UAD POWERED PLUG-INS USER MANUAL VERSION 4.10 Manual Version 080306 Universal Audio, Inc. 1700 Green Hills Road Scotts Valley, CA 95066-4926 Voice: +1-831-440-1176 Fax: +1-831-461-1550 Customer Support (USA): 1-877-MY-UAUDIO (877-698-2834) Email Inquiries info@uaudio.com World Wide Web www.uaudio.
Notice: This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio UAD Powered Plug-Ins. The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc.
TABLE OF CONTENTS Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Welcome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 System Requirements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Live Processing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64 DSP Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Tempo Sync . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65 Multiple Cards . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS DreamVerb Preset Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108 Spatial Characteristics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109 Preset Design Tips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110 Chapter 6. Plate 140 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 Band Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 EQ Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 Frequency Controls . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Shelf EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 Chapter 13. Pultec and Pultec-Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 Pultec Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 15. CS-1 Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 EX-1 Equalizer and Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214 EX-1 Equalizer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Neve 1073 Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 Chapter 20. Neve 33609 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 Neve 33609 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Limiter/Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Cut Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 Global . . . . . . . . . . . . . . . . . . . . . . . . .
TABLE OF CONTENTS Chapter 28. SPL Transient Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 SPL Transient Designer Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 SPL Transient Designer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
LIST OF FIGURES UAD card installation 31 Launching a UAD Powered Plug-In in Steinberg Cubase and Nuendo 35 Launching a UAD Powered Plug-In in BIAS vBox 35 The UAD Performance Meter application window (Windows) 36 The UAD Performance Meter application window (Mac OS) 36 System menu for the UAD Performance Meter (Windows) 37 Alternate system menus for the Meter (Windows) 37 File Menu for UAD Performance Meter (Mac OS) 38 The UAD System Information window (Windows) 41 The UAD System Information window (Mac OS)
LIST OF FIGURES DreamVerb Shape panel 98 DreamVerb Materials panel 100 DreamVerb Reflections panel 103 DreamVerb Reverberation panel 104 DreamVerb Positioning panel 106 DreamVerb Levels panel 107 The UAD Plate 140 plugin window 112 Plate 140 in Controls mode 117 Input and output characteristics of a compressor and perfect amplifier 120 Input and output curve of compressor with 2:1 ratio and –20 dB threshold 121 LA-2A signal flow 123 The LA-2A plugin window.
LIST OF FIGURES Shelf Type C 174 The Pultec EQP-1A Program Equalizer plugin window 176 Control grouping within the Pultec EQP-1A 177 The Pultec-Pro MEQ-5 Midrange Equalizer plugin window 179 Control grouping within the Pultec-Pro MEQ-5 179 Pultec MEQ-5 Low Peak Response 181 Pultec MEQ-5 Dip Response 182 Pultec MEQ-5 High Peak Response 183 The Nigel plugin window 185 The Preflex plugin window 186 The Gate/Comp module 187 The Amp module within Preflex 190 The Cabinet module within Preflex 194 The Phasor plugi
LIST OF FIGURES The Neve 1081 plugin window 251 Neve 1081 band control layout 252 The Neve 1081SE plugin window 257 The Helios Type 69 plugin window 258 Helios 69 band control layout 259 The Neve 88RS plugin window 265 Simplified signal flow within UAD Neve 88RS 266 The Neve 88RS Gate/Expander diagram 267 Hysteresis in the Neve 88RS Gate 268 Neve 88RS EQ Controls Layout 274 The LA-3A plugin window 279 The Precision Maximizer plugin window 282 The Precision De-Esser plugin window 288 The Precision Buss Compr
LIST OF TABLES Keyboard shortcuts 33 Host Application Plugin Delay Compensation Implementations 50 Precision Limiter Latency Compensation Values 56 Special EQ Latency Compensation Values 58 Precision Maximizer and Neve 33609 Latency Compensation Values 59 Precision Multiband Latency Compensation Values 60 Tempo Sync available note values 67 Materials with high-frequency absorption 85 Materials with high-frequency reflection 85 RealVerb Pro Presets 93 Fairchild Operating Modes 133 Fairchild Time Constants 13
CHAPTER 1 Introduction Welcome Thank you for purchasing UAD Powered Plug-Ins™, the most powerful combination of digital signal processing hardware and high-quality software plugins available for host-based Windows and Macintosh digital audio workstations! Thanks to the UAD™ DSP card, Powered Plug-Ins offer a new level of power and complexity not found with host-based plugins.
Features • No-compromise professional audio quality • UltraDither™ hardware algorithm provides maximum signal quality • Artifact-free smoothing on all parameters (no zipper noise) • All parameters can be automated • Distortion free, high-resolution signal path due to floating point processor • Single, unpartitioned super-computing DSP chip provides optimal performance and flexibility • Up to 32-bit, 192kHz resolutions are supported, limited only by the host application UAD PCI DSP Card • UltraDither™ support
1176LN Limiting Amplifier • Modeled after 1176LN (blackface, versions D and E) • Precision emulation of actual circuitry and performance • Compression ratios of 4:1 8:1, 12:1, 20:1, including All Buttons mode • Attack time: 20 microseconds to 800 microseconds • Release time: 50 milliseconds to 1.
Precision Series™ Precision Limiter™ • 1.
Precision De-Esser • Dynamic Sibilance Processor for individual tracks, busses or master fader • Modern bandpass or traditional highpass de-essing for maximum flexibility • Split mode minimizes unwanted artifacts such as darkening or lisping • Dual-speed time constant and wide frequency range for vocals to overheads Precision Buss Compressor • Modern and easy-to-use single-band gain control for busses and inserts • Transparent, large-format center-console-type dynamics control • Auto release for transparen
• Precision emulation of actual circuitry and performance • UAD DSP load remains constant even at highest sample rates • Mono or Stereo operation Helios Type 69 • Classic console EQ modeled from original Basing Street desk • Distinct and colorful three band EQ with phase reverse and level adjust • High Shelf, Parametric Mid and Bass Peak/Shelf EQ • Can be pushed to extreme settings while remaining open and musical Neve™ Emulations Neve 1073 • Accurate model of original Neve 1073 Channel Equalizer • Four
• Compression curves and nonlinearities modeled to exacting detail • Auto-release settings offer program dependent qualities • “Software-only” controls link, output gain, and headroom switch • Stereo or mono operation Neve 33609SE Compressor • “Special Edition” equalizer derived from UAD Neve 33609 • Optimized for efficient DSP usage Neve 88RS Channel Strip • EQ and dynamics section from Neve's flagship large-format analog console • Current Neve tools for modern production and mixing techniques • 12 dB per
Reverbs Plate 140 • Delivers highly prized smooth and natural plate sound • Stunningly accurate models based on plates from The Plant Studios • Three plates to choose from-, each with a unique sound • Look and feel based on original 140 reverb system • Mono or Stereo operation DreamVerb™ • Amazing sound quality rivals high-end dedicated hardware reverbs • Comprehensive interface for in-depth parameter editing • 21 room shapes • 48 room filtering materials • Unique “Air” medium for blending with materials
• Blend between two different room materials and adjust relative thickness • Mono or Stereo operation CS-1™ Channel Strip EX-1™ Equalizer/Compressor • Mono or Stereo operation • 5 band fully parametric EQ • Switchable Hi or Low pass/shelving/peaking on bands 1, 2, 4, & 5 • Attack (0.05ms – 100ms) • Release (30ms – 2.
• Mod Filter capable of wah, auto-wah, and envelope follower effects, modeled after the Mutron III and other popular filters • Tremolo with Classic, Shimmer™, VariTrem™, and Fade modes • Fade-in for gorgeous swells and reverse tape effects • Modulated Delay capable of chorus, flange and vibrato; can be synchronized to the Trem/Fade module for unprecedented new sounds • Echo Delay with 1200ms of stereo delay time • No-compromise professional audio quality • All parameters are MIDI controllable with full automa
• Identical look, controls, and operation of its analog counterpart Roland RE-201 • Meticulous model of original Roland RE-201 Space Echo • Tape echo modeling, complete with saturation, wow & flutter, and splice • Incredible tape oscillation effects and spring reverb emulation • Entrusted by Roland for accurate analog modeling • Original features like Mode Selector, Intensity and “Dub” switch • Digital only features like tempo sync, effects pan, and tape select • Tape loops modeled from original Roland tape
System Requirements UAD Powered Plug-Ins require the following hardware and software: All Platforms: • 130 MB of available hard disk space • 256 MB of RAM (512 MB is strongly recommended) • Available PCI or PCI-X slot for each UAD-1 card • Available PCI Express (PCIe) slot for each UAD-1e card • Available ExpressCard/34 or ExpressCard/54 expansion slot for each UAD-Xpander • Available PCI Express (PCIe) slot for each optional UAD–Xtenda card • 1024 x 768 or higher resolution monitor • CD drive or internet
Manual Conventions Cross-Platform Solution UAD Powered Plug-Ins is a cross-platform solution for both Windows and Mac OS X-based computers. The UAD hardware card can be installed into either platform; it is the exact same hardware for both platforms. Operation of the plugins are practically identical regardless of the host system platform and application. However, certain platform-specific instructions will differ according to the host system you are using.
CHAPTER 2 Installation Refer to the QuickStart Guide Software installation and removal for each of the various platforms and operating systems has its own particular procedures. Please refer to the QuickStart Guide documentation that is included in the software bundle and the support pages on our website for complete instructions on how to install and remove the software on each system.
Installing the UAD Hardware After installing the UAD Powered Plug-Ins software, install the UAD DSP card(s). Hardware installation is the same for all platforms. To install the UAD DSP card(s): 1. Turn off your computer. 2. Open the computer case. If necessary, refer to the computer manufacturer’s documentation for instructions. 3. Remove the rear slot cover and screw of the lowest-numbered available expansion slot. 4.
CHAPTER 3 Using UAD Powered Plug-Ins Overview Once the UAD card and Powered Plug-Ins have been properly installed, the UAD Powered Plug-Ins are accessed and used just like any host-based plugin. All UAD Powered Plug-Ins can run concurrently with each other and with hostbased plugins simultaneously, in any combination. Most UAD Powered Plug-Ins support up to 32-bit, 192KHz operation (exceptions: Plate 140, Precision Multiband, Nigel, Roland RE-201, and Neve 1073SE/1081SE/33609 cannot run at 176.
To enter time values, the units must be specified. m =milliseconds, and s = seconds. Examples: 400 milliseconds = .400s or 400m; 1.5 seconds = 1.5s or 1500m. Scroll Wheel If your mouse has a scroll wheel, it can be used to adjust knob and slider controls if the host application supports this functionality (not many do). Place the mouse cursor over any knob or slider control to increment or decrement the parameter value with the scroll wheel.
Table 1.
Launching a UAD Powered Plug-In Each host application has its own particular methods for instantiating (launching) a plugin. Consult the host application documentation for specific instructions on loading and using plugins with the application. Steinberg Cubase SX & Nuendo SX Figure 2. Launching a UAD Powered Plug-In in Steinberg Cubase and Nuendo BIAS vBox (Mac OS) Figure 3.
UAD DSP Performance Meter Application Overview The UAD Performance Meter is an application that displays the current CPU and memory status of the UAD DSP hardware card in realtime. Its small floating window enables you to monitor the resource load of the UAD, while simultaneously using your host application. It also contains system information and configuration windows that enable you to confirm the UAD is functioning properly, check the version of the software drivers, and adjust the UAD buffers.
Launching the Meter Mac OS To launch the UAD Performance Meter application in Mac OS: 1. Single-click the UAD Meter alias that was placed in the Dock during instal- lation. OR, 2. Double-click the UAD Meter application file that was installed to Applications>Powered Plug-Ins Tools folder during installation.
Mac OS The File menu is available when the UAD DSP Performance Meter is in the foreground. You can easily bring the Meter to the foreground by clicking its icon in the Dock. Figure 8. File Menu for UAD Performance Meter (Mac OS) Using the Meter The UAD DSP Performance Meter can be launched or quit at any time. It does not need to be open or active to use UAD Powered Plug-Ins. It is completely independent of any other applications and does not require a host application.
The Enable Menu allows you to disable all UAD Powered Plug-Ins that are currently running. This enables you to add new plugins for offline processing if the UAD is low on DSP, or easily compare the sound of the processed and unprocessed audio. Enable Menu (Windows) When the menu displays “Enabled” all UAD plugins are active. Select “Disable current” from the menu to disable the active plugins. New UAD plugins can then be added. Select “Enable all” to re-activate all UAD plugins.
UAD System Information Window The UAD System Information window (Figure 9 on page 41 and Figure 10 on page 42) displays the version of the UAD software drivers in use by the UAD hardware and also allows you to confirm that the card is working properly. When the window displays UAD Status: OK and UAD DSP: OK, the card is operating properly. The number of UAD plugins loaded on the card(s) is also displayed here. If more than one UAD card is installed, information for each of the cards is displayed.
System Info (Windows) Figure 9.
System Info (Mac OS) Figure 10.
UAD Configuration Window The UAD Configuration Window (Figure 12 on page 49 and Figure 11 on page 48) displays additional information about the UAD card and is also used to modify some UAD settings. Latency Calculator The number of active UAD Powered Plug-Ins, the sample rate, and the current buffer size are displayed. The window uses this information to calculate and display the resulting latency in milliseconds. In Mac OS, the latency calculator is displayed in the System Information window.
DSP Settings These controls limit the maximum UAD CPU load before no more plugins will be processed by the UAD. Limit CPU Load Without UAD Powered Plug-Ins installed, overloading the host system with native (host based) plugins can cause dropouts and possibly system lockup. Steinberg hosts, for example, provide a switch that allows you to trade latency for stability when the system is overloaded. Similarly, the UAD DSP load cannot exceed 100% without unpredictable behavior.
