch Enables or disables the Compressor You can use this switch to compare the compressor settings to that of the original signal or b...

Page 67: ...m delay is 125 msec R Delay Knob 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 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 ch...

Page 68: ...ion 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 LFO Type Pop up Menu 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 0 90 or 180 degrees Recircula...

Page 69: ...alue is displayed then all the delays will be in phase with the source With a neg ative value the delayed signal is flipped 180 degrees out of phase with the source L Pan Knob Sets the stereo position for the left channel allowing you to adjust the width or balance of the stereo signal For a mono signal L Pan behaves as the level control for the left delay tap R Pan Knob Sets the stereo position f...

Page 70: ...r 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 controls th...

Page 71: ...s moved to its maximum value the Delay value is decreased and vice versa This occurs because the maximum delay time available to the plug in has been reached the available delay time is limited and is divided among the Delay and Size values Therefore if the value of the Delay or Size setting is increased towards maximum when the other control is already high its complementary setting may be reduce...

Page 72: ...alues less than 50 emphasize the dry signal Wet Dry Mix allows both positive and negative values The polarity refers to the phase of the delays as compared to the original signal If a positive value is displayed then all the delays will be in phase with the source With a neg ative value the delayed signal is flipped 180 degrees out of phase with the source L Pan Knob Sets the stereo position for t...

Page 73: ...famous for its simple control set and firm 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 plu...

Page 74: ...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 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 Compression T...

Page 75: ...buttons do not change the sound of the signal processor The active button has a darker appear ance when compared to the inactive buttons VU Meter When set to Input the VU Meter indicates the plug in input level in dB When set to Output the VU Meter indicates the plug in output level in dB When set to Gain Change the VU Meter indicates the amount of Gain Reduction in dB Power The Power switch deter...

Page 76: ...r 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 intuitiv...

Page 77: ...pplied to the early reflection and late field gener ators The resulting direct path early reflection and late field reverberation are then independently positioned in the soundfield Figure 27 The DreamVerb plug in window Figure 28 DreamVerb signal flow Late Field Reverb EQ Source Input Early Reflections Direct Path Pan Pans Distance Gain Output Delay Delay Wet Dry Mix Gain Mute ...

Page 78: ...he source early reflections and late field reverberation Resonance Equalization Panel The Resonance panel Figure 29 on page 79 is a five band equalizer that can control the overall frequency response of the reverb effecting its perceived brilliance and warmth By adjusting its Amplitude and band Edge controls the equalizer can be configured as shelving or parametric EQs as well as hy brids between ...

Page 79: ...s 1 and 5 drag the horizontal line these do not have a control bat Band Edge 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 t...

Page 80: ... 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 effec...

Page 81: ...Figure 31 on page 80 is used to blend the two shapes together at any ratio The two shapes are not just mixed together with this parameter the early reflections algorithm itself is modified by blending Blend the early reflection patterns of the two rooms by dragging the Blending Bar Drag the bar to the bottom to emphasize the first shape drag to the top to emphasize the second shape The relative pe...

Page 82: ...d reverberation is controlled from the Reverberation panel see Figure 34 on page 86 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 ...

Page 83: ...materials see About the Materials on page 338 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 Air Density Menu D...

Page 84: ...tage 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 0 To use only air drag the horizontal Blending Bar to the bottom so air is set to 100 Reflections Panel The Reflections panel Figure 33 on page 85 offers control over the timing and relative energies of the reverb early reflections ER These parameters ef fe...

Page 85: ... 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 Filtering This parameter determines the amount of filtering from the Materials panel to be applied to the early reflections The Materials effect upon the ER is most...

Page 86: ...tics of the late field reverberation are deter mined by the parameters in the Materials panel page 82 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 Bypass The late field reverberations can be disabled wi...

Page 87: ...ly reflections and late field reverberation components the shape and timing of the early reflec tions is represented as an outline in the Reverberation panel The shape of this outline is modified by parameters in the Reflections panel not the Reverbera tion panel Positioning Panel DreamVerb has the ability to separately position the direct path early reflec tions and late field reverberation The P...

Page 88: ...effect Early This slider which contains two control handles adjusts the stereo width of the early reflections Late This slider which contains two control handles adjusts the stereo width of the late field reverberations Early 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 al...

Page 89: ...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 Levels Panel This panel is where DreamVerb input output levels wet dry mix and reverb mute controls can be modified Input Modifies the signal level at the input to DreamVerb A value of zero is unity gain Output Modifies the signal le...

Page 90: ...acteristics Size The apparent size of a reverberant space is dependent on many factors Most reverbs on the market have a size parameter which usually modifies sev eral facets of the reverb algorithm at once You may notice DreamVerb does not have a size parameter Instead the elements that control the reverber ant space are available to the user In DreamVerb room size is determined by the interactio...

Page 91: ...and also the coloration of the ER if ER filtering is used the slider on the right of the Re flections panel Typically materials should be blended Try blending contrasting high fre quency roll off materials with high frequency reflecting materials or inverse materials This tends to add nice dimension to the LF tail Start with one use ful material and experiment with blending Materials can have an e...

Page 92: ...rally only needed for automation Ignore these settings for preset design unless going for a panning effect or monitoring real world use Often when you ve got a really great preset designed all it takes are a few subtle changes to make a number of other great presets Tips for designing a natural environment sound Make timing proportional As the size of the simulated environment in creases the lengt...

Page 93: ...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...

Page 94: ...ntly 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 dis...

Page 95: ...ra sure of certain frequencies The nature of the filter allows the corner fre quency to move as attenuation occurs There is only one control for Warmth but there are other ways to control the overall action of this circuit If you do decide to use the compressor set it up first because it affects the operation of Warmth There is heavy interaction be tween the compressor and Warmth settings Perhaps ...

Page 96: ... of the psycho acoustically pleas ing distortion the Tranny adds Compression Processor 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 i...

Page 97: ...unning in stereo or 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 101 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...

Page 98: ...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 Compressor Mode The COMP button defines which compressor mode is active See Co...

Page 99: ...e 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 Warmth Meter 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 Note At extreme settings the ...

Page 100: ... 105 Note Disabling Tranny will yield a significant reduction in UAD DSP usage when DSP LoadLock is disabled If DSP LoadLock is enabled the default set ting disabling Tranny will not reduce DSP usage Tranny Off red and green LED s off In this mode the Tranny processor is inactive but the other processors are ac tive This mode requires less UAD DSP than when Tranny is active Bypass red LED All FATS...

Page 101: ...Link COMPRESS function is on the left side only not to be confused with Link CONTROLS which is on the right side only Link Controls The parameter controls for channels 1 and 2 can be linked using 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 Tr...

Page 102: ... 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 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 the upper por tion to activate or click drag up down on the switch FATSO Sr Contr...

Page 103: ...ld level before compression is applied The faster the attack the more rapidly compression is applied to signals above the threshold 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 d...

Page 104: ... ac tive These behaviors are described below Note 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 ov...

Page 105: ... page 100 LF Sat LED The LF Sat Low Frequency Saturation LED indicates the amount of LF satura tion in the Tranny processor Higher Tranny Level values increase the LF satu ration FATSO Jr Presets 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 control values The default values of the unique FATSO Sr parameters are ...

Page 106: ...e found in the EMT 140 plug in Measured and analyzed by UA s DSP circuit modeling experts and then tuned by ear over a four month period the EMT 140 replicates the sonic signature of three uniquely different EMT 140s for merly installed at the Plant Studios in Sausalito CA That s nearly two thou sand pounds of sound in one plug in Impractical or impossible for most be fore Universal Audio brings t...

Page 107: ...MT 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 fil...

Page 108: ...ely inde pendent from all other plug in controls Plate Select 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 the Plate Select switch and the Rev...

Page 109: ...igh shelving EQ that uses analog sounding algorithms for great tonal shaping options The EQ section is independent from the reverb algorithms and the Input Filter on the modeled plate systems See In put Filter on page 107 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 ...

Page 110: ... EQ all frequencies above this setting will be af fected by the high band Gain value High Gain This parameter determines the amount by which the frequency setting for the high band is boosted or attenuated The available range is 12 dB in incre ments of 0 5 dB fine control or 1 0 dB coarse control Modulation Controls The EMT 140 reverb time can be modulated by a low frequency oscillator using rate ...

Page 111: ...n the original and the processed signal The range is from Dry 0 unprocessed to Wet 100 processed signal only This control uses a logarithmic scale to provide increased 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 Wet Solo The Wet Solo button puts EMT 140 into 100 Wet mode When ...

Page 112: ...e 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 is enabled The red EMT power indicator glows brighter when the plug in is enabled Note The EMT 140 distills 1800 pounds of classic vintage reverb into a sin gle plug in Exercise caution when lifting ...

Page 113: ...ing 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 effect...

Page 114: ... 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 Variable Control Functions 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 10 on page 117 details the v...

Page 115: ...The EMT 250 hardware unit has one mono input For accurate emulation when the plug in is used in a stereo in stereo out configuration stereo signals at the plug in input are summed to mono before processing the dry signal is passed in stereo Four channels of processed audio selectable with the Front Rear Outputs switch are generated from this mono input in all modes with the exception of Echo which...

Page 116: ... 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 EMT 250 Latency The EMT 250 s anti aliasing filters for its A D and D A conversion are not lin ear phase filters therefore o...

Page 117: ...luminated for the currently active mode only one mode can be active at a time Each program mode and its associated parameters are described in detail below Tip See Table 10 on page 117 for a matrix of controls that are available in each program mode Table 10 The variable control functions of the EMT 250 Program Mode Lever 1 Lever 2 Lever 3 Lever 4 Front Rear Reverb Reverb Decay LF Decay HF Decay d...

Page 118: ...ain 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...

Page 119: ... or right The currently selected channel is defined by lever 3 Fine delay times of 0ms 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 sin...

Page 120: ...s 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 125 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 0 15ms c...

Page 121: ...only out put on one side right only at minimum left only at maximum This behavior is identical to the original hardware See Front Rear Outputs on page 115 for more information For more information about phasing see the Flangers and Phasors article in our December 2008 Webzine http www uaudio com webzine 2008 december doctors html Chorus Chorus program mode creates an ensemble effect by simulating ...

Page 122: ...plug in output is summed to mono See Front Rear Outputs on page 115 for more information Echo 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 adjustabl...

Page 123: ...n 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 to specific passages only by flipping the ...

Page 124: ...essed signal to the original signal Click the button to disable the plug in 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 is disabled If DSP LoadLock is enabled the default setting disabling Power will not reduce DSP usage Input Meter The Input Meter indicates th...

Page 125: ...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 Noise When Noise is active the noise characteristics of the original hardware unit are fully intact Disabling Noise eliminates the mod...

Page 126: ...ay 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...

Page 127: ...cho Delay controls the delay time of the unit The selected value is shown in the Echo display page 128 The parameter can be adjusted by using the metallic slider handle or the slider nose both sliders control the same parameter see Figure 42 Figure 41 The UAD EP 34 Tape Echo plug in window Figure 42 The Echo Delay sliders ...

Page 128: ...pressed as a frac tional 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 700ms as defined by the current tempo of the host application Echo Repeats 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 ...

Page 129: ...yed tape signal Increasing this control will increase the tape distortion and grit that is an important ele ment of the famous hardware sound The Recording Volume is indicated by the Input Meter Input Meter The Input Meter in the EP 34 is a three segment horizontal LED array two green one red that indicates the recording level at the input of the tape recorder The yellow LED indicates that the plu...

Page 130: ...d gain structuring switch ing between LO and HI may cause a significant jump in output levels Tension 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 manipulated in realtime The Tension switch emulates two diffe...

Page 131: ... 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 ...

Page 132: ... 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 EP 34 Tape Echo is not affiliated with sponsored nor endorsed by any companies currently using t...

Page 133: ...ontrol 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 mater...

Page 134: ...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 136 for detailed mode information Figure 43 The Fairchild plug in window ...

Page 135: ...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 The DC Bias controls are original controls but were on the back of the hard ware units The sidechain link control is a common modification which...

Page 136: ...ion 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 gr...

Page 137: ...d 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 ...

Page 138: ...ube wear Because the meter in the plug in cannot go out of calibration this control is permanently disabled AGC Mode This control determines whether the two compression channels will receive L R or mono stereo as the inputs When used in conjunction with the Sidechain Link switch the operating mode of the compressor can be modi fied See the Fairchild Modes on page 136 and Table 11 on page 137 for d...

Page 139: ...ame Balance Balance controls the bias current balance and always goes with one channel of the compressor regardless of what the nearby metering switch is set to The point of perfectly calibrated bias currents is achieved when the dot in the screw slot is at 12 o clock At this setting the amount of additive signal de flection thud which happens due to an attack is minimized Setting this control cou...

Page 140: ...o speak of the ratio changing because for reason able 25 dB amounts of compression this is the case Channel Input Gain 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 Output Gain These controls always apply to ...

Page 141: ...mpart 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 origi...

Page 142: ...r LED is illuminated when the plug in is active Phase The Phase Ø 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 Cut Filters 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 ...

Page 143: ...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 Frequency This control determines the low midrange band center frequency to be boosted or attenuated by the band Gain setting The available range is 200 Hz to 3 1kHz Low Mid Gain This control determines the amou...

Page 144: ...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 kno...

Page 145: ...AD Delay Compensation in the UAD System Manual for more information The Harrison 32C SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Harrison 32C is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs The Harrison 4032 Console featuring the Harrison 32C...

Page 146: ...hese 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 Jaso...

Page 147: ... 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 Band 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 aud...

Page 148: ...ss Gain 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 Mid Freq This control determines the frequency of the midrange band The following frequencies can be specified 700 Hz 1 ...

Page 149: ...ssed when in the out down position EqCut does not re duce UAD DSP load In the original Helios hardware the audio is still slightly colored even when the EQ switch is in the Cut position This is due to the fact that the signal is still passing through its circuitry Because the plug in emulates the hardware in every regard the signal will be slightly processed when this switch is in the Cut position...

Page 150: ... Helios 69 uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note Compensating for Helios 69 is not required if the host application sup ports full plug in delay compensation throughout the signal path or when it...

Page 151: ...UAD Powered Plug Ins Manual 151 Chapter 14 Helios Type 69 Equalizer Basing Street Home of the original Type 69 Helios desk The same desk now in Berkeley s Morningwood nearly 40 years later ...

Page 152: ...r 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...

Page 153: ... compressing the dynamic range of the signal In Figure 48 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 0 dB respectively thereby illustrating that the gain decreases as the input signal increases This increase in output level by 5 dB for every 1...

Page 154: ...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 ...

Page 155: ...g Amplifier is provided in Figure 50 The input transformer provides isolation and impedance matching After this the signal is fed into both the side chain circuit and the gain reduc tion circuit The side chain is comprised of a voltage amplifier a pre emphasis filter and a driver stage that provides the voltage necessary to drive the elec troluminescent panel This signal controls the gain of the c...

Page 156: ...ields no compression Rotate this control clockwise until the desired amount of compression is achieved to monitor the Peak Reduc tion set the VU Meter to Gain Reduction The Peak Reduction should be ad justed independently of the Gain control Meter 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 ...

Page 157: ...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 ...

Page 158: ...ive threshold A Peak Reduction value of 0 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 Mete...

Page 159: ... 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 ...

Page 160: ...erent 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 t...

Page 161: ...UAD Powered Plug Ins Manual 161 Chapter 17 Lexicon 224 Lexicon 224 Screenshot Figure 53 The Lexicon 224 plug in window ...

Page 162: ...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 ...

Page 163: ...A on page 177 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 Inputs Outputs 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 b...

Page 164: ...nges Default Values 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 15 on page 178 Note Extreme parameter settings can cause Lexicon 224 to self oscillate or cause ...

Page 165: ...g Dry Wet Mix the value LED does not illuminate LED Meters The six segment LED meters display the left and right signal input levels at the Lexicon 224 analog to digital converters which are fully modeled The Meter LEDs indicate levels at 24 dB 18 dB 12 dB 6 dB and 0 dB When the 0 dB LED illuminates input clipping has occurred Overflow LED The Overflow LED illuminates when an arithmetic processor ...

Page 166: ...ry settings for that algorithm are also loaded at the same time overwriting previous settings except when Immediate mode is active see page 169 for details Program settings can then be adjusted to taste using any available controls Program Descriptions on page 176 contains details about each program Important If the program is changed when Immediate mode is disabled settings from the previously se...

Page 167: ...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 usual...

Page 168: ...h is not available in P9 Chorus A In this program the display is not updated when the Depth slider is moved Diffusion In most programs Diffusion affects how quickly the echo density in the reverb builds up over time In the original hardware this parameter was usually referred to as Shift Depth changing the diffusion value re quired holding down the shift button while adjusting the depth amount Cli...

Page 169: ...rogram dependent Immediate 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 sliders move to the preset values Enabling Immediate mode is convenient for quickly auditioning the various program algorit...

Page 170: ...eated by dis abling System Noise However zipper stepping noise in delay modulation i e Mode Enhancement can only be reduced but not completely defeated by disabling System Noise Note System Noise is a global per instance parameter its state does not change when different programs are selected Rear Outs The Rear Outs control is available to select the alternate pair when the algorithm has alternate...

Page 171: ... Shift controls have no effect un less the Mode Enhance Enable control is active Mode Enhance Enable 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 Tip This control just as with the original hardware resets the algo rithm Therefore Mode Enhance Enable can be used to quickly kill ...

Page 172: ... access in the plug in Decay Optimize Enable 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 Note Decay Optimization is unavailable for P8 Constant Density Plate A and P9 Chorus Decay Optimize Amount These two adjacent buttons control the amount of Decay Optimization Click the left button to decrement th...

Page 173: ... Numerical Display as a percentage A value of 50 produces an equal blend of the wet and dry signals Values greater than 50 emphasize the wet signal and values less than 50 empha size the dry signal Clicking the DRY button once will decrement the value by one percent click ing WET once will increment the value by one percent To increase the fine resolution when adjusting these controls hold SHIFT o...

Page 174: ...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 165 for more information Tip Click the text label Input Gain to return the value of both channels...

Page 175: ...tion 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 Di...