User Interface Settings Controls Mode This setting determines how Powered Plug-In parameter knobs respond to adjustment. Three control modes are offered: Circular, Relative Circular, and Linear. Note: To increase resolution when in adjusting rotary controls in circular and relative circular modes, increase the radius of the mouse relative to the knob while dragging (i.e. move the mouse farther away from the knob while dragging in a circular motion).
Note: When Use Host Mode is checked, the UAD Meter user interface settings have no effect unless control mode is NOT supported by the host. Modifier Key (Mac OS) The Modifier Key drop-menu allows you to specify which modifier key will be used for the “set to last saved value” keyboard shortcut. It also affects the “select + click” modifier. This feature is not supported under Windows. For a complete list of keyboard shortcuts, see “Shortcuts” on page 33.
Sonar Compatibility Mode (Windows) Click the Sonar Compatibility Mode checkbox to improve UAD Powered PlugIns performance when used with Cakewalk Sonar. This mode should be disabled when using different hosts, otherwise audio degradation could occur. Misc Settings (Mac OS) Release all DSP resources on AudioUnit bypass Some Audio Unit hosts dynamically bypass plugins when they are not being used during playback, for example when no audio is present at the current playback position. As of version 3.9.
Hide AU Preset Bar This option hides the “Load/Save VST Preset” bar that normally appears at the bottom of the UAD Audio Units plug-ins. The setting can be changed at any time, but any currently open plug-in editor windows need to be re-opened after making the change in order to see the effect. Configuration Window (Mac OS) Figure 11.
Configuration Window (Windows) Figure 12.
Delay Compensation Compensation Overview When UAD Powered Plug-Ins are used, audio data to be processed by a Powered Plug-In is sent by the host application to the UAD card. The audio is then processed by the UAD card and sent back to the host application. This back-and-forth shuffling of audio data produces a latency (delay) in the audio signal being processed.
Important: The following sections about delay compensation apply only when using hosts that do NOT implement full plugin delay compensation. See “Host PDC Implementation” on page 50. Depending on the host application implementation, the delay compensation feature may not provide automatic compensation when UAD Powered PlugIns are inserted on sends, groups, or buses. In this situation, the solution is to use the UAD Delay Compensator plugin (“UAD Delay Compensator plugin” on page 52).
• Cakewalk Sonar, Sony applications, Mackie Tracktion: Automatic. (No preference for enabling/disabling other than turning off or removing plugins that require delay compensation. • Samplitude: Options Menu>Project Properties>Mixer Setup...
Plugs Parameter The DelayComp Plugs parameter value to be used on an unprocessed track or tracks is simply the number of UAD Powered Plug-Ins that are being used in sequence on the send, group, or bus. For example, if three separate sends are used and each send has one instance of UAD plugins, the Delay Compensator Plugs value for the unprocessed tracks would be one.
DelayComp Examples Important: Delay compensation is fully automatic and requires no user intervention when UAD Powered Plug-Ins are used in hosts that support full plugin delay compensation. See “Host PDC Implementation” on page 50. Insert Situation: You have a song with bass, drums, and guitar. You want a room simulator on the guitar so you put an RS-1 on an insert of the guitar track. Result: All tracks are perfectly aligned. Solution: None needed.
Compensating for Pultec and Pultec-Pro The UAD Pultec and UAD Pultec-Pro equalizers use an internal sample rate of 192kHz to achieve their magic quality. This upsampling results in a slightly larger latency than other UAD plugins. Therefore, they require slightly more compensation to remain perfectly synchronized with other tracks. Specifically, they require an extra 13 samples of compensation when the session sample rate is below 100kHz.
Compensating for Precision Limiter The Precision Limiter has a 1.5ms look-ahead window to ensure clipping does not occur. This look-ahead function results in a slightly larger latency than other UAD plugins. This is not normally an issue because the Precision Limiter is designed to be used for program material on the output bus, where latency is not a consideration.
Solution: Send the output of the unprocessed instrument tracks (but not the horn tracks or the Precision Limiter return) to a different group/bus, and put one DelayComp with a Plugs value of 1 and a Sample value of 64 on this group/bus that contains the dry non-horn tracks. If you put 2 Precision Limiters stacked in series on the horn bus, the unprocessed bus DelayComp Plugs value would be 2, and the Sample value would be 128.
The compensation value to use depends on the session sample rate. Use the following values to compensate for the plugin latency when using the special equalizers on track inserts or buses. Table 4. Special EQ Latency Compensation Values Special EQ Group/Bus Example Session Sample Rate UAD DelayComp “Samples” Value 48kHz and lower 31 Samples 88.2kHz and 96kHz 13 Samples 176.4kHz and 192kHz Zero Situation: You have a song with bass, drums, guitar, and 4 string tracks.
Important: Compensating for Precision Maximizer and Neve 33609 is not required if the host application supports full plugin delay compensation throughout the entire signal path, or when it is used only on the outputs. See “Host PDC Implementation” on page 50. The compensation value to use depends on the session sample rate. Use the following values to compensate for the plugin latency when using these plugins on track inserts or buses. Table 5.
Important: Compensating for Precision Multiband latency is not required if the host application supports full plugin delay compensation throughout the entire signal path, or when it is used only on the outputs. See “Host PDC Implementation” on page 50. The Precision Multiband latency depends on the session sample rate. Latency values are listed in Table 6 below. Table 6. Precision Multiband Latency Compensation Values Session Sample Rate Precision Multiband Latency Value 44.
Precision Multiband Group/Bus Examples Situation: You have a session with bass, drums, piano, and 2 vocal tracks. The session is running at 44.1kHz and your I/O buffer is set to 512 samples. You want to tighten up the rhythm section so you put the bass, drum, and piano tracks on a group/bus and apply one instance of Precision Multiband to the rhythm section group/bus. Result: The rhythm section plays late in relation to the vocal tracks.
UAD Track Advance Overview The previous discussions on delay compensation (see “Delay Compensation” on page 50) apply mainly when using only audio tracks. When MIDI tracks are played simultaneously alongside audio tracks, a different (but related) synchronization issue can arise. Let’s say you have a MIDI track and an audio track with a UAD plugin on the audio track insert.
Important: UAD TrackAdv should not be used in host applications that provide full plugin delay compensation throughout the entire signal path. UAD TrackAdv or DelayComp is not needed at all in such hosts. See “Host PDC Implementation” on page 50. How to use TrackAdv UAD TrackAdv is designed to be used on audio track inserts of tracks that are assigned to a send/group/bus that has one or more UAD plugins applied.
Send Situation: You have a song with drums and guitar on audio tracks, and a MIDI bass line. You want a cohesive room reverb on the audio tracks so you send them to the UAD RealVerb Pro via an effect send. Result: The RealVerb Pro effect return plays late in relation to the MIDI track. Solution: Put a TrackAdv plugin on the track insert of the audio tracks with a Plugs value of 1. If you had an 1176LN and a RealVerb Pro on the send return, the TrackAdv Plugs value would be 2. Keep the Sample value at zero.
Note: Keep in mind the latency for each instance of UAD Powered Plug-Ins is equal to twice the current buffer size of the host system. This is because audio needs to travel to the UAD card, then back again. For example, with a buffer size of 256 samples, one Powered Plug-In will introduce 512 samples of latency, and two Powered Plug-Ins in succession will introduce 1024 samples of latency. DSP Usage The UAD card features an on-board CPU and 4 MB of memory for processing Powered Plug-Ins.
When Tempo Sync is activated, the time-based parameters that are available for synchronization are changed to note duration values, and will sync to the tempo of the host application using the displayed note value. Figure 15. The Tempo Sync feature within UAD DM-1L Note: Not all host applications support Tempo Sync. In such hosts, the tempo sync features will not function.
Table 7. Tempo Sync available note values 1/64D* 1/64 1/32T 1/32 1/16T 1/32D 1/16 1/8T 1/16D 1/8 5/32* 1/4T 1/8D 1/4 5/16 1/2T 1/4D 1/2 5/8 1/1T 1/2D 1/1 5/4 1/1D 7/4 2/1 3/1 4/1 5/1 6/1 8/1 9/1 12/1 16/1 D = Dotted T= Triplet * = RE-201 only A quarter note is always a quarter note, independent of the time signature. In different time signatures a quarter note can represent different numbers of musical beats (e.g. 6/8 ) or different fractions of a bar (e.g. 5/4).
Arrow Keys After clicking the parameter to select it, the arrow keys can be used to scroll through available note values. Text Entry Direct text entry is also available (see “Text Entry” on page 32). Any notation values can be entered (fraction or decimal), and the values are automatically converted to the nearest appropriate setting.
However, when the plugin is set to a Chorus or Flanger mode, only the Rate is available for Tempo Sync. This enables the more typical and musical chorus/flange effect by only syncing the modulation Rate to the tempo while the delay time remains constant. In UAD Nigel (and the submodules within Nigel), there are several ModFilter modes that cannot be tempo-synchronized. Additionally, ModDelay does not sync to tempo when the LFO is set to one of the “Trem” types.
Multicard Use The UAD card that has the lowest resource usage will receive the next Powered Plug-In load. Note that an individual UAD plugin cannot be split across two (or more) UAD cards. For example, let’s say you have two UAD cards installed, the UAD Meter displays 90%, you load another UAD plugin that requires 6% CPU, yet you get a “plugin unable to load” message.
Optional Plug-Ins Overview The UAD Powered Plug-Ins software installation bundles always includes every component that is part of the current software version, such as drivers, plugins, UAD Meter application, and documentation. Version 4.9 includes 23 optional copy-protected plugins that can be authorized for an additional fee.
Process To purchase a plugin, you must have an account on our secure web server at my.uaudio.com (your account ID is your email address). You enter your information, including UAD hardware identification number(s), into your account. Plugins can then be securely purchased with a valid credit card or personal check. After payment is received, a “.uad” settings file containing the authorization key(s) can then be downloaded directly from your personalized account pages at my.uaudio.com.
Important: The optional plugins are contained within the UAD software installer, not the .uad key file. Download and install the latest UAD software version to ensure the optional plugins that you are authorizing are installed. Mac OS In Mac OS X, once a card is authorized and it is used with a different System or CPU, you can copy the com.uaudio.uad.plist file (inside Library:Preferences) into the current Library:Preferences instead of loading the .uad file.
Authorizations Window The Authorizations window (Figure 17, Figure 18) is accessed from within the UAD Meter application. Figure 17.
On Windows systems, access the Authorizations window from the System Menu or alternate system menu. On Mac OS, use the File Menu. See “Accessing Meter Functions” on page 37” for specific instructions. Hardware IDs This section of the window is where the unique hardware identification numbers of all installed cards are displayed. These ID numbers are required to obtain the authorization key. The Copy button can be used to copy the hardware ID text to the operating system clipboard.
Demo Mode If demo mode has never been activated and a copy-protected plugin is started, the message “Close the program and run the UAD Meter to start the timed demo” appears. If you click Cancel, the plugin interface appears and can be manipulated but audio is not processed by the plugin. Once the demo mode is activated, the plugin will run without functional limitations for 14 days. Demo mode can only be activated one time.
Plug-In Authorization Procedure This section details how to acquire and load the plugin authorization file. Please read the overview (page 71) before proceeding with authorization. Note: It is the UAD hardware that is authorized, not the plugin file. Important: The .uad settings file contains the authorization key for the specific UAD card. It is required every time the card needs to be authorized, such as if it is installed into a different computer or OS.
Authorization Procedure (Mac OS) To authorize a UAD card to run a copy protected plugin under Mac OS: 1. Ensure UAD Powered Plug-Ins version 4.0 or higher is already installed and configured properly (see “Installation” on page 30). 2. Quit all open VST, RTAS, and Audio Units host applications, then launch the UAD Meter application (page 37). 3. When the UAD Meter is in the foreground, select “Authorizations...” from the File Menu (page 38). The Authorizations window appears. 4.
CHAPTER 4 RealVerb Pro Overview RealVerb Pro uses complex spatial and spectral reverberation technology to accurately model an acoustic space. What that gets you is a great sounding reverb with the ability to customize a virtual room and pan within the stereo spectrum. Room Shape and Material RealVerb Pro provides two graphic menus each with preset Room Shapes and Materials. You blend the shapes and material composition and adjust the room size according to the demands of your mix.
RealVerb Pro Background Pan Direct Path Source Input Wet/Dry Mix EQ Early Reflections Delay Gain & Mute Pans & Distance Gain Output LateField Reverb Delay Figure 19. RealVerb Pro signal flow Figure 19 illustrates the signal flow for RealVerb Pro. The input signal is equalized and applied to the early reflection generator and the late-field reverberation unit. The resulting direct path, early reflection, and late-field reverberation are then independently positioned in the soundfield. Figure 20.
The RealVerb Pro user interface is similarly organized (see Figure 20). Reflected energy equalization is controlled with the Resonance panel. The pattern of early reflections (their relative timing and amplitudes) is determined by the room shapes and sizes in the Shape panel; early reflection predelay and overall energy is specified at the top of the Timing panel. The Material panel is used to select relative late-field decay rates as a function of frequency.
To configure the room shape and size: 1. Select a room shape from the first (left) pop-up menu. The selected shape appears in the left side of the Shape circle. Adjust the room size with the top horizontal slider. 2. Select a room shape from the second (right) pop-up menu. The selected shape appears in the right side of the Shape circle. Adjust the room size with the bottom horizontal slider. 3. Blend the early reflection patterns of the two rooms by dragging the Blending bar.