Page 176: ...t same algorithm as P1 Small Concert Hall B P4 Acoustic Chamber 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 P5...

Page 177: ... 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...

Page 178: ...te A C 7 Room A A 3 Large Concert Hall B A 8 Constant Density Plate A A 4 Acoustic Chamber A C 9 Chorus A A C 5 Percussion Plate A A C Table 15 Lexicon 224 Default Parameter Values Program Bass Mid Crossover Treble Decay Depth Diffusion Pre delay Enhance Pitch Shift Decay Opt 1 Small Concert Hall B 3 0 2 0 540Hz 4 40 23 21 024 02 01 05 2 Vocal Plate 2 2 2 2 1kHz 10 9 00 04 000 02 01 05 3 Large Con...

Page 179: ... 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 t...

Page 180: ...riable control that shifts the phase of the input signal The range of Phase Adjust is either 90 or 180 dependent on the Phase Adjust 90 180 switch The Little Labs IBP hardware is an all analog device that uses analog allpass filters to produce phase shifting Allpass filters displace signals in time as a function of frequency they are frequency dependent The modeled UAD ver sion accurately models t...

Page 181: ...0 180 and Lo Hi parameters are typically used for in dividual tone signals such as a kick drum or toms as opposed to program ma terial Power This switch disables the plug in When the switch is disengaged the plug in is bypassed When the switch is engaged darker the plug in is active and the green LED is illuminated Little Labs IBP Latency The Little Labs IBP uses an internal upsampling technique T...

Page 182: ... that they don t conflict No matter what style of music you make from rock to reggae to hip hop to hardcore few tools are as easy to use and effective as the popular Little Labs VOG History Little Labs has a knack for creating problem solving tools for the studio that perform equally well as creative coloration effects and tone boxes The origi nal collaboration between UA and Little Labs saw the r...

Page 183: ... center of the sweepable frequency range is selected via two push buttons of 40 Hz and 100 Hz or you can set the center to 200 Hz by pressing both buttons simultaneously Everything below the targeted fre quency peak is rolled off in a smooth curve up to 24 dB per octave en suring that the low end is always tight and out of the mud while the frequen Figure 58 The UAD Little Labs VOG plug in window ...

Page 184: ...the perfect way to tune the low end of any mix for incred ible detail and punch Stereo Functionality Unlike the original hardware which is monophonic the plug in enables ste reo use with one control set providing perfectly matched stereo response When the plug in is used in mono in stereo out and stereo in stereo out con figurations the controls affect both the left and right signals Little Labs V...

Page 185: ...anges are shown in Table 16 below A switch is ON when its LED is red A green LED indi cates the switch is OFF Flat The EQ circuitry is bypassed when Flat is enabled red LED the circuit is active when Flat is disabled green LED When Flat is on the dry signal path of the hardware is still being modeled and DSP is used For true bypass use the Power switch Power Power is the plug in bypass control Whe...

Page 186: ...UAD Powered Plug Ins Manual 186 Chapter 19 Little Labs VOG The Little Labs VOG hardware unit ...

Page 187: ...led 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 transformer induc...

Page 188: ...isfactory results See Notes from Manley Laboratories on page 197 for more tips Passive EQ No active components are used in the EQ circuits just like revered vintage EQs This can make some adjustments respond in more subtle ways Parallel Topology The EQ bands are routed in parallel instead of serially so gain values for the bands don t add up like most EQs For example if two bands in the same chann...

Page 189: ...ns 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 ual plug ins The Massive Passive Mastering has nearly the same features and c...

Page 190: ...nces between the Massive Passive parameters Boost Cut Out This three position toggle switch determines whether the frequency band will be boosted cut or disabled altogether The amount of boost or cut to be applied to the band is determined by the Band 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 disa...

Page 191: ...quency the Frequency on page 194 and the further away the signal is from that frequency the less boost or cut is applied Band Gain 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 wise position to the maximum value at the fully clockwise posi tion Whether the gain is applied as a boost or cut is defined by the Boost...

Page 192: ...h Bell and Shelf modes Bandwidth does not have a lot of range 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 ba...

Page 193: ...ion i e overshoot For example if the Shelf is boosted a dip is created at higher Bandwidth values At maximum Band width this overshoot curve is pronounced The effect of the Bandwidth control in Shelf mode is shown in Figure 62 below Figure 61 Effect of Bandwidth control on response curve in Bell mode Figure 62 Effect of Bandwidth control on response curve in Shelf mode ...

Page 194: ...ct differences between the Massive Passive parameters EQ In The EQ In pushbutton switch enables the channel When the button illu minates in a brighter blue the channel is active and the other channel controls will affect the signal When this control is disabled all the de sirable low level system filtering and coloration is retained in the channel just like the original hardware Channel Gain This ...

Page 195: ...w Pass The Low Pass filter allows the channel s lower frequencies to pass while attenuating higher frequencies The slope of the Low Pass filter depends on the value set for the filter At 6K 7K5 and 9K values the filter slope is 18 dB octave At these values a small 1 5 to 2 dB bump occurs in the response before the curve drops off At 12K the slope is 30 dB octave At 18K a modified elliptical fil te...

Page 196: ...en the knob is in the Off counter clockwise position all LED elements are unlit plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP LoadLock is enabled Link 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 ...

Page 197: ...tate the left channel will override the right channel when Link is activated Massive Passive Latency The Massive Passive and Massive Passive Mastering EQs use an internal up sampling technique to facilitate their amazing sonic accuracy This upsam pling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more informa tion No...

Page 198: ... 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 w...

Page 199: ... 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 http www manleylabs com manuals php The Massive Passive EQ hardware interior All visual and aural references to the Massive Passive EQ and all use of MANLEY s trademarks are being made with written permission f...

Page 200: ...lows 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...

Page 201: ...nal from clean to slightly overdriven to extremely distorted particularly when used in conjunction with the Boost switch see Boost on page 206 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 mod...

Page 202: ...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 Th...

Page 203: ...nance 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 Pole Slope The filter slope is determined by this switch The slope defines how steep the frequencies above the...

Page 204: ...ica 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 cutoff value are filtered Highpass Frequencies below the cutoff value are filtered Spacing Spacing inversely offsets the filter cutoff values for the left and right channels In other words positive Spacing...

Page 205: ...is 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 Free Sync This switch defines whether the LFO is synchronized to the tempo of the h...

Page 206: ...an nels are summed In Stereo mode the left right separation is retained Output The Output control changes the gain at the output of the plug in The available range is 20 dB Output LED This LED gives a visual indication of the plug in output level The Out put LED is active when Bypass is enabled but not when Power is off When the LED is red the output is 0 dBfs Effect Bypass When Bypass is enabled ...

Page 207: ...na back ground and maple sides borrowed from the Voyager Select Series The full version uses the Voyager s electric blue backlighting and mahogany sides Moog Filter SE Controls 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...

Page 208: ...ee Chapter 9 UAD Delay Compensation in the UAD System Manual for more information The Moog Filter SE does not require additional latency compensation because it is not upsampled Note Compensating for Moog Filter is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs The venerable Dr Robert Arthur Moog Moog ...

Page 209: ...for the first time in plug in form From guitars and basses to drum breaks the MXR Flanger Doubler plug in will get your tracks moving History Flanging originated as a tape effect where two tape machines are playing two identical and synchronized signals and one is gradually delayed to cre ate unique comb filtering effects In the late 70 s MXR introduced the famed Flanger Doubler unit which unlike ...

Page 210: ...er is generated by using very short delay times whereby the delayed wet signal is not heard as separate from the original dry signal When this delayed signal is combined with the dry signal the comb filtering that is the essence of the flanging effect is gener ated By modulating sweeping the delay time the response of the comb fil tering is modified and the characteristic swoosh is produced Additi...

Page 211: ...ms keyboards full source material and more An other common use for the MXR Flanger Doubler is as a group effect where effecting more than one signal is desired Try applying the MXR Flanger Dou bler to drum busses or even the entire mix most often for a brief period in the song such as a break or bridge In addition to Flanging the Flanger Doubler excels as a short range delay doubler MXR Flanger Do...

Page 212: ...applied Note This function is only available when the plug in is used in a mono in stereo out or stereo in stereo out configuration When used in a mono in mono out configuration the switch has no effect Single When in the up white position Single mode is active This is the default setting In Single mode the left and right signals are processed identically and the Sweep LFO for both channels are in...

Page 213: ...s the amount of modu lation applied to the delay time LFO The available range is 0 100 At 0 no modulation occurs and delay time is determined by the Manual set ting As Width is increased the amount of modulation becomes wider a broader sweep At 100 the delay time sweeps throughout its entire range automatically creating the same sound as moving the Manual control repeat edly back and forth from mi...

Page 214: ...value of 100 Mono This switch sums the stereo output of the dry and wet signals to mono when the plug in used in a stereo output configuration This function is useful for creative purposes or checking phase relationships The output is stereo when the switch is in the up white position and mono when the switch in the down gray position Mono is only available when the plug in is used in a mono in st...

Page 215: ...weep LEDs illuminate in tandem with the current Sweep Speed provid ing a visual indication of the LFO rate The Width amount must be higher than 0 for the LEDs to blink As Width increases the blinking is more obvious The manner in which the LED response manifests depends on the state of the Manual Width and Speed controls their quirky behavior is the same as the original hardware Reset The LEDs pro...

Page 216: ...slightly larger latency than most other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note Compensating for additional latency is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when it is used only on the outputs The MXR Model 126 Flanger Doubler hardware unit ...

Page 217: ...sterpieces The 1073 is famous for adding an unmistakable sheen and clarity of pres ence to elements in the mix that is deemed unattainable with any other unit Modeling the 3 band EQ and high pass filter in painstaking detail and thor oughness Universal Audio s Neve 1073 EQ will deliver the same sonic ex perience expected from its analog cousin with exacting detail Bundled to gether come two versio...

Page 218: ... The midrange band is controlled by dual concentric knobs delivering smooth semi parametric midrange equalization The response for this band has a dependence on the bandwidth as the gain is adjusted At higher center fre quencies the Q goes up for a more focused peak The inner knob controls the band gain and the outer ring selects the fre quency or band disable These two controls are detailed below...

Page 219: ...he bass response Low Frequency The Low frequency is selected with the outer ring of the dual concentric knob controls The ring control can be dragged with the mouse or click directly on the silkscreen text to specify a frequency or disable the Low band Note You can also click the low shelf symbol above the knob to cycle through the available values or shift click to step back one frequency The ava...

Page 220: ... LoadLock is enabled If a true bypass is desired use the OFF position of the Input Gain on page 218 control Neve 1073SE 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 wit...

Page 221: ...Equalizer See Chapter 9 UAD Delay Compensation in the UAD System Manual 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 All visual and aural references to ...

Page 222: ...tage 8048 consoles with 1081 modules are still in wide use today at classic facilities such as The Village in Los Angeles and have been chosen by artists ranging from The Rolling Stones to The Red Hot Chili Peppers Universal Audio s Neve 1081 EQ delivers the same sonic experience as its analog cousin with exacting detail The 1081 EQ also includes a DSP opti mized 1081SE EQ for higher instance coun...

Page 223: ...bands the inner knob con trols the gain while the outer ring controls the frequency The low and high cut filters are grouped as one knob ring set but they are actually two indepen dent filters Band Layout Input Gain The Input Gain control sets the level at the input of the plug in The range is from 20 dB to 10 dB When the Input Gain knob snaps to the OFF position plug in processing is disabled and...

Page 224: ... 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 swit...

Page 225: ...se of the high mid band from normal to a narrower bandwidth for a sharper EQ curve The band is in normal mode by default it s in high Q mode when the button is down darker Low Mid Band The low midrange band delivers smooth low mid fre quency peak equalization with a choice of two band widths The inner knob controls the band gain and the outer ring selects the frequency or band disable Low Mid Gain...

Page 226: ... Low Gain The equalization gain for the low band is selected with the inner knob of the dual concentric control The available range is approx imately 18 dB Low Frequency The low band frequency is selected with the outer ring of the dual concentric knob 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 av...

Page 227: ...centric 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 Phase The Phase PH button inverts the polarity of the signal When the switch is in the In lit position the phase is reversed Leave the switch in the Out unlit position for no...

Page 228: ...xactly the same as the Neve 1081 Please re fer to the Neve 1081 section for Neve 1081SE control descriptions see Neve 1081 and 1081SE Controls on page 223 Neve 1081 Latency The Neve 1081 but not the 1081SE uses an internal upsampling technique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compen sation i...

Page 229: ...and unmistakable sheen and bite the 31102 provides another step in the evolution of classic Neve EQs 3 band active EQ and High Low filters offer enhanced tone shaping possibilities and a feature complexity that sits squarely between its cousins the 1073 and the 1081 The Neve 31102 SE EQ is a three band 10 12 and 16 kHz high shelving EQ a six frequency 7 2 4 8 3 2 1 6 0 7 and 0 35 kHz peaking EQ wi...

Page 230: ...shelving equalization controlled by dual concentric knobs The in ner knob controls the band gain and the outer ring selects the frequency or band disable High Shelving Gain The gain for the high band is selected with the inner knob of the dual concentric control Rotate the control clockwise to add the famous high end Neve sheen or counter clockwise to reduce the treble response The available range...

Page 231: ...ol 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 b...

Page 232: ...t filter 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 k...

Page 233: ... In put Gain on page 230 Neve 31102SE Overview The UAD Neve 33102SE is derived from the UAD Neve 31102 Its algorithm has been revised in order to provide sonic characteristics very similar to the 31102 but with significantly less DSP usage It is provided to allow 31102 like sound when DSP resources are limited Nobody with golden ears will say it sounds exactly like the 31102 but it still sounds gr...

Page 234: ...nsation in the UAD System Manual for more information The Neve 31102SE does not require additional latency compensation be cause it is not upsampled Note Compensating for Neve 31102 is not required if the host application supports full plug in delay compensation throughout the signal path or when it is used only on the outputs One Neve 31102 EQ hardware module and 31102s installed in a Neve 8068 c...

Page 235: ...llows 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...

Page 236: ...ge 152 Signal Flow In the 33609 the output of the compressor is fed to the input of the limiter Like the original hardware the signal does not flow from the left to the right of the interface Understanding this signal flow will help you obtain a more predictable result see Figure 75 below Modeling The UAD Neve 33609 models all aspects of the original 33609 hardware including the desirable harmonic...

Page 237: ...mpressor is enabled the Gain control in the compressor section Compressor Gain on page 238 will affect the input level into the limiter In this case the compressor gain can affect the limiter threshold response Limiter Recovery 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 20...

Page 238: ...gram 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 Compressor Gain This makeup gain control increases the signal level out of the compressor to compensate for reduced levels as a result of compression The availabl...

Page 239: ...tal 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 Link This switch is a software only addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels require the same values or unlinked when dual mono op...

Page 240: ...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 channe...

Page 241: ... 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 Headroom Background The hardware Neve 33609 can accept an analog signal level of approxi mately 26 dBu before undesirable signal clipping occurs As the signal in creases up to this point however desira...

Page 242: ... 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 He...

Page 243: ...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 adju...

Page 244: ...ctly the same as the Neve 33609 Please refer to the Neve 33609 section for Neve 33609SE control descriptions see Neve 33609 and 33609SE Controls on page 237 Neve 33609 Latency The Neve 33609 but not the 33609SE uses an internal upsampling tech nique to facilitate its amazing sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensat...

Page 245: ... EQ and dynamics section from Neve s flagship console The controls comprise 12 dB per octave high and low cut filters a four band EQ plus limiting compression gate and expansion The middle EQ bands are fully parametric while the flexible high and low bands provide the user with two fixed Q types and the ability to switch to shelving EQ The VCA type Limit Comp provides a 0 01 to 3s release Auto Rel...

Page 246: ...UAD Powered Plug Ins Manual 246 Chapter 27 Neve 88RS Channel Strip Neve 88RS Screenshot Figure 77 The Neve 88RS plug in window ...

Page 247: ... 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...

Page 248: ...ion 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 Exp Enable G E This button activates the gate expander module The module is active when the button is gray and the green indicator illumi nates You can use this button to c...

Page 249: ...urning 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 ...

Page 250: ...cator just below the Threshold control 40 dB mode is active when the red indica tor illuminates Gate ExpRange RGE Range RGE controls the difference in gain between the gated expanded and non gated expanded signal Higher val ues increase the attenuation of signals below the threshold When set to zero no gating or expansion occurs The avail able range is 0 dB to 60 dB Gate Exp Fast The Fast mode swi...

Page 251: ...e along with a pleasing automatic triple time constant program dependent release mode auto mode has a three stage release A makeup gain control and a hard soft knee setting are also available in the module From the AMS Neve 88RS User Manual Anti pumping and breathing cir cuitry allows the unit to operate on the source musically whilst retaining abso lute control over the dynamic range The 88RS com...

Page 252: ... duced when this module is inactive unless UAD 2 DSP LoadLock is enabled L C Gain The Gain control adjusts the output level of the limiter com pressor module The available range is 0 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 cessing L C Hard Knee HN ...

Page 253: ...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 L C Fast 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 Attac...

Page 254: ...into four frequency bands see Figure 81 on page 255 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 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...

Page 255: ...lumi 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 is enabled Figure 81 Neve 88RS EQ Controls Layout High Frequency HF band controls Low Midrange Frequency LMF band controls Low Frequency LF band controls High Midrange Frequency HMF band controls EQ modu...

Page 256: ...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 fault HMF Freq This control determines the HMF band center frequency to be boosted or attenuated by the HMF Gain ...

Page 257: ...nes the amount by which the frequency setting for the LF band is boosted or attenuated The available range is 20 dB LF Shelf Enable 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 LF Hi Q Enable The filter slope of the LF band can be switched wi...

Page 258: ...sten to the sidechain key simply disengage SC EQ to hear the EQ d signal The sidechain dynamics EQ implementations are true stereo when used in a stereo in stereo out configuration Note The EQ module must be active in conjunction with SC EQ for the sidechain to function see EQ Enable EQ on page 255 Pre Dynamics P DYN This button re routes the UAD Neve 88RS signal Normally the au dio signal is rout...