Second material First material Blending bar First material selector popup menu Second material selector pop-up menu First material Thickness control Second material Thickness control Figure 22. RealVerb Pro Material panel Note: While materials are used to control decay rates as a function of frequency, the overall decay rate of the late-field reverberation is controlled from the Timing panel (see Figure 24 on page 88). To configure the room material and thickness: 1.
4. Blend the absorption properties of the two materials by dragging the Blend- ing bar. The relative amount of each material, expressed as a percentage, appears above their respective pop-up menu. Drag the Blending bar to the right to emphasize the first material, and drag it to the left to emphasize the second material. To use only one room material, drag the Blending bar so the material is set to 100%.
tion frequency, the frequency at which the decay rate is halfway between the low-frequency and high-frequency values. At 100% thickness, the ratio of lowfrequency to high-frequency decay times is 10:1. This means that the high frequencies will decay 10 times faster than the low frequencies. At 200% thickness, this is multiplied by two (high frequencies decay at 20x the rate of the low frequencies).
Resonance (Equalization) The Resonance panel has a three-band parametric equalizer that can control the overall frequency response of the reverb, affecting its perceived brilliance and warmth. By adjusting its Amplitude and Band-edge controls, the equalizer can be configured as shelf or parametric EQs, as well as hybrids between the two. Amplitude control, third band Amplitude controls, first and second bands Band Edge control, second band Band Edge control, third band Figure 23.
3. Adjust the Band-edge controls for the second and third bands so they are adjacent to each other. To raise the frequency for the high-shelf, drag to the right with the Band-edge control for the second band. To lower the frequency for the high-shelf, drag to the left with the Band-edge control for the third band. 4. To attenuate the frequencies above the shelf frequency, drag the Amplitude controls for the first and second bands up or down.
Early Reflections display Amplitude control Predelay control Late-Field Reverberations display Amplitude Control Predelay control Decay Time control Diffusion control Figure 24. RealVerb Pro Timing panel To adjust the timing of the early reflections: 1. Drag the Amplitude control for the early reflections up or down (from –80 dB to 0 db) to affect the energy of the reflections. The Amplitude value is indicated in the text field at the bottom of the Timing panel. 2.
3. Drag the Decay Time control for the late-field reverberations left or right (from 0.10–96.00 seconds) to affect the length of the reverb tail. The Decay Time is indicated in the text field at the bottom of the Timing panel. 4. To affect how quickly the late-field reverberations become more dense, adjust the Diffusion control at the right of Late Reflection display in the Timing panel. The higher the Diffusion value (near the top of the display), the more rapidly a dense reverb tail evolves.
Set the positioning for the early reflection or late-field reverberation with any of the following methods: 1. Drag the left and right slider handles to adjust the stereo width. The length of the blue slider is adjusted. For a full stereo signal, drag the left handle all the way to left, and right handle all the way to the right. 2. Drag the blue center of the slider left or right to set the positioning of the sig- nal. If you drag all the way to the left or right, the stereo width is adjusted.
Levels The Levels panel lets you adjust the Input Gain and Output Gain for RealVerb Pro. These levels are adjusted by dragging the sliders to the desired values. You can mute the input signal by clicking the Mute button. Figure 26. RealVerb Pro Levels panel Morphing All RealVerb Pro controls vary continuously using proprietary technology to smoothly transition between selected values. This capability enables RealVerb Pro to morph among presets by transitioning between their parameter sets.
When in Morphing mode, non user-adjustable controls will change their ap pearance and will no longer be accessible. When inserted on a Send effect, the ‘W’ button automatically turns on (to keep the mix at 100% wet). On an insert effect, the Mix will change back and forth between the two mix values of each preset. Figure 28.
RealVerb Pro Preset Management Factory Presets In the preset menu there are thirty factory presets that can be changed by the user. Any modification to a preset will be saved even if you change presets. If you want to return all the presets to their default settings, select “Reset all to Defaults” at the bottom of the presets menu. Edits to any and all presets in the list are maintained separately within each instance of a plugin in a session.
CHAPTER 5 DreamVerb Overview DreamVerb™, Universal Audio’s flagship stereo reverb plug-in, draws on the unparalleled flexibility of RealVerb Pro. Its intuitive and powerful interface lets you create a room from a huge list of different materials and room shapes. These acoustic spaces can be customized further by blending the different room shapes and surfaces with one another, while the density of the air can be changed to simulate different ambient situations.
Screenshot Figure 29. The DreamVerb plugin window Signal Flow Figure 30 illustrates the signal flow for DreamVerb. The input signal is equalized then delay lines are applied to the early reflection and late field generators. The resulting direct path, early reflection, and late-field reverberation are then independently positioned in the soundfield. Pan Direct Path Source Input Wet/Dry Mix EQ Delay Early Reflections Gain & Mute Pans & Distance Delay Gain Output LateField Reverb Figure 30.
The DreamVerb user interface (Figure 29 on page 95) is similarly organized. Reflected energy equalization is controlled with the Resonance panel. The pattern of early reflections (their relative timing and amplitudes) is determined by the room shapes in the Shape panel (Figure 33 on page 98). Early reflection pre-delay, slope, timing, and amplitude are specified in the Reflections panel (Figure 35 on page 103).
Band Amplitude control bats Bypass switch Band 1 (low shelving) control Band 2, 3, and 4 Edge control bats Band 5 (high shelving) control Figure 31. DreamVerb Resonance panel Bypass The equalizer can be disabled with this switch. When the switch is off (black instead of grey), the other resonance controls have no effect. This switch has no effect on the direct signal path. Band Amplitude Each of the five bands has its own amplitude (gain) control. The amplitude range of each band is -30dB to +20dB.
Shelving The simplest (and often most practical) use of the equalizer is for low and/or high frequency shelving. This is achieved by dragging the left-most or rightmost horizontal line (the ones without control bats) up or down, which boosts or cuts the energy at these frequencies. Drag these control handles up or down for shelving EQ. Figure 32.
DreamVerb lets you specify two room shapes that can be blended to create a hybrid of early reflection patterns. The first and second shape each have their own menu. The available shapes are the same for each of the two shape menus. Shape Menus The first shape is displayed in the upper area of the Shape panel, and the second shape is displayed in the lower area. To select a first or second shape, click its shape pop-up selector menu to view the available shapes, then drag to the desired shape and release.
Materials Panel The parameters in the Materials panel, in conjunction with the Shape panel (Figure 33 on page 98) and Reverberation panel (Figure 36 on page 104) effect the spatial characteristics of the reverb. The material composition of an acoustical space effects how different frequency components decay over time. Materials are characterized by their absorption rates as a function of frequency—the more the material absorbs a certain frequency, the faster that frequency decays.
Materials Menus DreamVerb lets you specify two room materials, which can be blended to create a hybrid of absorption and reflection properties. The first and second room material each has its own menu. The available materials are the same for each of the two materials menus. The first material is displayed in the lower left area of the Materials panel, and the second material is displayed in the lower right area.
Materials Blending Bars The Materials Blending Bars (see Figure 34 on page 100) are used to blend the three materials together at any ratio. The materials are not just mixed together with the bars; the reverberation algorithm itself is modified by blending. Materials Blending Blend the two materials by dragging the vertical Blending Bar horizontally. Drag the bar to the right to emphasize the first material; drag to the left to emphasize the second material.
ER End control bat (time & amplitude) Bypass switch Materials Filtering control bat ER Start control bat (predelay & amplitude) Late-field relative timing display Figure 35. DreamVerb Reflections panel Bypass The early reflections can be disabled with this switch. When the switch is off (black instead of grey), the other Reflections controls have no effect. This switch has no effect on the direct signal path. Reflections Start This bat controls two early reflections start parameters.
Late-Field Relative Timing To highlight the relative timing relationship between the early reflections and late-field reverberation components, the shape and timing of the late-field is represented as an outline in the Reflections panel. The shape of this outline is modified by parameters in the Reverberations panel, not the Reflections panel. Reverberation Panel The Reverberation panel (Figure 36) contains the parameters that control the late-field (LF) reverb tail for DreamVerb.
Late-Field Start This parameter defines when the late-field reverb tail begins (the delay between the dry signal and the onset of the LF) in relation to the dry signal. Amplitude & Slope This bat controls two late-field parameters. Dragging the bat vertically controls the maximum amplitude of the LF reverb energy. Dragging it horizontally controls the LF slope (fade-in) time. Decay Time This control effects the length of the reverb tail.
Figure 37. DreamVerb Positioning panel Direct These two sliders control the panning of the dry signal. The upper Direct slider controls the left audio channel, and the lower Direct slider controls the right audio channel. A value of <100 pans the signal hard left; a value of 100> pans the signal hard right. A value of <0> places the signal in the center of the stereo field. Note: If the DreamVerb “Mix” parameter (page 107) is set to 100% wet or the Wet button is active, these sliders have no effect.
Distance DreamVerb allows you to control the distance of the perceived source with this slider. In reverberant environments, sounds originating close to the listener have a different mix of direct and reflected energy than those originating further from the listener. Larger percentages yield a source that is farther away from the listener. A value of 0% places the source as close as possible to the listener.
Mute This switch mutes the signal at the input to DreamVerb. This allows the reverb tail to play out after mute is applied, which is helpful for auditioning the sound of the reverb. Mute is on when the button is gray and off when the button is black. Mix The wet and dry mix of DreamVerb is controlled with this slider. The two buttons above this slider labeled “D” and “W” represent Dry and Wet; clicking either will create a 100% dry or 100% wet mix.
PC On Windows systems, the default preset location is inside the Presets directory, which is created within the directory selected during software installation. For example, if the default location was specified when running the UAD Powered Plug-Ins Installer, the location would be: C:\Program Files\Universal Audio\Powered Plugins\Presets This default location can be changed during installation; the new location will be remembered as the default.
Pre-Delay Intimacy and remoteness are largely controlled by the pre-delays. Generally speaking, use shorter pre-delays for more intimate spaces. Clear spaces have most of their energy in the first eighty milliseconds or so; muddy spaces have a lot of late arriving energy. Space In some sense, Shape determines the spatial characteristics of the reverberator, whereas Materials effects the spectral characteristics. Preset Design Tips Here are some practical tips for creating useful reverbs with DreamVerb.
• The EQ is often most useful for a simple Lf or Hf roll-off/boost, or to notch out bothersome frequencies for particular sources. For full mix ambience/mastering presets, use the EQ to cut most of all LF input, which yields added ambience without mucking up the mix. This is a powerful EQ, so experiment! • Try different diffusion settings for your preset (the slider on the right of the Reverberation panel). Diffusion radically alters the reverberation sound and is source dependent.
CHAPTER 6 Plate 140 Overview Universal Audio “steps up to the plate”, rendering yet another classic tool for the DAW that no mixer should be without: Introducing the Plate 140 Plug-In. German company EMT made a breakthrough in 1957 with the release of the EMT 140, which utilized a resonating metal plate to create ambience. Nothing is quite like the wonderfully smooth sound of plate reverb that still endures as part of the fabric of modern music.
Plate 140 Controls The Plate 140 interface is an amalgam of controls found at the plate amplifier itself and the remote damper controls, plus a few DAW-friendly controls that we added for your convenience. The GUI incorporates the original look and feel of those controls, and utilizes that look for the DAW-only controls. Note: When adjusting parameters, keyboard shortcuts are available for fine, coarse, and other control methods. See “Shortcuts” on page 33.
The Reverb Time Meters display the reverb time of plates A, B, and C in seconds. The meter for the active plate model (as specified by the Plate Select switch) is illuminated. Reverb Time Meters The meter value can be changed by dragging its “needle” in addition to its corresponding Damper controls. Note: The Damper Controls change the reverb time for each plate. The range is from 0.5 to 5.5 seconds, in intervals of 0.1 sec.
Low Frequency Knob This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low band Gain setting. The range is 20Hz to 2kHz. Because this is a shelving EQ, all frequencies below this setting will be affected by the low band Gain value. Low Gain Knob This parameter determines the amount by which the transition frequency setting for the low band is boosted or attenuated. The available range is ±12dB, in increments of 0.5dB (fine control) or 1.
The Mix control determines the balance between the original and the processed signal. The range is from Dry (0%, unprocessed) to Wet (100%, processed signal only). Mix Knob This control uses a logarithmic scale to provide increased resolution when selecting lower values. When the knob is in the 12 o’clock position, the value is 15%. Note: If Wet Solo is active, adjusting this knob will have no affect. The Wet Solo button puts Plate 140 into “100% Wet” mode.
Hidden Controls Several controls exist that are not available within the Graphical User Interface. They can only be viewed or modified in automation mode or “controls” mode. Figure 40. Plate 140 in Controls mode Note: Accessing Not all host applications support automation and/or controls mode. Each host application has its own particular operating methods. Consult the host application documentation for specific instructions on accessing automation parameters and controls mode.
Cut Filter The Cut Filter is an equalizer that is used to reduce low frequency content in the reverb. On hardware plate systems, the cut filter setting is rarely modified because it is found at the plate amplifier unit itself and is not easily accessed from the control room. There is one Cut Filter per plugin instance. Each plate model (A, B, C) within a preset cannot have a unique Cut Filter value.
CHAPTER 7 LA-2A and 1176LN Overview The LA-2A and 1176LN compressor/limiters long ago achieved classic status. They're a given in almost any studio in the world - relied upon daily by engineers whose styles range from rock to rap, classical to country and everything in between. With so many newer products on the market to choose from, it's worth looking at the reasons why these classics remain a necessary part of any professional studio's outboard equipment collection.