Page 259: ...if UAD 2 DSP LoadLock is enabled Toggle the switch to change the Power state the switch is illumi nated in red when the plug in is active Note You can click hold the power switch then drag it like a slider to quickly compare the enabled disabled state 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...

Page 260: ...vidual track inserts The Precision Buss Compressor s control set features Threshold Ratio Attack and Release with all parameters specifically tailored to buss compressor usage The Release control includes a multi stage Auto Release also designed for a wide variety of program material Input and Output Gain control is offered with metering for input output and gain reduction A high pass Filter is of...

Page 261: ...f The filter is an 18 dB per octave coincident pole high pass filter The avail able range is 20 Hz 500 Hz and Off Note The Filter parameter affects the control signal sidechain of the com pressor only It does not filter the audio signal Threshold This parameter determines the threshold level for the onset of compression Incoming signals that exceed this level are com pressed Signals below the leve...

Page 262: ... signal of 20 dB being reduced to 10 dB The available Ratio values are 2 1 default 4 1 and 10 1 Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before compression is ap plied The faster the Attack the more rapidly compression is applied to signals above the threshold The Attack range is from 0 10 milliseconds to 32 milliseconds The availabil...

Page 263: ...reduced to minimum or being raised to 0 dB in the case of a fade in The available range is from 1 0 second to 60 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...

Page 264: ...io parameters The default value is 0 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 0 dB The available range is 20 dB Ou...

Page 265: ... range is from 16 dB to 0 dB Signal peaks are held for 3 seconds before resetting Power The Power switch determines whether the plug in is active Click the toggle button or the UA logo to change the state 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 is enabled When the plug in is bypassed with this switch but no...

Page 266: ...owing 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...

Page 267: ...ce a more natural sounding result The actual times of the two modes are as follows Fast Attack 0 5ms Release 30ms 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 the center frequency of the de esser when in bandpass mode or the cutoff frequency of the de e...

Page 268: ... frequency The available range is 0 15 about 1 6 octave to 1 61 about 1 2 3 oc taves plus High Pass mode Note UAD DSP usage is slightly decreased when Precision De Esser is in High Pass mode versus bandpass mode unless UAD 2 DSP LoadLock is enabled Split Split determines if attenuation compression is applied to the sidechain signal only or to the entire audio signal In normal use Split should be e...

Page 269: ... plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock is enabled Toggle the switch to change the Power state the 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 Operating Tips For taming sibilance for a full mix mastering best results will usually be o...

Page 270: ...cting 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 c...

Page 271: ...lue segments indicate more signal enhancement Effect Solo 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 273...

Page 272: ...ed 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 Tip All mode can be sele...

Page 273: ... Effect and Hz Fre quency controls Output does not affect the amount of enhancement process ing nor does it have any effect when the plug in is disabled Output Meter The stereo Output Meter displays the signal level at the output of the plug in When the plug in is disabled with the plug in Power switch but not the host plug in enable switch the output meters still function Power The Power switch d...

Page 274: ... 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 For the most predictable results it is recommended to audition your mix on both full range systems with a subwoofer as well as small consumer systems such as a boombox or computer speakers A different effect response will ...

Page 275: ...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 signa...

Page 276: ...erall enhancement effect Note The signal level at the plug in input will interact with the Effect control Effect Meter The Effect Meter indicates the amount of signal processing that is occurring More illuminated blue segments indicate more signal enhancement Mode The Mode control determines the type of enhancement that will be applied to the signal The active Mode can be selected by clicking the ...

Page 277: ... increases The kHz Frequency parameter is disabled in this mode Speed The Speed parameter defines the attack and release char acteristic of the enhancement process 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 overa...

Page 278: ...n the plug in is disabled with the plug in Power switch but not the host plug in enable switch the output meters still function Power The Power switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or bypassing the plug in to reduce the UAD DSP load load is not reduced if UAD 2 DSP LoadLock is enabled Toggle the switch or click t...

Page 279: ...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 Pr...

Page 280: ...ry In addition parameter values can be easily transferred between param eter groups using the Copy buttons Control Grouping 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 Modes The Mode sw...

Page 281: ...ior of the buttons is determined by the current operating mode of Precision Equalizer Note The values that existed at the destination before copying are lost Stereo Mode When in Stereo mode see Stereo Mode on page 280 clicking A B cop ies the left AND right parameter values from parameter set A to parameter set B and clicking the A B button copies all the values from parameter set B to parameter s...

Page 282: ...elf 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 band...

Page 283: ...d are listed in Table 19 below Note Not all host applications support automation and or controls mode Gain Knob 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 20 below High Pass Filter The high pass filter is useful for reducing low frequency content It is a global filter it always affects both ...

Page 284: ...sonic quality This upsampling results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note Compensating for Precision Equalizer is not required if the host appli cation supports full plug in delay compensation throughout the signal path or when it is used only on the outputs UAD 2 DSP LoadLock ...

Page 285: ...o ex tracts the ambient cues inherent in the source recording and provides features capable of spreading the uncorrelated ambience around the soundstage en larging the size of the soundstage both deeper and wider It also increases the clarity and localization of the source material within its algorithm while in creasing the third dimension of the sound Precision K Stereo does not have a sound of i...

Page 286: ... of the recording Primary Application Precision K Stereo is designed for use during the mastering process to fine tune the ambience that exists in previously mixed stereo program material Generally speaking adjusting ambience during multitrack mixdown is best managed within the mix itself because of the higher level of control and detail available at that stage Of course Precision K Stereo can be ...

Page 287: ...f interesting details and application tips for Precision K Stereo The article is published on our website www uaudio com blog k stereo tips and tricks html Precision K Stereo Controls Control Arrangements Precision K Stereo controls are grouped into four sections Ambience Recov ery Ambience Filters EQ Mid Side and L R Gain The detailed control de scriptions are similarly grouped Control Adjustment...

Page 288: ...ence The de fault 0 dB position is defined as the nominal or typical setting ambience re covery is occurring when set to 0 dB Increase or decrease Ambience Gain to change the amount of recovered am bience The range is 20 dB to 9 dB available in 0 5 dB steps Click the 0 label to quickly return to 0 dB To disable ambience recovery use the Recover Enable switch Note Values below 0 dB do not remove am...

Page 289: ...the Ambience Filters section have no effect unless the Re cover Enable switch is engaged Refer to Figure 89 below for the controls in this section EQ Enable The EQ switch enables disables the Ambience Filters This switch can only be engaged when the Recover Enable switch is engaged Cut Filters The Low Cut and High Cut filters have a slope of 12 dB per octave Each Cut Filter can be independently di...

Page 290: ...Hz Bell Q Bell Q determines the bandwidth of the bell filter The available range is 0 5 to 3 Smaller Q values cause the bell filter to effect a broader portion of the frequency spectrum while high Q values affect a narrower spectrum Bell Gain Bell Gain determines how much boost or cut is applied to the bell filter The available range is 10 dB To quickly return to the 0 dB setting click the GAIN te...

Page 291: ...e disabled when the plug in is used in a mono in mono out configuration Refer to Figure 90 below for the controls in this section M S Gain Enable This switch enables disables the Mid Gain and Side Gain controls Mid Gain Mid Gain adjusts the level of signals in the middle of a stereo signal The available range is 12 dB to 6 dB available in 0 1 dB steps To quickly re turn to the 0 dB setting click t...

Page 292: ...me value Disable Link when independent left right control is desired Note When Link is inactive and Link is engaged the left gain value is cop ied to the right gain Any offset between the gain values is lost Left Right Gain The independent Left and Right Gain have an available range of 24 dB to 12 dB available in 0 1 dB steps To quickly return to the 0 dB setting click the respective LEFT or RIGHT...

Page 293: ... The meter range is from 30 dB to 0 dBFS Signal peaks are held for 3 sec onds before resetting Power When the Power switch is in the OFF position the interface elements do not illuminate plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 LoadLock is enabled Click the switch or the OFF ON labels to change the set ting or click the UA logo to toggle the setting ...

Page 294: ...p engaged and the Ambience Low Cut filter set to 125 Hz to maintain a tight bass instrument while increasing the size and depth of the rest of the instruments BK MSTR Rock Tight Drums This preset has Ambience Level at 0 dB Wide and Deep engaged Ambience Low Cut filter set to 125 Hz Ambience High Cut Filter set to 10 kHz This maintains the bass instrument tight not as affected by the Ambience Level...

Page 295: ...raised BK MSTR Warm Ambience This preset adds overall warmth to the recovery settings BK MIX Big Steinway Try this preset on a stereo recording of a piano to enhance the size and body of the instrument without losing its definition This preset will illustrate how am bience EQ is very different from direct EQ Here we turn up the bottom end and lower midrange of the ambience channel It might turn a ...

Page 296: ...tering needs to be su perb The Precision Limiter features comprehensive high resolution metering and conforms to the Bob Katz K System metering specifications This meter ing allows the user to see what is happening to audio with a great deal of ac curacy with simultaneous RMS and Peak metering and adjustable Peak Hold And since we know how valuable good metering is the plug in can also be bypassed...

Page 297: ...default value is 0 dB The available range is 6 dB to 24 dB Output The Output knob determines the maximum level at the output of the plug in This control does not affect the actual limiting The Precision Limiter always limits the signal to 0 dB internally and the actual output is set by attenuating this internal level Likewise the input control can drive the signal over 0 dB to get more limiting If...