Compressor Basics Before discussing the LA-2A and 1176LN plugins, this section will cover some compressor basics. A compressor automatically adjusts the gain of a signal by a predetermined ratio. In a sense, a compressor “rides” gain—much like a recording engineer does (by hand) with a fader—keeping the volume up during softer sections and bringing it down when the signal gets louder. Figure 41 depicts the input and output characteristics of a compressor and perfect amplifier.
The amount of compression, or gain reduction, typically expressed in decibels (dB), is defined as the amount by which the signal level is reduced by the compressor. Graphically, this can be represented (see Figure 42) by the difference in output levels between the original signal (without compression) and the compressed signal. The LA-2A and 1176LN display this value when their VU Meters are set to Gain Reduction.
Most modern compressors provide a control that adjusts the threshold directly. In the case of the LA-2A, the Peak Reduction control adjusts both the threshold and the amount of gain reduction. Similarly, the 1176LN uses its Input control to adjust the threshold and amount of gain reduction. Teletronix LA-2A Leveling Amplifier Background Audio professionals passionate about their compressors revere the LA-2A. The original was immediately acknowledged for its natural compression characteristics.
Input Input Transformer Voltage Amplifier Optical Attenuator Peak Reduction Cathode Follower Gain Negative Feedback Voltage Amplifier Electro Luminescent Driver PreEmphasis Output Transformer Output Stereo Interconnection Trim Figure 43. LA-2A signal flow LA-2A Controls Figure 44. The LA-2A plugin window. Limit/Compress Changes the characteristics of the compressor I/O curve. When set to Compress, the curve is more gentle, and presents a low compression ratio.
Peak Reduction Adjusts the amount of gain reduction, as well as the relative threshold. A Peak Reduction value of 0 yields no compression. Rotate this control 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 knob (in the upper right) sets the mode of the VU Meter.
1176LN Solid-State Limiting Amplifier The 1176LN is known for bringing out the presence and color of audio signals, adding brightness and clarity to vocals, and “bite” to drums and guitar. 1176LN Signal Flow A functional block diagram of the 1176LN Limiting Amplifier is provided in Figure 45. Signal limiting and compression is performed by the Gain Reduction section. Before the signal is applied to the Gain Reduction section, the audio signal is attenuated by the Input stage.
1176LN Controls Figure 46. The 1176LN plugin window Input Adjusts the amount of gain reduction as well as the relative threshold. An Input value of ∞ (turned fully counterclockwise) yields no compression (and no signal level). Rotate this control clockwise to increase the amount of compression. Output Adjusts the output level (by up to 45 dB). Make sure to adjust the Output control after the desired amount of compression is achieved with the Input and Attack controls.
All Buttons mode Just like the hardware version of the 1176LN, it is possible to depress all the Ratio buttons simultaneously, a well-known studio trick. In this mode, the ratio is around 12:1, and the release happens faster, and the shape of the release curve changes. With lower amounts of compression, the attack is delayed slightly, as there is a slight lag before the attack attenuated the signal. That attack value remains at whatever the value is on the Attack control.
1176SE “Special Edition” Figure 47. The 1176SE plugin window Overview The 1176SE is derived from the 1176LN. Its algorithm has been revised in order to provide sonic characteristics similar to the 1176LN but with significantly less DSP usage. It is provided to allow “1176LN-like sound” when DSP resources are limited. The 1176SE behavior is practically identical to the 1176LN.
CHAPTER 8 Fairchild 670 Overview In the annals of compressor history, the products produced by Fairchild are some of the best built and most highly prized on the vintage market. The most famous Fairchild products produced were the 660 and 670 compressor/limiters, which are famous for their fantastic sound quality.
Fairchild Screenshot Figure 48. The Fairchild plugin window 2 Compressors, 4 Modes There are two compressors within the Fairchild 670. They can be used as dual L/R, dual mono/stereo, or they can be linked together and used on either the L/R or mono/stereo signals. The mode in which the compressors operate is determined by the combination of the AGC switch and the Sidechain Link switch. See “Fairchild Modes” on page 132 for detailed mode information.
Controls Overview Most of the controls are associated with one or the other of the compressors, as opposed to being strictly associated with one channel of input/output (depends on active mode). These controls include Threshold, Time Constant, Bias Current Balance, and DC Bias. There are two sets of controls that always work on the left and right signals: input level and output level. In Lat/Vert mode, left is the mono input, and right is the stereo input.
Fairchild Modes Dual Left/Right In Dual L/R mode, the Fairchild operates as two monophonic compressors with completely independent controls for the left and right channels. There is no interaction between the left and right channels. Lateral – Vertical In Lat/Vert mode, the 670 acts on the lateral and vertical (the sum and difference) components of the two stereo channels.
Stereo, coupled mono/stereo This mode, like stereo couple left/right, causes the two compressors to be linked together so that they always compress the same amount. But here, the inputs to the two compressors are fed with the mono and stereo components of the signal. This means that in general a transient which occurs in both channels will cause a bit more compression than a transient which only appears on left or right.
Meter Select Switch This switch determines what is displayed on the VU meters. If GR is selected, the meter will show gain reduction in dB for the corresponding compressor channel (which is not necessarily left or right; depends on the active mode). If the AGC switch has been set to left/right, the GR shown will be for the left or right channel. If the AGC switch has been set to lat/vert, the GR shown will be for the mono or stereo channel. In GR mode, the upper labels show gain reduction in dB.
Time Constant This 6-position switch provides fixed and variable time constants (attack and release times) to accommodate various types of program material. Positions 1-4 provide successively slower behavior, and 5 and 6 provide program dependent response. The values published by Fairchild for each position are in Table 12 below. The actual measured times are a bit different, but the overall trend is the same. Table 12.
DC Bias DC Bias controls the ratio of compression as well as the knee width. As the knob is turned clockwise, the ratio gets lower and the knee gets broader. The threshold also gets lower as the knob is turned clockwise. The ‘factory cal’ tick mark should be aligned with the screw slot “dot” for factory specification. It would probably be more technically accurate to say that this control simply changes the knee width, since no matter where it’s set the ratio always approaches true limiting eventually.
CHAPTER 9 Precision Multiband Overview The Precision Multiband is a specialized mastering tool that provides five spectral bands of dynamic range control. Compression, expansion or gate can be chosen separately for each of the five bands. The unparalleled flexibility and easy to follow graphical design of the Precision Multiband make it the ideal tool for the novice as well as the seasoned mastering engineer. The Precision Multiband can be used for anything from complex dynamic control to simple de-essing.
Precision Multiband Interface The Precision Multiband interface is designed to make this complex processor easier to use. Five separate frequency bands are available for processing. Each band is identified by a unique color, and all controls specific to the band have the same color. This helps to visually associate parameters to the band that they affect.
Band Controls The Band Controls contain the parameters that are used to specify all the settings for each band (except the frequencies; see “Frequency Controls” on page 146). The Band Controls for each of the five bands are identical. Only one set of Band Controls is displayed at a time. The control set for any particular band is displayed by selecting the band (see “Band Select” on page 139). Band Select Selecting a band causes the controls for that band to be displayed in the Band Controls area.
EQ Display Selection A band can also be selected by clicking within the area of the band in the EQ Display. For example, clicking within the area shown here will select the LMF band. Band Parameters Because the Band Controls for each of the five bands are identical, they are only described once. All Button The ALL button provides a facility to link controls and copy parameter values to all bands when adjusting the current band. Each of the Band Controls has an ALL button.
Relative mode is not available for the Type parameter because the available Type values are discrete. Click and shift-click both activate Absolute mode for Type. Note: Absolute Link In Absolute mode, changes to a band control will force the same control in the other bands to snap to the same value as the current band. Shift-click the ALL button to enter Absolute mode; the button background changes to red.
COMPRESS When a band is set to Compress, the dynamic range of the band will be reduced (dependent upon the band threshold and input level). This is the typical value in multiband compression. EXPAND When a band is set to Expand, the dynamic range of the band will be increased (dependent upon the band threshold and input level). GATE When a band is set to Gate, the band behaves as a gate. A gate stops the signal from passing when the signal level drops below the specified threshold value.
Attack Attack sets the amount of time that must elapse once the input signal reaches the Threshold level before processing is applied. The faster the Attack, the more rapidly processing is applied to signals above the threshold. The available range is 50 microseconds to 100 milliseconds. Release Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level.
EQ Display In the EQ Display, the entire audio spectrum from 20Hz to 20KHz is displayed along the horizontal axis. Gain and attenuation of the five band frequencies (up to ±12dB) are displayed along the vertical axis. Figure 50. Precision Multiband EQ Display Band Curves The Band Curves show the relative frequency and gain settings of the bands. The sides of the colored curves are a representation of each band’s frequency settings, and the top of each curve represents the band’s gain setting.
Adjusting Gain The gain of a band can be adjusted by click-dragging the top of its colored line. In this case the cursor changes to an up/down arrow when hovered over the hot spot to indicate the direction available for dragging. Adjusting Gain and cF If the cursor is moved slightly lower than the above example, the gain and center frequency can be adjusted simultaneously, without adjusting the bandwidth.
Frequency Controls The crossover frequency (xF) between the bands and the center frequency (cF) of the Mid bands is shown at the bottom of the EQ Display (see “EQ Display” on page 144). The frequencies for each band can be modified by entering the values directly and by manipulating the colored band curves. Frequency Values All band frequency values are always displayed. Values can be input directly using text entry (see “Text Entry” on page 32).
Dynamics Meters Realtime display of Precision Multiband dynamics processing is shown in the Dynamics Meters. This area also contains the band enable and band solo controls. There is one vertical dynamics meter for each band. They are color coded to match the bands, and represent (from left to right) the LF, LMF, MF, HMF, and HF bands respectively. Dynamics processing for each band is indicated by light blue “LED-style” metering. Zero dB is at the center of the meter, and the range is ±15dB.
The band is soloed when its Solo button is red. Click the button to toggle the solo state of the band. Soloing bands does not reduce UAD CPU usage. When a band is in Solo mode, its curve in the EQ Display is highlighted. Solo Display In addition to the Solo buttons, you can also control-click a band in the EQ Display to put any band (or bands) into Solo mode. Note: Global Controls Input Level Meter The stereo peak/hold Input Meter displays the signal level at the input of the plugin.
Output Level Meter The stereo peak/hold Output Meter displays the signal level at the output of the plugin. Signal peaks are held for 3 seconds before resetting. Output Level Knob The Output Level knob controls the signal level that is output from the plugin. The default value is 0dB. The available range is ±20dB. EQ Display Switch The EQ Display mode can be static or dynamic. The EQ Display switch determines the active mode. Click the switch to toggle the mode.
Power Switch The Power Switch determines whether the plugin is active. Click the toggle button or the UA logo to change the state. When the Power switch is in the Off position, plugin processing is disabled and UAD DSP usage is reduced. When the plugin is bypassed with this switch (but not by the host bypass), the I/O meters and the Input Level knob remain active. Precision Multiband Latency The Precision Multiband requires a large processing buffer to perform its sonic wonders.
CHAPTER 10 Precision Limiter Overview The Universal Audio Precision Limiter™ is a single-band, look-ahead, brickwall limiter designed primarily for mastering with program material. The easyto-use Limiter achieves 100% attack within a 1.5ms look-ahead window, which prevents clipping and guarantees zero overshoot performance. Both the attack and release curves are optimized for mastering, which minimizes aliasing.
Precision Limiter Screenshot Figure 51. The Precision Limiter plugin window Controls Overview Control knobs for the Precision Limiter behave the same way as all UAD plugins. Input, Output, and Release values can be modified with text entry. See “Text Entry” on page 32 for more information. The Precision Limiter introduced a new control style for UAD plugins. For the Mode, Meter, Scale, and Clear parameters, click the parameter label, the value text, or the LED to toggle between available values.
Release The Release knob sets the value of the limiter release time. The default value is Auto. The available range is from 1 second to 0.01 milliseconds. Auto Mode When the Release knob is fully clockwise, Automatic mode is active. In Auto mode, release time is program-dependent. Isolated peaks will have a fast release time, while program material will have a slower release. Note: You can type “A” or “a” to enter Auto mode during text entry. Mode The Mode switch affects the attack shape of the limiter.
Sliding Meter Scale With the K-System, programs with different amounts of dynamic range and headroom can be produced by using a loudness meter with a sliding scale, because the moveable 0dB point is always tied to the same calibrated monitor SPL. The Precision Limiter provides several meter ranges for various types of program material (see “Type” on page 154).
K-20 K-20 mode displays 0dB at –20dB below full scale. K-20 is intended for material with very wide dynamic range, such as symphonic music and mixing for film for theatre. K-14 K-14 mode displays 0dB at –14dB below full scale. K-14 is intended for the vast majority of moderately-compressed material destined for home listening, such as rock, pop, and folk music. K-12 K-12 mode displays 0dB at –12dB below full scale. K-12 is recommended for material intended for broadcast.
Meter The Meter switch specifies the signal source for the main stereo meter, either input or output. Input When the Meter switch is in Input mode, the main level meters display the signal level at the input of the plugin (and is not affected by the Input knob). Output When the Meter switch is in Output mode, the main level meters display the level at the output of the plugin. When the Limiter is enabled, the Output and Input knobs will affect this display.
K-20 In Normal mode, the meter range is –40dB to 20dB with a linear response of 0.5dB per segment. In Zoom mode, the range is –8dB to 20dB with two different linear responses: 0.2dB per segment from –8 to 15dB, and 0.1dB per segment from 15dB to 20dB. K-14 In Normal mode, the meter range is –46dB to 14dB with a linear response of 0.5dB per segment. In Zoom mode, the range is –10dB to 14dB, with linear response of 0.2dB per segment.
CHAPTER 11 Precision Equalizer Overview The Universal Audio Precision Equalizer™ is a stereo or dual-mono four band EQ and high-pass filter designed primarily for mastering program material. The Precision Equalizer may also be used in recording and mixing where the utmost in EQ quality is required. The Precision Equalizer is based on industry standard analog mastering filters, and uses the classic parametric controls arrangement.
Precision Equalizer Controls The easy to use Precision Equalizer features stepped controls throughout for easy recall. Both the left and right channels feature four bands of EQ, grouped in two overlapping pairs. There are two bands for low frequencies (L1 and L2), and two for highs (H1 and H2). There is also a shelving or peak/notch filter available for each band, along with five peak/notch (Q) responses per band.
Dual Mode In Dual mode (dual-mono mode), the left and right parameters can be independently adjusted so that each side of the stereo signal can have different EQ settings. Note that this mode is infrequently used during mastering because phase, imaging, and level inconsistencies may be induced in the resulting stereo signal.
The Power Switch determines whether the plugin is active. This is useful for comparing the processed settings to that of the original signal, or to bypass the plugin to reduce the UAD DSP load. Power Switch Click the rocker switch to change the Power state. Alternately, you can click the blue UA logo to toggle the Power state. Band Controls Each control set (L and R) has four EQ bands.
Frequency Knob The Frequency knob determines the center frequency of the filter band to be boosted or attenuated by the band Gain setting. This knob is stepped with 41 values for easy reproducibility during mastering. To double the resolution of the available knob values (for fine control), press the shift key on the computer keyboard while adjusting the knob.
Precision Equalizer Latency The Precision Equalizer uses an internal sample rate of 192kHz to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plugins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating for Precision Equalizer, Helios 69, Neve 1073, and Neve 1081” on page 57 for more information.
CHAPTER 12 Cambridge EQ Overview The UAD Cambridge EQ plugin is a mastering-quality, no-compromise equalizer that enables powerful tonal shaping of any audio source. Its algorithm was modeled from various high-end analog filters, providing a sonically rich foundation for timbral manipulation. Special attention was given to the handling of higher frequencies, resulting in a much smoother and more satisfying high-end response than is found in most digital filters.
Cambridge EQ Controls Each feature of the Cambridge EQ interface is detailed below. Response Curve Display The Response Curve Display plots the frequency response of the current Cambridge EQ settings. It provides instant visual feedback of how audio is being processed by the equalizer. Figure 56. Cambridge EQ Response Curve display The entire audio spectrum from 20Hz to 20KHz is displayed along the horizontal axis.
Zoom Buttons The vertical scale of the Curve Display can be increased or reduced with the Zoom buttons. This function allows the resolution of the Curve Display to be changed for enhanced visual feedback when very small or very large amounts of boost or cut are applied. Four vertical ranges can be selected with the Zoom buttons: +/- 5, 10, 20, and 40dB. Figure 57.
Master Level Knob This control adjusts the signal output level of Cambridge EQ. This may be necessary if the signal is dramatically boosted or reduced by the EQ settings. The available range is +/- 20dB. A/B Selector Button The A/B Selector switches between two separate sets of Cambridge EQ plugin values. This feature enables easy switching between two completely independent EQ curves which can be useful for comparison purposes or for automating radical timbre changes.
Low Cut / High Cut Filters The Low Cut and High Cut filters are offered in addition to the five parametric/shelf bands. A wide range of filter types is provided to facilitate tonal creativity. Many filters that are available are represented. Three controls are offered: Cut Type, Enable, and Frequency. Each control is detailed below. The Cut Type menu determines the sound of the low and high cut filters. To view the Cut Type menu, click and hold the green cut type button.
EQ Bands All five of the EQ bands can be used in parametric or shelf mode. Each band has identical controls, the only difference is the frequency range values. The function of the controls is similar in both parametric and shelf modes. The two modes are described separately (see “Parametric EQ” on page 170 and “Shelf EQ” on page 173). Figure 59. The EQ Band controls Enable Button Each band can be individually engaged with the Enable button. The button is green when the band is enabled.
Gain Knob This parameter determines the amount by which the frequency setting for the band is boosted or attenuated. The available range is ±20 dB. Q (Bandwidth) Knob The behavior of the Q parameter varies depending on the band mode and the gain. For this reason Q is detailed separately in the parametric and shelf mode sections (see “Parametric Q” on page 170 and “Shelf Q” on page 173). Parametric EQ A band is in parametric mode when shelf mode is disabled (see “Shelf Enable Button” on page 173).
Type I When set to Type I, the bandwidth remains at a fixed Q regardless of the gain setting for the band; there is no Q/Gain interdependency. In addition, there is a finer resolution of the Q knob in the middle of its range. This makes it easier to achieve subtle bandwidth changes. Note that the Q value and knob positions do not change as the gain is modified. See Figure 60. Figure 60. Parametric Type I response Type II When set to Type II, there is a Q/Gain dependency on boost.
Type III When set to Type III, there is a Q/Gain dependency on boost and attenuation. The bandwidth increases continuously as the gain is boosted and attenuated. The Q knob position determines the maximum Q at full gain. Filter bandwidth is broader at lower gain settings and narrower at higher gain settings. This can produce a smoother, more natural response when adjusting filter gain.
Shelf EQ Each band can be switched from parametric mode to shelf mode by clicking the shelf enable button. The button is off by default. To enable shelving on any band, click the shelf button. Shelf Enable Button The button is green when shelving is enabled. Additionally, the control bat associated with the band has a horizontal shelf indicator line in the response curve display (see Figure 64 on page 174) when shelf mode is active.
Figure 63. Shelf Type A Shelf Mode Indicator Line Figure 64. Shelf Type B Figure 65.
CHAPTER 13 Pultec and Pultec-Pro Overview The Pultec EQP-1A Program Equalizer and Pultec MEQ-5 plugins are faithful electronic reproductions of the classic hardware equalizers. Our DSP wizards have ensured that every revered sonic nuance of these vintage processors are faithfully maintained. UAD Pultec and UAD Pultec-Pro The UAD Pultec plugin is the EQP-1A Program Equalizer that was introduced in version 2.2 to much acclaim. UAD Pultec-Pro was introduced in version 3.
Pultec Latency The Pultec and Pultec-Pro plugins introduce an additional 13 samples of delay due to upsampling when the session sample rate is below 100kHz. This additional latency does not occur at sample rates above 100kHz. You may enter a value of 13 in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating for Pultec and Pultec-Pro” on page 55 for more information.
Figure 67. Control grouping within the Pultec EQP-1A In/Out Toggle Switch This is a signal bypass control. It allows you to compare the processed and unprocessed signal. It does NOT reduce UAD DSP load. In the hardware EQP-1A, the audio is still slightly colored even when the switch is in the Out position. This is due to the fact that the signal is still passing through its circuitry.
Note: In the documentation supplied with hardware version of the EQP-1A, it is recommended that both Boost and Attenuation not be applied simultaneously because in theory, they would cancel each other out. In actual use however, the Boost control has slightly higher gain than the Attenuation has cut, and the frequencies they affect are slightly different too. The EQ curve that results when boost and attenuation are simultaneously applied to the low shelf is an additional feature.
Pultec MEQ-5 Screenshot Figure 68. The Pultec-Pro MEQ-5 Midrange Equalizer plugin window Pultec MEQ-5 Controls The MEQ-5 can control three frequency ranges simultaneously, using three groups of interacting parameters. The first group controls the low -mid frequencies and has two controls: frequency select and boost. The second group controls the mid frequencies and has two controls: frequency select and attenuation. The third group controls high-mids and has two controls: frequency select and boost.
In the hardware MEQ-5, the audio is still slightly colored even when the switch is in the Out position and the peak/dip controls are at zero. This is due to the fact that the signal is still passing through its circuitry. Because the plugin emulates the hardware in every regard, the signal will be slightly processed when this switch is in the In position and the peak/dip controls are at zero. If a true bypass is desired, use the host disable switch.
Low Peak Response Figure 70.
Dip Response Figure 71.
High Peak Response Figure 72.
CHAPTER 14 Nigel Introducing Nigel Nigel offers the latest generation of guitar processing technology integrated into a complete multi-effects plugin solution. Utilizing Universal Audio’s exclusive component modeling technology, along with some very creative digital design, Nigel delivers a complete palette of guitar tones along with most every effect a guitar player might need, all with minimal latency and no load on your host computer’s CPU.
Nigel Screenshot Figure 73. The Nigel plugin window Nigel Modules Nigel is comprised of eight modules: Gate/Compressor, Phasor, Mod Filter, Preflex, Cabinet, Trem/Fade, Mod Delay, and Echo. In order to conserve UAD DSP resources when all of the modules are not required simultaneously, some of the Nigel components are also supplied as separate plugins.
Preflex Plugin Preflex is the heart of Nigel. All of our plug-ins sound amazing but when it comes to guitar, Preflex really shines. This exciting new guitar processing technology offers truly dynamic sonic possibilities Multiple equalizers, amp types, and cabinets use sophisticated algorithms to provide analog sound quality never before available in a digital environment.
Gate/Comp Module Figure 75. The Gate/Comp module The Gate is the first sub-module in the Preflex signal chain. Its output is passed to the input of the Compressor. The compressor output is then passed to the input of the Amp module within Preflex. A gate stops the input signal from passing when the signal level drops below a specified threshold value.
Gate Fast Button The Fast control reduces the release time of the gate. It has no effect on the attack time. When enabled, the gate will release quickly. On signals that slowly decay and/or have a wide dynamic range, a smoother (less choppy) sound may be obtained with Fast mode turned off. Fast mode is engaged when the button indicator is bright red. The time values are 50ms when engaged and 170ms when off. Gate Threshold Knob Sets the threshold level for the gate.
Compressor Attack Menu Sets the amount of time that must elapse, once the input signal reaches the Threshold level, before compression will occur. The faster the Attack, the more rapidly compression is applied to signals above the Threshold. Three Attack values are available: Slow (50ms), Medium (8ms), and Fast (400μs). Compressor Release Menu Sets the amount of time it takes for compression to cease once the input signal drops below the Threshold level.
Amp Module The Preflex Amp is where Nigel’s real magic happens. Behind its deceptively simple user interface is “rocket science” in action. The input to the Amp module is received from the Compressor output. The Amp output is passed to the input of the Cabinet module. Figure 76. The Amp module within Preflex Amp Type and Variable Knob Functions The function of the amp knobs vary depending on the amp type. When an amp type is selected, Preflex is internally reconfigured.
Knob Values Are Offsets Knob settings do not change to new values when an amp type is selected. This is because knob values are not absolute. Instead, they are an offset to the factory programmed amp type value. For example, if Post-Lo EQ displays a value of 3.0, then 3dB is added to the amp type internal (preset) value. Of course, knob settings do change when user settings are loaded.
Pre-EQ Mid Knob Modifies the middle frequency response of the signal before the Amp. The frequency that this knob controls is determined by the Color knob (see Color knob description for more details). Pre-EQ Hi Knob Modifies the high frequency response of the signal before the Amp. This knob behaves differently than the Lo and Mid knob. Rather than boosting or cutting the gain of a certain frequency, the Hi knob increases the amplifier's sensitivity to high frequencies.
Bright Button Increases the brightness of the Amp model. Bright is on when the button glows bright red. Amp On/Off Button Enables or disables the Amp module within Preflex. The Amp is engaged when the button indicator is bright red. You can use this switch to compare the Amp settings to that of the original signal or bypass the entire Amp section to reduce UAD DSP load.
Amp-A Type Menu Determines the amp type for the “A” section of the Amp. Selecting an Amp Type reconfigures the amplifier characteristics and the function of the other Amp parameters. Amp-B Type Menu Determines the amp type for the “B” section of the Amp. Selecting an Amp Type reconfigures the amplifier characteristics and the function of the other Amp parameters. Amp Morph Slider The Morph control is used to smoothly transform one amp type into another, creating new sounds never before possible.
For the following descriptions of the Cabinet models and other references that you may find throughout this manual, please be aware that Celestion, Greenback, Oxford Blue, Marshall, Fender, Line 6, Pod, SansAmp, Shure, ADA, Utah and any other manufacturer, model name, description, and designations are all trademarks of their respective owners, which are in no way associated or affiliated with Universal Audio.
Cabinet On/Off Button Enables or disables the Cabinet module within Preflex. The Cabinet is engaged when the button indicator is bright red. You can use this switch to compare the Cabinet settings to that of the original signal or bypass the entire Cabinet section to reduce UAD DSP load. Output Level Meter This LED-style VU meter displays the level of the signal at the output of the Cabinet. Just before the red ‘LED’ is illuminated, the signal is at 0dB.
Sweep Lo Knob Sets the lowest frequency of the Phasor. The available range is from 50Hz to 6000Hz. Because the Sweep Lo frequency cannot be set higher than the Sweep Hi frequency, if the Lo value is increased beyond the Hi value the Hi value will increase to match the Lo value. Sweep Hi Knob Sets the highest frequency of the Phasor. The available range is from 50Hz to 6000Hz.
LFO Type Menu Determines the LFO (low frequency oscillator) waveshape and phase used to modulate the signal. The waveshape can be set to triangle or sine, each with varying duty cycles and phases. Table 20. Phasor LFO Types and Descriptions Sin Pure sine wave. Sin 2 Modified sine wave that stays high longer. Sin 3 Modified sine wave that stays low longer. Square Square wave. Square 2 Modified square wave that stays high longer. Square 3 Modified square wave that stays low longer.