Page 298: ...in is active When the Power switch is in the Off position plug in processing is disabled and UAD DSP us age is reduced unless UAD 2 DSP LoadLock is enabled When the plug in is bypassed with this switch but not by the host bypass the VU meter displays the unprocessed input signal level Precision Limiter Meters Overview K System The Precision Limiter has precise calibrated stereo metering It offers ...

Page 299: ...s 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 299 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 d...

Page 300: ...nge such as symphonic music and mixing for film for theatre K 14 K 14 mode displays 0 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 0 dB at 12 dB below full scale K 12 is recommended for material intended for broadcast Peak RMS This is what is often considered...

Page 301: ...wer switch Metering is disabled when the plug in is bypassed by the host application Gain Reduction Meter 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 0 dB There fore increasing the Input knob usually results in more gain reduction Me...

Page 302: ...inear responses 0 2 dB per segment from 18 to 6 dB and 0 1 dB per segment from 6 to 0 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...

Page 303: ...ak Clear switch clears the meter peak value display It affects both the peak LED s and the peak text display Precision Limiter Latency The Precision Limiter has a 1 5ms look ahead window to ensure clipping does not occur This look ahead function results in a slightly larger latency than other UAD plug ins See Chapter 9 UAD Delay Compensation in the UAD System Manual for more information Note Compe...

Page 304: ...ss 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 309 for prac...

Page 305: ...ip ping occurs The displayed range is from 40 dB to 6 dB Input The Input Level knob controls the signal level that is input to the plug in Increasing the input will generally result in more processing depending on the settings of the other parameters By increasing the Input knob input levels higher than 0 dBFS up to 6 dBFS within the plug in can be pro cessed This can increase the distortion chara...

Page 306: ...ighly musical and without the dynamic squashing of typical limiters The most natural warmth and tube like distortion is obtained with Shape at 50 This setting generates the lowest amount of higher order harmonics and most closely emulates characteristic tube qualities Bands Precision Maximizer can operate in one band or three band mode In one band mode all frequencies are processed equally In thre...

Page 307: ... especially useful for three band mode where out put peaks over 0 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 ar...

Page 308: ... to 0 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 0 dB The clip segments are held for three seconds be fore resetting Note The Limit function prevents the output signal from exceeding 0 dB Therefore the clip LED s will only illuminate if Limit is off Power The Power switch determines whether the plug i...

Page 309: ... cause clipping at the output so reduce the Input and or Output control to compensate if necessary Input clipping can dramatically change the distortion characteristic and may yield significantly different results in one band versus three band mode Generally speaking the input should be set as high as possible before un desirable sound quality is obtained For optimum results especially when Limit ...

Page 310: ...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 ac...

Page 311: ...is divided into four primary areas of control The Band Controls section contains the dynamic response parameters for each of the five bands One set of band controls is displayed at a time See Band Controls on page 312 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 enable...

Page 312: ...is displayed at a time The control set for any particular band is displayed by selecting the band see Band Se lect on page 312 Band Select Selecting a band causes the controls for that band to be displayed in the Band Controls area Bands can be selected by using the Band Select buttons or by clicking in the EQ display Band Select Buttons The Band Select buttons at the top of the EQ Display specify...

Page 313: ...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 backgroun...

Page 314: ...ck 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 Note Careful with the control Copy function It will delete the existing values in the other bands and no undo is available Type Switch The Type button defines the dynamic nature of the band allow ing each band to function a...

Page 315: ...hreshold 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 0 dB yields no processing The avail able range is 60 dB to 0 dB As the Threshold control is decreased and more processing occurs output level is typically reduced compression or increased expansion Adjust the...

Page 316: ...ith frequent peaks However if you set too large of a Release time processing for sections of audio with loud signals may extend to lengthy sections of audio with lower signals The available range is 20 milliseconds to 2 seconds Gain The Gain control adjusts the output level of the band Generally speaking ad just the Gain control after the desired amount of processing is achieved with the Threshold...

Page 317: ...d with a thicker bold line Dis abled bands see Band Enable Solo on page 316 are displayed with a thinner line EQ Response The EQ Display also shows the processed EQ response dynamically as a light blue line across all bands if the Dynamic EQ display option is enabled see EQ Display Switch on page 322 Curve Control Points Band gain center frequencies cF crossover frequencies xF and band width can b...

Page 318: ... the direction available for dragging Adjusting Gain and Bandwidth If the cursor is moved to the upper left region of the three center bands LMF MF HMF the gain and bandwidth can be adjusted simultaneously without changing the center frequency In this case the cursor changes to a diagonal arrow when hovered over the hot spot to indicate the direction available for drag ging Adjusting xF If the cur...

Page 319: ...owable value the entry field will not accept the change and the value for the entry field will remain unchanged For the center frequencies if a value is entered that is still within the accept able min max range but the center frequency can not reach the input value because it would require a change to the width then the nearest allowable value is set If a lower or greater center frequency value i...

Page 320: ...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 Meter Labels The labels above the Dynamics Meters reflect the mode that each band is in GR Gain Re duction for compression EXP for expansion and GT for Gate Ban...

Page 321: ...input of the plug in Signal peaks are held for 3 seconds before resetting Input Level Knob The Input Level knob controls the signal level that is input to the plug in In creasing the input may result in more processing depending on the values of the band parameters The default value is 0 dB The available range is 20 dB Mix The Mix control determines the balance between the original and the process...

Page 322: ... a light blue line in the EQ Display indicates the actual frequency response of the processor in realtime Phase Mode Switch 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 reconstructio...

Page 323: ...eters and the Input Level knob remain active Precision Multiband Latency The Precision Multiband requires a large processing buffer to perform its sonic wonders This buffer results in a significantly larger latency than other UAD plug ins including all other upsampled plug ins You may use Delay Comp or TrackAdv to compensate See Chapter 9 UAD Delay Compensa tion in the UAD System Manual for more i...

Page 324: ...ng model reproduces the measured equal ization and signal path characteristics to within a fraction of a dB mean error for all knob settings All of the unique features of the original Pultec 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 Al...

Page 325: ...pli cation supports full plug in delay compensation throughout the signal path or when it is used on outputs Pultec EQP 1A Screenshot 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...

Page 326: ...y switch 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 is enabled Low Frequency Controls CPS Selector Switch This switch determines the frequency of the low shelf portion of the equalizer CPS ...

Page 327: ...f the high boost portion of the equal 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 frequ...

Page 328: ...trols 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 101 On Off Toggle Switch 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 D...

Page 329: ... midrange Peak gain to be applied to the frequency set by the low midrange frequency selector Dip Controls Frequency Selector Switch This switch determines the frequency of the midrange portion of the equalizer 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 Knob This knob determines the amount of midrange Dip cut to be appli...

Page 330: ...UAD Powered Plug Ins Manual 330 Chapter 37 Pultec and Pultec Pro Low Peak Response Figure 102 Pultec MEQ 5 Low Peak Response ...

Page 331: ...UAD Powered Plug Ins Manual 331 Chapter 37 Pultec and Pultec Pro Dip Response Figure 103 Pultec MEQ 5 Dip Response ...

Page 332: ...UAD Powered Plug Ins Manual 332 Chapter 37 Pultec and Pultec Pro High Peak Response Figure 104 Pultec MEQ 5 High Peak Response ...

Page 333: ... distortion pops clicks or zip per noise Once you ve created your custom room presets you can even morph between two presets in real time with no distortion Resonance Timing and Diffusion 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...

Page 334: ... 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 Figure 105 RealVerb Pro signal flow Figure 106 The RealVerb Pro plug in window Late Field Reverb EQ Source Input Early Reflections Direct Path Pan Pans Distance Gain Output Delay Delay Wet Dry Mix Gain Mute ...

Page 335: ...rly reflec tions and late field reverberation Spectral Characteristics 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 Shape and Size The pattern of early reflections in a reverb is determined by the room shape and size RealVerb Pro lets you specify two room shapes and si...

Page 336: ...where each reflection is represented by a yellow vertical line with a height indicating its arrival energy and a location indicating its arrival time Material and Thickness 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 certa...

Page 337: ...are absorbed and reflected Negative thicknesses invert the response of the material If the material nor mally absorbs high frequencies causing them to decay quickly and reflects low frequencies causing them to decay slowly a negative thickness will in stead absorb low frequencies causing them to decay quickly and reflect high frequencies causing them to decay slowly A thickness of 0 yields decay r...

Page 338: ... producing a very heavy re verberant tail At 200 a very sizzly late field is created Some materials such as plywood naturally absorb low frequencies while re flecting high frequencies Since plywood is usually very flat with little surface texture to capture high frequencies high frequencies tend to be reflected At 100 the reverberation produced is very sizzly and increasingly bright At 100 it is v...

Page 339: ...rial 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 ...

Page 340: ...6 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 0 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 co...

Page 341: ...rd 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 E...

Page 342: ... the Timing panel and instead is determined by the reverb s shape and size see Figure 107 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 0 dB to affect the energy of the reverberations The Am plitude value is indicated in the text field at the bottom of the Timing panel 2 Drag the Predelay control for th...

Page 343: ...ioning 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 111 provides panning controls for each of these reverb components In addition a proprietary Distance control adjusts perceived source distance These controls allow realistic synthesis of acoustic spaces for instance lis...

Page 344: ...ight 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 Distance RealVerb Pro allows you to control the distance of the perceived source with the Distance control in the Positioning panel see Figure 111 In reverberant environments sounds originating close to the listener have a different mix of direct and reflected energy than ...

Page 345: ... 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 Figure 113 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 a...

Page 346: ...justable con trols will change their appearance and will no longer be accessible When in serted on a Send effect the W button automatically turns on to keep the mix at 100 wet On an insert effect the Mix will change back and forth between the two mix values of each preset Figure 114 RealVerb Pro in Morphing mode ...

Page 347: ...hen 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 si...

Page 348: ... mix engineer stomp boxes can provide secret weapon effects not found any other way In 1976 BOSS originated the chorus effect pedal and nobody has come close to matching the CE 1 s captivating chorus sound since then Its unmistakable warm analog stereo chorus and vibrato have been heard on countless tracks particularly on guitars bass and electric keys Universal Audio has been commissioned by Rola...

Page 349: ...ithfully and like the hardware unit when the effect is by passed with this switch audio is still processed to sound like the CE 1 in nor mal mode To disable audio processing use the CE 1 Power Switch 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 th...

Page 350: ...nput 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 inpu...

Page 351: ...ob The rate knob controls the rate of the vibrato LFO The rate is indicated by the the Rate LED indicator Note When in chorus mode the vibrato controls have no affect Power Switch This switch determines whether the plug in is active This is useful for comparing the processed settings to the original signal or to bypass the plug in to reduce the UAD DSP load load is not reduced if DSP LoadLock is e...

Page 352: ...oes 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 Rol...

Page 353: ...ded this function and moved the switch to the front for your processing convenience When in Mono mode the input to Dimension D is monophonic even when used in a stereo input configuration stereo inputs are summed to mono This can be useful for sonic variation such as when the plug in is used in an aux iliary effect send configuration The default position in is stereo mode Click the pushbutton swit...

Page 354: ...h 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 fe...

Page 355: ...witch 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 201interface is detailed below Peak Level The Peak lamp indicates when transient signal peaks and clipping are detected just after the input volume co...

Page 356: ... is used in a mono in mono out configuration this control is dis abled Input Volume 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 ...

Page 357: ...f 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 ...

Page 358: ...umber 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 oscillation on held notes or can be put into over the top oscillation with extreme inten...

Page 359: ...Manual for more information Delay Time Display 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 hea...

Page 360: ...ill be a dropout and then the tape capstan where it will create some wow and flut ter Wet Solo 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...

Page 361: ... 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 app...

Page 362: ...f 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 368 Sustain Sustain enables amplification or attenuation of the sustain of a signal by up to 24 dB The Sustain control circuitry also uses two envelope generators One follows...

Page 363: ...in the software plug in version the output can be overloaded without causing distortion Link Link indicates when stereo operation is active It illuminates when used in a stereo in stereo out or mono in stereo out configuration It does not illuminate when used in a mono in mono out configu ration Note Link is an indicator only it does not control any plug in parameter On Power The On and Power swit...

Page 364: ... 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 yo...

Page 365: ...wo 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 sou...

Page 366: ...t 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 The Re Invention Of Reverb 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 intensi...

Page 367: ...bience 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 opposite processing just reduce SUSTAIN Keyboards Sampler Sounds in keyboards and samples are usually highly compressed and main tain only little of natural dynamics Increa...

Page 368: ... volt age is derived The DET ensures that both low and loud signals pianissimo to fortissimo are treated the same way Both ATTACK and SUSTAIN control circuitries operate simultaneously and don t affect each other The ATTACK Control Circuitry 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 gen...

Page 369: ... 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 Figure 121 on page 369 displays the processed waveforms with maximum and minimal ATTACK to compare against the original waveform in diagram 1 Figure 120 SPL Transient Designer Attack Control Voltage Figure 121 SP...

Page 370: ...derived from the difference between the two voltages Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings Figure 122 on page 370 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 Figure 123 on page 370 shows the diff...

Page 371: ...the original waveform in diagram 4 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 Figure 124 SPL Transient Designer Processed Sustain ...

Page 372: ... 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 0 1 to 4 second Release time ...

Page 373: ...the original hardware which we modeled exactly When the plug in is viewed in parameter list mode Controls View the actual parameter values are displayed Note SSL consoles adopt a different pan law than what the host application may be set to by default Most DAW s allow configuring the panning spread preference to match various consoles In the event you want to capture SSL style stereo response whe...

Page 374: ... filter Rotate clockwise to reduce high frequencies In Black mode the slope of the low pass filter is 12 dB per octave and the available range is 22 kHz to 3 kHz In Brown mode the slope of the low pass filter is 12 dB per octave and the available range is 16 kHz to 3 kHz Filters to Sidechain DYN SC This button enables the Filters sidechain function When the Filters sidechain is active signal outpu...

Page 375: ...ig 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 input configuration Link has no affect Compress Ratio 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...

Page 376: ...se times are continuously variable between 0 1 seconds and 4 seconds Compress Attack Attack defines the duration between the input signal reaching the thresh old and processing being applied by the compressor Attack time is nor mally 30 milliseconds slow mode in Controls View When Fast Attack is enabled attack time is 3 milliseconds Fast Attack is active when the F ATT LED is illuminated To toggle...

Page 377: ...n t pass when the de sired signal is not present but below the desired signal level so the signal passes when present Expand Range 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 continuously variable from 0 dB to 40 dB E...

Page 378: ...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 ...

Page 379: ...ualiser section was the Brown Knob circuit This was standard on all early production E Series consoles The two parametric mid band sections feature a classic logarithmically symmetric design that en sures that the 3 dB up down points retain the same musical interval from the centre frequency regardless of frequency and amplitude settings The two shelving sections are traditional 6 dB octave design...

Page 380: ...om 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 High Mid Frequency HMF Band HMF Gain This control determines the amount by which the frequency value for the...

Page 381: ... control knob to its center position LMF Frequency This control determines the LMF band center fre quency to be boosted or attenuated by the band Gain setting The available range is 0 2 kHz to 2 5 kHz in both Black and Brown modes LMF Q The Q bandwidth control defines the proportion of frequencies surrounding the band center frequency to be affected by the band gain control The filter slopes get s...

Page 382: ...Q 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...

Page 383: ...put 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 0 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 0 to return the co...

Page 384: ...e 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...

Page 385: ...cal 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 DYN SC Dy namic Sidechain button allows the user to create frequency dependent gain reduction arrangements with either the Compressor or Gate expander UAD UAD 1 UAD 2 and U...

Page 386: ...ineers 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...

Page 387: ...ression 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 0 1ms 0 3ms 1ms 3ms 10ms and 30ms The availability of relatively slow attack times as compared to other compres sors ...

Page 388: ...tive 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 Meter The Gain Reduction VU style meter displays the amount of gain reduction occurring in the compressor Higher values indicate more gain reduction Increase the signal level into the plug in and or lower the Threshold control to in crease gain ...

Page 389: ... 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 then Fade is clicked again after...

Page 390: ...f 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 de...

Page 391: ...able 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 plat...

Page 392: ... 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 cha...

Page 393: ...rtion 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...

Page 394: ...e interface Additional typically less used controls are available on the secondary panel The secondary panel see Figure 128 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 395 and Secondary Controls on page 398 Figure 128 The Studer A800 plug in window with exposed secondary controls ...

Page 395: ...e stereo signal identically Primary Controls Path Select 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 ...

Page 396: ...al on page 400 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 b...

Page 397: ...uency head bump low frequency rise and warmer sound while 30 IPS is the norm for classical and jazz due to its lower noise floor greater fidelity and flatter response 7 5 IPS is also available for an even more 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 emulatio...

Page 398: ...al representation of the signal levels after the virtual tape The Input control affects how hot the signal is Higher VU levels typically indicate more harmonic saturation coloration and or distortion However this will depend on the other control values The plug in operates at an internal level of 12 dBFS Therefore a digital sig nal with a level of 12 dB below full scale digital 0 dBFS at the plug ...

Page 399: ...ocal standards It is important to note that historically the origin of the tape machine US or European dictated the built in EQ em phasis but later machines like the A800 had both circuits available While the hardware A800 has discrete controls for tape speed 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...

Page 400: ...e if desired When Auto Cal is OFF the calibration parameters do not change values when Tape Type Tape Speed and Emphasis EQ are modified Note Auto Cal is enabled by default Tip When making manual calibration settings consider disabling Auto Cal so the manually calibrated settings are not accidentally lost if another control is modified Gang Controls Gang Controls enables global control adjustments...

Page 401: ...iations until a control is actually changed When Gang Controls is enabled and a Studer A800 settings preset is loaded via the UAD Toolbar the loaded parameter settings are pushed to all Studer A800 instances Calibration Controls Refer to Figure 129 on page 402 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 ma...

Page 402: ...ecord 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 extrem...

Page 403: ...95 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 395 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 395 is set to Re pro When Path Select is not set to Repro the control has no effect Noise The Noise...