Mod Filter Module The Mod Filter is an advanced filter plug-in that is capable of fixed-wah, autowah, envelope follower, sample/hold-driven filter, and other modulated filter effects. It has been modeled after the Mutron III and other popular filters. The filter cutoff frequency can be controlled by the signal level at the input to the module or a low frequency oscillator (LFO). This realtime dynamic response is what gives the Mod Filter its unique sound. Figure 79.
Sens/Rate/ Wah Knob The function and label of the first knob in the Mod Filter is determined by the Mod Type setting (see Figure 79 on page 199). When the Mod Type is an envelope, the label changes to “Sens” and determines the gain sensitivity of the Mod Filter. When the Mod Type is an LFO, the label changes to “Rate” and determines the rate of the LFO. When the Mod Type is set to Wah, the label changes to “Wah” and adjusts the wah pedal position.
Sweep Hi Knob Sets the highest frequency to be affected by the Mod Filter. The available range is from 50Hz to 4000Hz. Because the Sweep Hi frequency cannot be set lower than the Sweep Lo frequency, if the Hi value is decreased below the Lo value the Lo value will decrease to match the Hi value. Resonance (Res) Knob Sets the amount of filter intensity for the Mod Filter. A higher value will deliver a sharper, more pronounced effect. Output Knob Adjusts the signal output level of the Mod Filter.
Wah Pedal Mode Similar to Wah mode, in Wah Pedal mode the filter cutoff frequency is varied according to the Wah knob setting. However, when the knob reaches its maximum value the effect is bypassed until the knob reaches is maximum value again at which time the effect is re-engaged. Wah Pedal mode is ideally suited to emulating a real Wah pedal by using a MIDI foot pedal controller. Mod Menu Table Table 21. Mod Filter: Mod Types and Descriptions Filter Type Menu Sin LFO mode with Sine waveshape.
TremModEcho Plugin The TremModEcho is loaded as one plugin but consists of three modules: Trem/Fade, Mod Delay, and Echo (Figure 80). Each of the module controls is described in the following pages. Figure 80.
Trem/Fade Module Figure 81. The Trem/Fade module Trem/Fade is a sophisticated envelope-controlled modulation processor that can produce classic tremolo, fade, and other gain modulation effects. Tremolo is achieved by modulating the amplitude (volume) of a signal with a low frequency oscillator (LFO). Trem/Fade includes some new modes such as Shimmer and VariTrem that enable the production of new volume effects. Sync Button This button puts the plugin into Tempo Sync mode.
Fade In Knob Determines the signal fade in time. Fade In is typically used to create automatic volume swells. The range is from None to 4000 milliseconds. When set to None, there is no fade in and only the Tremolo effect is active. Onset Knob Determines the time for the Tremolo effect to reach the specified depth. Onset behaves as an intensity ramp for the Tremolo effect. The range is from None to 4000 milliseconds.
Tremolo Mode When Tremolo mode is selected, the Fade In and Onset controls are set to zero and the Trem/Fade module behaves as a ‘normal’ tremolo effect. However, the Fade In and Onset controls are still active and can be adjusted as desired. Two Tremolo modes are available. Each has different settings but the controls behave exactly the same in both modes. If the Depth value is zero and/or the Threshold value is set too high in Tremolo mode, you will not hear the tremolo effect.
Mod Delay Module Figure 82. The Mod Delay module The label and function of the second two knobs depend upon the Mode menu selection. The Mod Delay is a short digital delay line that includes a low frequency oscillator. The Mod Delay produces lush chorus, flange, and vibrato effects. Because the Trem/Fade amplitude processor can be used to control the Mod Delay, sophisticated envelope-controlled flange, chorus, and vibrato modulations can be achieved.
If the LFO Type menu is set to one of the Trem modes, the Rate is linked to the Trem/Fade module rate. In this scenario the Rate knob value changes to “Trem”, adjusting the Mod Delay Rate will have no effect, and the modulation rate is determined by the Trem/Fade module settings (even if the Trem/Fade module is disabled with the On/Off button). Depth & Time/ Sweep Knobs The function and label of the second and third controls in the Mod Delay module are determined by the Mode pull-down menu.
Time Knob Sets the modulation delay time. The available range is from 0 to 125 milliseconds. In Vibrato mode, this setting will appear to have no effect if the Recirculation value is zero because the signal is “100% wet” in Vibrato mode. Note: Recirculation (Recir) Knob The Time knob is only visible in Chorus and Vibrato modes. Sets the amount of processed signal fed back into its input. Higher values increase the intensity of the processed signal. Recirculation allows both positive and negative values.
Mod Delay LFO Type Table Mode Menu Table 23. Mod Delay LFO Types and Descriptions Sin 0 In-phase sine wave Sin 90 Sine wave 90 degrees out of phase Sin 180 Sine wave 180 degrees out of phase Tri 0 In-phase triangle wave Tri 90 Sine wave 90 degrees out of phase Tri 180 Sine wave 180 degrees out of phase Trem Up The Trem/Fade module is used as the LFO source. On a stereo signal, both channels ascend in pitch in synchronization with the Trem/Fade amplitude ramp.
Echo Module Figure 83. The Echo module The Echo module is a delay line used primarily for longer echo effects. When very short delay times or modulation are desired, use the Mod Delay instead. When VERY long delay times are desired, use the UAD DM-L plugin which has up to 2400 milliseconds available delay per stereo channel. Sync Button This button puts the plugin into Tempo Sync mode. See “Tempo Sync” on page 65 for more information.
Damping Knob This low pass filter reduces the amount of high frequencies in the processed signal. Higher values yield a brighter signal. Turn down this control for a darker sound. Damping also mimics air absorption, or high frequency rolloff inherent in tape-based delay systems. Mix Knob This control determines the balance between the delayed and original signal. Values greater than 50% emphasize the wet signal, and values less than 50% emphasize the dry signal.
CHAPTER 15 CS-1 Channel Strip Overview The CS-1 Channel Strip provides the EX-1 Equalizer and Compressor, DM-1 Delay Modulator, and RS-1 Reflection Engine combined into one plugin. Individual effects in the CS-1 Channel Strip can be bypassed when not in use to preserve UAD CPU use. The CS-1 effects can also be accessed individually by using the individual plugins.
EX-1 Equalizer and Compressor Figure 85. The EX-1 EQ/Compressor plugin window The EX-1 plugin consists of a five-band parametric EQ and compressor. EX-1 Equalizer Controls The Equalizer portion of the EX-1 is a five-band fully parametric EQ. Each band has its own set of controls. The first two bands can also be enabled to function as low-shelf or high-pass filter. Similarly, the last two bands can be enabled to function as either a high-shelf or low-pass filter.
Gain (G) Knob The Gain control determines the amount by which the frequency setting is boosted or attenuated. The available range is ±18 dB. Frequency (fc) Knob Determines the center frequency to be boosted or attenuated by the Gain setting. The available range is 20 Hertz to 20 kiloHertz. When operating at sample rates less than 44.1kHz, the maximum frequency will be limited. Bandwidth (Q) Knob Sets the proportion of frequencies surrounding the center frequency to be affected.
Ratio Knob Determines the amount of gain reduction used by the compression. For example, a value of 2 (expressed as a 2:1 ratio) reduces the signal by half, with an input signal of 20 dB being reduced to 10 dB. A value of 1 yields no compression. Values beyond 10 yield a limiting effect. The range is 1 to Infinity. Threshold Knob Sets the threshold level for the compression. Any signals that exceed this level are compressed. Signals below the level are unaffected.
DM-1 Delay Modulator Figure 86. The DM-1 Delay Modulator plugin window The DM-1 Delay Modulator provides stereo effects for delay, chorus, and flange. DM-1 Controls Sync Button This button puts the plugin into Tempo Sync mode. See “Tempo Sync” on page 65 for more information. L-Delay Knob Sets the delay time between the original signal and the delayed signal for the left channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec.
Mode Pop-up Menu Determines the DM-1 effect mode. The available modes are: Chorus, Chorus180, QuadChorus, Flanger1, Flanger2, Dual Delay, and Ping Pong Delay. In addition to reconfiguring the DM-1’s settings, the Mode also determines the available parameter ranges for L/R Delay and Depth. In Chorus mode, both oscillators (or modulating signals) are in phase. In Chorus 180 mode, both oscillators (the modulating signals) are180 degrees out of phase.
The RECIR units are expressed as a percentage in all Modes except Dual Delay and Ping Pong. In these modes, RECIR values are expressed as T60 time, or the time before the signal drops 60 decibels. Damping Knob This low pass filter reduces the amount of high frequencies in the signal. Turn down this control to reduce the brightness. Higher values yield a brighter signal. Damping also mimics air absorption, or high frequency rolloff inherent in tape-based delay systems.
Link Button This button links the left and right delay knobs so that when you move one delay knob, the other follows. The ratio between the two knobs is maintained. Figure 87. The DM-1L includes a Link button RS-1 Reflection Engine Figure 88. The RS-1 Reflection Engine plugin window Overview The RS-1 Reflection Engine simulates a wide range of room shapes, and sizes, to drastically alter the pattern of reflections.
RS-1 Controls Sync Button This button puts the plugin into Tempo Sync mode. See “Tempo Sync” on page 65 for more information. Shape Pop-up Menu Determines the shape of the reverberant space, and the resulting reflective patterns. Table 26.
Recirculation allows both positive and negative values. The polarity refers to the phase of the delays as compared to the original signal. If Recirculation displays a positive value, all the delays will be in phase with the source. If it displays a negative value, then the phase of the delays flips back and forth between in phase and out of phase. Damping Knob This low pass filter reduces the amount of high frequencies in the signal. Turn down this control to reduce the brightness.
CHAPTER 16 Roland CE-1 Overview The Roland CE-1 Chorus Ensemble is another classic effect faithfully reproduced by our ace modeling engineers. The CE-1 is considered by many to the definitive chorus effect, renowned for its rich and unique timbres. Even for the mix engineer, stomp boxes can provide “secret weapon effects” not found any other way. In 1976, BOSS originated the chorus effect pedal, and nobody has come close to matching the CE-1’s captivating chorus sound since then.
Roland CE-1 Controls The Roland CE-1 has two operating modes, chorus and vibrato. Only one mode can be active at a time. The operating mode is set using the Vibrato/Chorus switch. The red Clip LED illuminates when signal peaks in the plugin occur. Clip LED This is an effect bypass switch. Click to enable/disable the chorus or vibrato effect. The effect that will be heard is determined by the Vibrato/Chorus switch. Normal/Effect Switch The active state is black text. The inactive state has gray text.
The Stereo Mode switch determines the operating mode of CE-1 when the plugin is used in a configuration with stereo input, such as a stereo audio track insert or stereo effects bus. Stereo Mode Switch The hardware CE-1 has only a monophonic input. Its output can be mono (wet and dry signal mixed at one output jack) or stereo (dry signal in one output jack, wet signal in other output jack). We’ve adapted the model for the modern era, enabling a true stereo input.
These two knobs control rate and depth of the vibrato effect when CE-1 is in vibrato mode. Vibrato Controls Depth Knob The depth knob controls the intensity of the vibrato effect. Rate Knob The rate knob controls the rate of the vibrato LFO. The rate is indicated by the the Rate LED indicator. Note: Power Switch When in chorus mode, the vibrato controls have no affect. This switch determines whether the plugin is active.
CHAPTER 17 Roland Dimension D Overview The Roland SDD-320 Dimension D is another classic effect faithfully reproduced by our ace modeling engineers. The Dimension D is a one of a kind studio gem that adheres to the principle of doing one thing, and doing it extremely well. Its one and only function: some of the best sounding stereo chorus ever made. However, the Dimension D is more than a chorus, it is really a unique sound enhancer for adding spatial effects to mono or stereo sources.
Roland Dimension D Controls The Roland Dimension D is very simple device to operate; it has only three controls: Power, Mono, and Mode. Each control is detailed below. Dimension Mode The Dimension Mode determines the effect intensity. Four different modes are available. Mode 1 is the most subtle effect, and Mode 4 is maximum intensity. Multiple Buttons True to the original hardware, multiple Dimension Mode buttons can be engaged simultaneously for subtle sonic variations of the four main modes.
CHAPTER 18 Roland RE-201 Overview In 1973, Roland created the Space Echo system that utilized multiple play heads to create warm, highly adjustable echo effects, which added wonderful tape character and chaos to performances and recordings. The Space Echo can be heard on numerous recordings, from 70’s space rock like Pink Floyd and David Bowie, to countless Reggae and Dub albums, to more recent bands like Portishead and Radiohead.
Roland RE-201 Screenshot Figure 91. The Roland RE-201 plugin window Roland RE-201 Interface The RE-201 interface is true to the original hardware, with a few customizations to bring it into the digital era. The original mic and instrument volume controls have been replaced with echo/reverb pan controls and an input control. We’ve also added a “Tape Age” switch to emulate new and older tape, a Wet Solo control for use as a bus/send effect, and an output volume control for utility.
Note: The Peak lamp and VU meter measure signal just after the input volume control. However, like the original hardware, echo intensity (feedback) is applied just before the level detection circuit. For this reason, the Intensity control will affect the level readings. Echo Pan Echo Pan determines the placement of the echo signal in the stereo panorama when the plugin is used in mono-in/stereo-out and stereo-in/stereo-out configurations.
Table 27. RE-201 Mode Selector Positions REPEAT (echo only) Mode Knob Position Active Tape Heads 1 2 3 REVERB + ECHO 4 • 1 2 3 5 6 7 • • • • Active Reverb 8 • • • • • • 9 • • • REVERB ONLY 10 11 • • • Reverb • • • • • • • • Bass This knob controls the low frequency response in the tape echo portion of the signal. It does not affect the dry signal or the reverb signal. This is a cut/boost control; it has no effect when in the 12 o’clock (straight up) position.
This knob controls the time interval of the echo effect. Rotating the control clockwise will decrease the delay time, and counterclockwise rotation will increase the delay time. Repeat Rate The available delay times are as follows: • Head 1: 69ms – 177ms • Head 2: 131ms – 337ms • Head 3: 189ms – 489ms The head times available with this control are dependent upon the “Mode Selector” on page 231.
Echo Volume has no affect when the Mode Selector is in the “Reverb Only” position. Note: This switch determines whether the plugin is active. This is useful for comparing the processed settings to that of the original signal, or to bypass the plugin to reduce the UAD DSP load. Toggle the switch to change the Power state. Power Switch Toggling the power switch will also clear the tape echo. This can be useful if the RE-201 is self-oscillating and restarting the feedback loop is desired.
Splice Normally, the splice on the tape loop comes around at regular intervals. This interval varies, and is determined by the selected Repeat Rate. Depending on what Tape Quality is selected, the splice can be subtle or obvious, and can work as a catalyst for chaos especially when the RE-201 is in a state of self-oscillation. This switch resets the location of the tape “splice” when the switch is actuated.
CHAPTER 19 Neve 1073 Equalizer Overview Designed by the Rupert Neve company in 1970, perhaps no other studio tool is as ubiquitous or desirable as the Neve 1073 channel module. Without exaggeration, Neve consoles such as the 8014 (where the 1073 originated) have been used on a majority of popular recordings of the late 20th century, and the 1073 easily tops the short-list of audio design masterpieces.
Neve 1073 and 1073SE Controls Each feature of the UAD Neve 1073 and 1073SE interfaces are detailed below. The Input Gain control sets the level at the input of the plugin. The range is from –20dB to +10dB. Input Gain When the Input Gain knob “snaps” to the OFF position, plugin processing is disabled and UAD DSP usage is reduced. Clicking the OFF screen label toggles between OFF and the previously set Input Gain value. You can also click the Neve logo to toggle between OFF and the previous state.
You can also click the midrange symbol above the knob to cycle through the available values, or shift + click to step back one frequency. Note: The available midrange center frequencies are 360Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, 7.2kHz, and OFF. When OFF is specified, the band is disabled. UAD CPU usage is not reduced when the band is OFF. The low frequency band is controlled by dual-concentric knobs, delivering smooth shelving equalization.
You can also click the low cut symbol above the knob to cycle through the available values, or shift + click to step back one frequency. Note: Phase The Phase switch reverses (inverts) the signal by adding a 180° phase shift. When the switch is in the “In” (darker) position, the phase is reversed. Leave the switch “Out” (lighter) position for normal phase. EQL The equalizer is engaged when the EQL switch is in the “In” (darker) position.
Neve 1073SE Controls The Neve 1073SE controls are exactly the same as the Neve 1073. Please refer to the Neve 1073 section for Neve 1073SE control descriptions (see “Neve 1073 and 1073SE Controls” on page 237). Neve 1073 Latency The Neve 1073 (but not the 1073SE) uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plugins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate.
CHAPTER 20 Neve 33609 Compressor Overview Derived from the original Neve 2254 compressor, circa 1969, the 33609 stereo bus compressor/limiter utilizes a bridged-diode gain reduction circuit and many custom transformers. The uniquely musical character of this circuit made the 33609 a studio standard since its release. The UAD Neve 33609 is the only Neve-sanctioned software recreation of the Neve 33609 (revision C).
Neve 33609 Screenshot Figure 94. The Neve 33609 plugin window Operation The UAD Neve 33609 is a two-channel device capable of running in stereo or dual-mono modes. The active mode is determined by the mono/stereo switch (see “Mono/Stereo” on page 246). When the 33609 is used in a mono-in/mono-out configuration, the channel 2 controls are disabled. Each channel consists of a compressor and a limiter. Each of these functions has its own separate group of controls.
Technical Article The article “Ask the Doctors: Modeling of the Neve 33609 compressor/limiter” contains interesting technical details about the 33609. It is available at our online webzine: • http://www.uaudio.com/webzine/2006/august/index2.html Neve 33609 Controls Each feature of the UAD Neve 33609 interface is detailed below. Limiter Controls in this section only function when the limiter is enabled with the “limit In” switch (the Power switch must also be on).
Attack Attack determines how fast limiting will engage when the signal exceeds the limiter threshold. The Fast setting is 2 milliseconds, and the Slow setting is 4 milliseconds. Compressor Controls in this section only function when the compressor is enabled with the “compress In” switch (the Power switch must also be on). Note: The compressor precedes the limiter (see “Signal Flow” on page 242). Compressor Threshold Threshold determines how much compression will occur.
Ratio This control determines the compressor ratio. The available values are 1.5:1, 2:1, 3:1, 4:1, and 6:1, selectable in discrete increments. Compressor In This toggle switch enables the compressor portion of the plugin. The compressor has no effect unless this switch is in the “In” (down) position. Other Controls The interface elements that are not directly contained within the compressor or limiter are detailed below.
Unlink When set to unlink (up position), the controls for channels one and two are completely independent. Unlink is generally used in mono mode. When unlinked, automation data is written and read by each channel separately. When unlink is switched to link, channel 1 controls are copied to channel 2. Control offsets between channels are lost in this case.
In stereo operation the controls for channels 1 and 2 are independent and can be set separately. Generally, the channel with the "most processing occurring" controls the processing for the other channel. For example, if the same signal is fed to both channels in stereo mode and channel 1 has a lower threshold setting than channel 2, the channel 1 threshold value is used for both channels.
This complete pallet of sonic nuance, including the dynamic input response, is captured in the UAD Neve 33609 model. The plugin is calibrated internally so that 0dBFS at its input is equivalent to an input level of approximately +26dBu on the 33609 hardware, where the coloring is more prominent. The result is that a typical signal within a DAW will drive the UAD Neve 33609 into these “virtual” higher levels, resulting in fairly high amounts gain reduction.
14dB Typical starting point for mastering where minimal gain reduction is desired. This setting is equivalent to having a real hardware 33609 connected to a +4 interface with +14dB headroom. Keep in mind there are no hard and fast rules. Use the above recommendations as guidelines and feel free to experiment with the various positions of the headroom switch regardless of the audio source. If it sounds good, use it! Note: Factory Presets The UAD Neve 33609/33609SE includes a bank of factory presets.
Neve 33609SE Figure 96. The Neve 33609SE plugin window Overview The UAD Neve 33609SE is derived from the UAD Neve 33609. Its algorithm has been revised in order to provide sonic characteristics very similar to the 33609 but with significantly less DSP usage. It is provided to allow 33609like sound when DSP resources are limited. Nobody with “golden ears” will claim it sounds exactly like the 33609, but it still sounds great and is very usable in most situations.
CHAPTER 21 Neve 1081 Equalizer Overview The Neve 1081 channel module was first produced in 1972 by Neve, and was used to provide the mic/line amp and EQ sections in consoles such as the Neve 8048. Vintage 8048 consoles, with 1081 modules, are still in wide use today at classic facilities such as The Village in Los Angeles, and have been chosen by artists ranging from The Rolling Stones to The Red Hot Chili Peppers.
Neve 1081 and 1081SE Controls Overview The Neve 1081 channel module is a four-band EQ with high and low cut filters. The 1081 features two parametric midrange bands, with “Hi-Q” selections for tighter boosts or cuts. Both the high and low shelf filters have selectable frequencies and may be switched to bell filters. Other features include a –20 to +10 db input gain control, phase reverse, and EQ bypass. The bands are arranged and grouped as in Figure 98 below. The bands feature dual-concentric controls.
The high band delivers smooth high frequency shelving or peak equalization. The inner knob controls the band gain, and the outer ring selects the frequency or band disable. High Band High Gain The equalization gain for the high band is selected with the inner knob of the dual-concentric control. Rotate the control clockwise to add the famous high-end Neve sheen, or counter-clockwise to reduce the treble response. The available range is approximately ±18dB.
High-Mid Frequency The high-midrange band frequency is selected with the outer ring of the dualconcentric knob controls. The ring control can be dragged with the mouse, or click directly on the “silkscreen” text to specify a frequency or disable the band. You can also click the midrange symbol below the knob to cycle through the available values, or shift + click to step back one frequency. Note: The available high-mid band center frequencies are 1.5kHz, 1.8kHz, 2.2kHz, 2.7kHz, 3.3kHz, 3.9kHz, 4.7kHz, 5.
The available low-mid band center frequencies are 220Hz, 270Hz, 330Hz, 390Hz, 470Hz, 560Hz, 680Hz, 820Hz, 1000Hz,1200Hz, and OFF. When OFF is specified, the band is disabled. UAD CPU usage is not reduced when the band is OFF. Low-Mid Q Select The High Q button switches the response of the low-mid band from “normal” to a narrower bandwidth for a sharper EQ curve. The band is in normal mode by default; it’s in high Q mode when the button is “down” (darker).
The independent low and high cut filters are controlled by the dual-concentric knobs to the right of the low band (see Figure 98 on page 252). The controls specify the fixed frequency of the cut filter. The cut filters have an 18dB per octave slope. Cut Filters Click+drag the control to change the value, or click the “silkscreen” frequency values. Note: You can also click the high cut/low cut symbosl below the knob to cycle through the available values, or shift + click to step back one frequency.
Neve 1081SE Figure 99. The Neve 1081SE plugin window Overview The UAD Neve 1081SE is derived from the UAD Neve 1081. Its algorithm has been revised in order to provide sonic characteristics very similar to the 1081 but with significantly less DSP usage. It is provided to allow 1081-like sound when DSP resources are limited. Nobody with “golden ears” will say it sounds exactly like the 1081, but it still sounds great and is very usable in most situations.
CHAPTER 22 Helios Type 69 Equalizer Overview Helios consoles were used to record and mix some of the finest rock, pop and reggae classics ever produced. The Beatles, Led Zeppelin, The Rolling Stones, The Who, Roxy Music, Queen, Jimi Hendrix and Bob Marley are just a few that recorded with these amazing wrap-around consoles. Moreover, many great musicians of the era purchased Helios consoles for their personal use.
Helios Type 69 Controls The simple yet powerful Helios Type 69 Passive EQ adds a unique sonic texture to the music that passes through it. It can be pushed to its most extreme boost settings while retaining openness and clarity. The Type 69 Passive EQ replicates all the controls of the original hardware. The Treble band is a fixed 10 kHz shelf EQ, while the Bass band functions as a stepped 50 Hz shelf filter (-3,-6,-9,-12,-15 dB) or frequency selectable Peak EQ (60, 100, 200, 300 Hz).
The Bass knob has a dual purpose. It specifies the amount of attenuation when the low band is in shelving mode, and specifies the frequency of the low frequency peak filter when the Bass Gain knob is not zero. Bass When Bass is set to one of the frequency values (60Hz, 100Hz, 200Hz, or 300Hz) the low band is in peak mode. In this mode, the amount of gain ("bass boost") applied to the specified frequency is determined by the Bass Gain knob.
Whether gain or attenuation is applied is determined by the Mid Type control. Note: Mid Type specifies whether the midrange band is in Peak or Trough mode. When switched to Peak, the Mid Gain control will boost the midrange. When switched to Trough, Mid Gain will cut the midrange. Mid Type Note: When using Trough, a 1 dB loss occurs on the overall output of the plug- in. This is normal; the behavior is the same in the original hardware.
The Line switch determines whether the plugin is active. This is useful for comparing the processed settings to that of the original signal, or to bypass the plug-in to reduce the UAD DSP load. Line Click the switch to toggle the state; the switch is illuminated in green when the plug-in is active. Helios 69 Latency The Helios 69 uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plugins.
Basing Street—Home of the original Type 69 Helios desk The same desk, now in Berkeley’s Morningwood, nearly 40 years later UAD Powered Plug-Ins - 263 - Helios Type 69 Equalizer
CHAPTER 23 Neve 88RS Channel Strip Overview In 2001, Neve launched the 88 Series: A new, large-format analog console that represented the best of all Neve designs that came before it. Considered the ultimate console for modern features and reliability, it is also heralded as one of the best-sounding consoles ever made by veterans of both the audio and film communities.
Neve 88RS Screenshot Figure 102.
Neve 88RS Controls Overview The UAD Neve 88RS controls are divided into four main sections: dynamics, EQ, cut filters, and global. Each section and control is detailed below. In the UAD Neve 88RS plug-in, 0dBFS is calibrated to +4dBU plus 18dB of headroom, so 0dBFS is equivalent to 22dBU. Signal Flow The output of the cut filters is fed to the input of the dynamics or EQ section (dependent upon the Pre-Dyn switch).
Gate/Expander The gate/expander module operates in either gate or expansion mode. In gate mode, signals below the threshold are attenuated by the range (RGE) amount (see Figure 104 on page 267), and hysteresis is available (see Figure 105 on page 268). Expansion mode is enabled by rotating the hysteresis (HYST) control fully counter-clockwise (or clicking the EXP label).
The Hysteresis knob sets the difference in threshold for signals that are either rising or falling in level. Signals that are rising in level are passed when the level reaches the threshold value plus the hysteresis value. Signals that are falling in level are not passed at the lower threshold level. Up to 25dB of hysteresis is available. See Figure 105 on page 268.