Page 404: ...of Hum Noise Hiss Noise Just like the hardware the amount of hiss is dependent on settings of the var ious controls Overall Hiss Noise is set with this control but may change based on the Path Select Tape Speed Tape Type Emphasis EQ Cal Level Bias Playback EQs and Output Level controls Because hiss noise is an element of t ape playback Hiss is disabled when Path Select is to INPUT Note Hiss timbre...

Page 405: ...eat 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 ...

Page 406: ...lf see Figure 131 Each band has four selectable fixed frequencies and 15 dB of gain These were the good old days before sweepable frequencies and bandwidth controls but the results are wonder fully 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 b...

Page 407: ...ee Figure 131 on page 406 and Figure 132 on page 408 when re ferring to the band parameters below High Shelf 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...

Page 408: ...equalization Low Shelving Frequency The edge frequency of the low shelf filter is specified by this knob Four shelf edge frequencies are available 150 Hz 100 Hz 80 Hz and 50 Hz Low Shelving Gain The gain for the low shelf filter is specified by the horizontal slider control The available range is 15 dB The gain value is zero when the slider is in the cen ter position Gain slider shortcuts The band...

Page 409: ...ult value is 0 dB The available range is 24 dB to 12 dB Tip Click Output or 0 zero to return to zero gain position EQ In The EQ In switch determines whether the plug in is active When the switch is in the Off lighter position plug in processing is disabled and UAD DSP usage is reduced unless UAD 2 DSP LoadLock is enabled Note the Phase setting Phase on page 407 remains in effect even if EQ In is i...

Page 410: ... Range EQ All visual and aural references to the TRIDENT A RANGE EQ are trademarks being made with written permission from PMI AUDIO The Trident A Range Console featuring the Trident A Range EQ The Trident A Range Console featuring the Trident A Range EQ ...

Page 411: ...nt to his extensive experimentation with the newly developed FET Field Effect Transis tor in various configurations Eventually he found a way of using the FET as the gain controlling element of a compressor limiter While the 1176 has seen a huge number of revisions in its history the most significant revision was by UREI engineer Brad Plunkett in an effort to reduce noise hence the birth of the 11...

Page 412: ... Classic Limiter Collection UA 1176 Screenshots Figure 133 The UA 1176 Rev A plug in window Figure 134 The UA 1176LN Rev E plug in window Figure 135 The UA 1176AE plug in window Figure 136 The 1176LN plug in window Figure 137 The 1176SE plug in window ...

Page 413: ...inal 1176LN plug in ten years prior 1176 Rev A Bluestripe This model Figure 133 on page 412 represents the original Putnam FET lim iter design complete with its higher distortion and unique FET gain amplifier characteristics Although the input can clip even when gain reduction is not occurring in all the Limiter Collection bundle models the input clipping is most evident on the Rev A model 1176 Re...

Page 414: ...page 412 was along with the LA 2A the first plug in available for the UAD platform It still has a great sound and is very usable especially when there are not enough DSP resources to use the second generation versions in the newer UA 1176 Limiter Collection 1176LN SE The 1176SE Special Edition Figure 137 on page 412 is derived from the original 1176LN plug in Its algorithm was revised in order to ...

Page 415: ...ower ratios for compression higher ratios for limiting Disengaging all the Ratio buttons Shift Click the currently selected ratio disables compression altogether but signal continues to pass through the 1176 circuitry This is commonly used to add the color of the 1176LN without any gain reduction At the request of users the wide range of Multi Button combinations possible with the hard ware is now...

Page 416: ...tist presets are copied to disk by the UAD installer The additional presets can be loaded us ing the Settings menu in the UAD Toolbar see Using UAD Powered Plug Ins in Chapter 7 of the UAD System Manual Signal Flow A functional block diagram of the 1176 is provided in Figure 138 Signal lim iting and compression is performed by the Gain Reduction section Before the signal is applied to the Gain Red...

Page 417: ...ntrol the Output control can be used to make up any gain lost due to gain reduction To monitor the Output level set the VU Meter to 8 or 4 The Output control does not affect the amount of compression Note In the 1176 Limiter Collection plug ins increasing Output will increase distortion Attack Attack sets the amount of time it takes the 1176 to respond to an incoming sig nal and begin gain reducti...

Page 418: ... position 1176LN and 1176SE Attack The OFF position is unavailable in these plug ins To bypass plug in process ing in these models use the Meter OFF button Release Release sets the amount of time it takes the 1176 to return to its initial pre gain reduction level The 1176 release time is adjustable from 50 millisec onds to 1100 milliseconds 1 1 seconds Note that the actual release time varies slig...

Page 419: ...elease time comes into effect The original Bluestripe and 1176AE has a different slow release time and transition time when compared to the Blackface revisions Ratio The four Ratio pushbutton switches to the left of the VU Meter determine the compression ratio of the plug in Ratios of 20 1 12 1 8 1 and 4 1 are avail able for all 1176 models except the UA 1176AE which has 20 1 8 1 4 1 and 2 1 modes...

Page 420: ...k the Ratio buttons Combinations are limited to the modes that actually affect the sound in the hardware See Figure 139 below for the available combinations For the combinations with three or more buttons the shift clicking the outer buttons will automatically engage the inner buttons the inner buttons cannot be disengaged such combinations don t affect the sound in the hardware These models can b...

Page 421: ... dB When the Meter Function is set to GR mode and multiple Ratio buttons are en gaged the Meter will appear to behave strangely This is normal behavior in the 1176 hardware and is faithfully recreated in the plug in When the OFF switch is engaged the plug in is disabled and UAD DSP usage is reduced unless UAD 2 LoadLock is enabled UA 1176 Limiter Collection Latency These plug ins use an internal u...

Page 422: ...9 Balance Control 109 Band Controls 243 282 351 353 359 Band Curves 317 Band Disable Button 64 Band Enable Button 282 Band Parameters 313 Bands 306 Bandwidth Q Knob 65 Bandwidth Knob 282 327 Bass 148 Blending Bar 81 Blending Bars 84 Boost Knob 326 327 329 Boss CE 1 Chorus Ensemble 348 Boss CE 1 Controls 349 Boss CE 1 Screenshot 348 Bypass 85 86 C Cambridge EQ Controls 47 Cambridge EQ Screenshot 46...

Page 423: ...ent 88 EL7 FATSO 93 Empirical Labs EL7 FATSO 93 EMT 140 Controls 107 EMT 140 Plate Reverb 106 EMT 250 Electronic Reverberator 113 EMT 250 Functional Overview 114 EMT 250 Program Mode Controls 117 EMT 250 Screenshot 114 Enable Button 51 Enable Bypass Switch 65 66 69 72 energy 78 EP 34 Classic Tape Echo 126 EP 34 Controls 127 EP 34 Hardware History 131 EP 34 Overview 126 EP 34 Tape Echo Screenshot 1...

Page 424: ...Switch 353 K KCS Selector Switch 327 K Stereo Ambience Recovery 285 K System 298 L LA 2A 152 LA 3A Compressor 157 LA 3A Controls 158 LA 3A Screenshot 157 Late 88 Late Field Relative Timing 86 Late Field Start 87 L Delay Knob 67 Levels 89 Lexicon 224 159 Lexicon 224 Controls 166 Lexicon 224 Screenshot 161 LFO Type Pop up Menu 68 Limit 307 Limiter 296 Link Button 70 Little Labs IBP 179 Little Labs I...

Page 425: ...E Controls 220 244 Neve 1081 Band Layout 223 Neve 1081 Controls 147 158 223 247 267 276 Neve 1081 Equalizer 222 Neve 1081 Latency 228 Neve 1081 Screenshot 146 157 222 246 Neve 1081SE 228 Neve 1081SE Controls 144 228 Neve 31102 Console EQ 229 Neve 31102 Controls 230 Neve 31102 Latency 234 Neve 31102 Screenshot 229 Neve 31102SE 233 Neve 31102SE Controls 233 Neve 33609 Compressor 235 Neve 33609 Contr...

Page 426: ...on Maximizer 304 Precision Maximizer Controls 305 Precision Maximizer Operating Tips 309 Precision Maximizer Screenshot 305 Precision Multiband 310 Precision Multiband Latency 323 Precision Multiband Screenshot 310 Pre Delay 90 Predelay Knob 111 Preset Design Tips 91 Preset Management 91 Primary Controls 166 395 Pultec and Pultec Pro 324 Pultec EQP 1A Program Equalizer 324 Pultec Latency 325 Pulte...

Page 427: ...r Screenshot 361 SPL Transient Designer Technology 368 Split 268 SSL G Buss Compressor 386 SSL G Buss Compressor Controls 387 SSL G Buss Compressor Screenshot 386 SSL G Channel Strip 372 SSL G Channel Strip Controls 373 SSL G Channel Strip Screenshot 373 Stereo 158 Stereo Mode 280 Stereo Operation 156 Studer A800 391 Studer A800 Screenshot 392 Studer Operational Overview 392 Support Website 17 Syn...

Page 428: ...UAD Powered Plug Ins Manual 428 Index INDEX Wet Dry Mix Knob 69 72 Width 268 Width Knob 111 Windows 16 www 17 Z Zoom Buttons 48 ...

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