The available range is –25dB to +15dB. A range of –25dB to –65dB is available when the –40dB switch is engaged (see “Gate/Exp Threshold –40dB” on page 269). In typical use it’s best to set the threshold value to just above the noise floor of the desired signal (so the noise doesn’t pass when the desired signal is not present), but below the desired signal level (so the signal passes when present).
Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results. Note: This meter displays the amount of gain attenuation (downward expansion) occurring in the gate/expander module.
An example: When compressing a snare track with a standard compressor, if the snare hits are sparse, the compressor will release between each hit, so that each hit has a squashed sound. With the 88R compressor, distortion will be reduced, because the compressor will not come out of compression as much between the snare hits. The compressor will still release somewhat during the snare hits, however. Note: For additional information, see “Compressor Basics” on page 120.
As the Threshold control is increased and more processing occurs, output level is typically reduced. Adjust the Gain control to modify the output of the module to compensate if desired. Note: The –20dB switch increases the sensitivity of the limiter/compressor by lowering the range of the available threshold values. When –20dB mode is active, the threshold range is 0dB to –30dB. When –20 is inactive, the threshold range is +20dB to –10dB.
Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. However, if the release is too long, compression for sections of audio with loud signals may extend to sections of audio with lower signals. Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results.
88RS EQ Band Layout EQ module enable switch High Frequency (HF) band controls High Midrange Frequency (HMF) band controls Low Midrange Frequency (LMF) band controls Low Frequency (LF) band controls Figure 106. Neve 88RS EQ Controls Layout This button activates the equalizer module. The module is active when the button is gray and the green indicator illuminates. EQ Enable (EQ) You can use this button to compare the equalized signal to the original signal or bypass the EQ altogether.
HF Freq This parameter determines the HF band center frequency to be boosted or attenuated by the band Gain setting. The available range is 1.5kHz to 18kHz. HF Gain This control determines the amount by which the frequency setting for the HF band is boosted or attenuated. The available range is ±20 dB. The filter slope of the HF band can be changed with this control. When Hi-Q is off, the Q is 0.7. When Hi-Q is active, the Q is 2. Higher Q values mean the peak (or trough) has steeper slopes.
LMF Freq This control determines the LMF band center frequency to be boosted or attenuated by the LMF Gain setting. The available range is 120Hz to 2kHz. LMF Gain This control determines the amount by which the frequency setting for the LMF band is boosted or attenuated. The available range is ±20dB. LMF Q The Q (bandwidth) control defines the proportion of frequencies surrounding the LMF band center frequency to be affected by the band gain control.
This button activates the cut filter. The cut filter is active when the button is gray and the red indicator illuminates. Cut Enable This knob determines the cutoff frequency for the cut filter. The available range is 7.5kHz to 18kHz for the high cut filter (lighter blue control), and 31.5Hz to 315Hz for the low cut filter (darker blue control). Cut Frequency Global This control enables the UAD Neve 88RS sidechain function.
Output The Output knob controls the signal level that is output from the plug-in. The default value is 0dB. The available range is ±20dB. Power The Power switch determines whether the plug-in is active. This is useful for comparing the processed settings to the original signal or bypassing the plugin to reduce the UAD DSP load. Toggle the switch to change the Power state; the switch is illuminated in red when the plug-in is active.
CHAPTER 24- LA-3A Compressor Overview The original Teletronix LA-3A Audio Leveler made its debut at the 1969 New York AES show. Marking a departure from the tube design of the LA-2A Leveling Amplifier, the solid-state LA-3A offered a new sound in optical gain reduction, with faster attack and release characteristics that were noticeably different from its predecessor. Immediately embraced as a studio workhorse, the LA-3A is still widely used today.
LA-3A Controls Background For detaled information about compressors, see “Compressor Basics” on page 120. Comp/Lim This switch changes the characteristics of the compressor I/O curve. When set to Compress, the curve is more gentle, and presents a low compression ratio. When set to Limit, a higher compression ratio is used. Gain The Gain knob adjusts the output level (by up to 50 dB).
CHAPTER 25 Precision Maximizer Overview The Precision Maximizer is a dynamic impact processor that uniquely enhances the apparent loudness, warmth, and presence of individual tracks or program material without appreciably reducing dynamic range or peak level control. Significant audio improvements can be achieved without the fatiguing artifacts typically associated with traditional dynamic processors.
Precision Maximizer Screenshot Figure 108. The Precision Maximizer plugin window Precision Maximizer Controls Control knobs for the Precision Maximizer behave the same way as all UAD plugins. Input, Shape, Mix, and Output values can be modified with text entry. See “Text Entry” on page 32 for more information. The stereo peak Input Meter displays the signal level at the input of the processor, after the Input control. Input Meter 0dB represents digital full scale (0dBFS).
The Shape knob is the primary saturation control for the Maximizer effect. It contours the harmonic content and apparent dynamic range of the processor by changing the small-signal gain of the saturator. The available range is 0–100%. Shape At lower settings, apparent loudness is not as dramatic but harmonic processing still occurs, producing a richer sound with minimal reduction of dynamic range.
The crossover frequencies in three-band mode are 200Hz and 2.45kHz. Click the Bands button to change the mode. Alternately, you can click+hold the LED area and drag like a slider to change the value. Note: UAD DSP usage is increased when three-band mode is active. The Limit function provides a second stage of soft-saturation just before the output control for the plug-in. It prevents digital “overs” by protecting the plug-in output from exceeding 0dBFS.
The Output knob controls the signal level that is output from the plug-in. The available range is –12dB to 0dB. Output Note that when Limit is not engaged, it is possible for the output level to exceed 0dB. In this case, Output can be lowered to eliminate any associated clipping. When Precision Maximizer is used for CD mastering and it is the last processor in the signal chain, the recommended Output value is –0.10dB The stereo peak Output Meter displays the signal level at the output of the plug-in.
Operating Tips • As a starting point for general loudness enhancement, set Precision Maximizer to one-band mode with Limit engaged, with Mix at 100% and Shape at 50%. Then set Input so signals peak at around 0dB on the Input Meters. These settings offer good results under most conditions, producing more presence with a warmer sound and enhanced detail (especially with lower frequencies), while retaining the apparent dynamic range of the original signal.
Precision Maximizer Latency The Precision Maximizer uses an internal upsampling technique to facilitate its amazing sonic quality. This upsampling results in a slightly larger latency than other UAD plugins. You may enter a value in the “Samples” parameter in DelayComp or TrackAdv to compensate. See “Compensating for Precision Maximizer and Neve 33609” on page 58 for more information.
CHAPTER 26 Precision De-Esser Overview The Precision De-Esser seamlessly and accurately removes sibilance from individual audio tracks or even composite mixes via its intuitive interface and sophisticated yet transparent filter processing. The Threshold knob dials in the amount of sibilance reduction, while the twoposition “Speed” button gives control over the envelope (attack and release) of the detector.
Precision De-Esser Controls Control knobs for the Precision De-Esser behave the same way as all UAD plugins. Threshold, Frequency, and Width values can be modified with text entry. See “Text Entry” on page 32 for more information. Threshold controls the amount of de-essing by defining the signal level at which the processor is activated. Rotate Threshold counter-clockwise for more de-essing.
Note: When Solo is active, changes to the Threshold and Split controls cannot be heard. Width controls the bandwidth of the de-essing sidechain when in bandpass mode. Bandpass mode is active when the control is in any position except fully clockwise. Width Smaller values have a narrower bandwidth, causing a tighter, more focused de-essing effect. Higher values have wider bandwidth, for de-essing when undesirable frequency ranges are broader.
The Gain Reduction meter provides a visual indication of how much attenuation (compression) is occuring. Signal peaks are held for 3 seconds before resetting. Gain Reduction When Split is on, the amount of sidechain attenuation is displayed. When Split is off, it displays the attenuation of the entire signal. The Power switch determines whether the plug-in is active. This is useful for comparing the processed settings to the original signal or bypassing the plugin to reduce the UAD DSP load.
CHAPTER 27 Precision Buss Compressor Overview The Precision Buss Compressor is a dual-VCA-type dynamic processor that yields modern, transparent gain reduction characteristics. It is specifically designed to “glue” mix elements together for that cohesive and polished sound typical of master section console compressors.
Precision Buss Compressor Screenshot Figure 110. The Precision Buss Compressor plugin window Precision Buss Compressor Controls Control knobs for the Precision Buss Compressor behave the same way as with all UAD plugins. Parameters with text values can be modified with text entry. See “Text Entry” on page 32 for more information. Filter regulates the cutoff frequency of the filter on the compressor's control signal sidechain.
When Ratio is changed, the Threshold value is updated accordingly: When Ratio is set to 2:1, the Threshold range is -55dB to 0dB. When Ratio is set to 4:1, the Threshold range is -45dB to +10dB. When Ratio is set to 10:1, the Threshold range is -40dB to +15dB. When Ratio is changed, Threshold numerical values are updated but the Threshold knob position does not move. Note: As the Threshold control is decreased and more compression occurs, output level is typically reduced.
Slower release times can smooth the transition that occurs when the signal dips below the threshold, especially useful for material with frequent peaks. However, if you set too large of a Release time, compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals. Fade The Precision Buss Compressor provides a Fade function that, upon activation, automatically reduces the plug-in output to minimum within a specified time period.
Toggling the Fade switch causes an already active fade to reverse direction, without a jump in output level. The Fade Set rate is constant even if an active fade is interrupted. For example: If the Fade Set value is 30 seconds and a fade out is initiated, then Fade is clicked again after 20 seconds, it will take 20 seconds to fade back in. Note: Shift+click the Fade button to instantly return the level back to 0dB (this feature cannot be automated).
The Gain Reduction meter displays the amount of gain reduction occurring within the compressor. Gain Reduction Meter More blue bars moving to the left indicate more gain reduction is occurring. The meter range is from -16dB to 0dB. Signal peaks are held for 3 seconds before resetting. The Power switch determines whether the plug-in is active. Click the toggle button or the UA logo to change the state.
CHAPTER 28 SPL Transient Designer Overview Universal Audio has partnered with German company Sound Performance Lab (SPL) to bring you the Transient Designer, with its unique and compelling Differential Envelope Technology for shaping the dynamic response of a sound. Only two simple audio controls are required to allow you to effortlessly reshape the attack and sustain characteristics.
SPL Transient Designer Controls Containing only two primary controls, the UAD SPL Transient Designer is extremely simple to operate. The technology behind the processor isn't as important as how it sounds. However, for those who desire a deeper understanding of the process, a deeper explanation of the underlying technology is presented at the end of this chapter (see “Technology” on page 305). Attack enables amplification or attenuation of the attack of a signal by up to ±15dB.
Signal This 4-stage “LED” indicates the presence of audio signals at the input of the plug-in. When the input signal is below -25dB, the indicator is off. At -25dB to -19dB, the indicator glows slightly. At 18dB to -10dB, it lights with medium intensity. At -9dB to 0dB, it shines brightly. Overload The Overload “LED” illuminates when the signal level at the output of the plug-in reaches 0dBFS. The indicator matches the behavior of the original hardware unit.
Acknowledgement In addition to creating an amazing piece of hardware, Sound Performance Lab also wrote an extensive user manual for the Transient Designer. Because Universal Audio has full license to make use of the Transient Designer technology, SPL has graciously authorized us to use their documentation as well. The remainder of this chapter is excerpted from the SPL Transient Designer (RackPack) User Manual, and is used with kind permission from SPL. All copyrights are retained by SPL.
• Shorten the sustain period of a snare or a reverb tail in a very musical way to obtain more transparency in the mix. • When recording a live drum set, shorten the toms or overheads without physically damping them. Usual efforts to damp and mike are reduced remarkably. Since muffling of any drum also changes the dynamic response, the Transient Designer opens up a whole new soundscape.
Guitars Use the Transient Designer on guitars to soften the sound by lowering the ATTACK. Increase ATTACK for in-the-face sounds, which is very useful and works particularly well for picking guitars. Or blow life and juice into quietly played guitar parts. Distorted guitars usually are very compressed, thus not very dynamic. Simply increase the ATTACK to get a clearer sound with more precision and better intonation despite any distortion. Heavy distortion also leads to very long sustain.
channels of the reverb return through two separate Transient Designer insteances. Turn the ATTACK fully right on one instance and reduce SUSTAIN slightly (about -1.5 dB). On the other instance turn the ATTACK fully left and the SUSTAIN to the 3-o‘clock position (about +12 dB). These settings preserve the original complexity of the reflections in the reverb but the maximum intensity of the effect will move from the left to the right in the mix while the reverb will maintain it‘s presence in both channels.
Technology Of course you don‘t have to know how the Transient Designer works in order to use it. However, since it offers a completely novel signal processing, nothing shall be concealed from the more curious users. Differential Envelope Technology (DET) SPL’s DET is capable of level-independent envelope processing and thus makes any threshold settings unnecessary. Two envelopes are generated and then compared. From the difference of both envelopes the VCA control voltage is derived.
Figure 113 on page 306 shows the difference between Env 1 and Env 2 that defines the control voltage of the VCA. The shaded area marks the difference between Env 1 and Env 2 that controls the control voltage of the VCA. The amplitude of the attack is increased if positive ATTACK values are set. Negative ATTACK values reduce the level of the attack transient. Figure 113.
The SUSTAIN Control Circuitry The SUSTAIN control circuitry also plays host to two envelope generators. The envelope tracker Env 3 again follows the original waveform. The envelope generator Env 4 maintains the level of the sustain on the peak-level over a longer period of time. The control voltage of the VCA is again derived from the difference between the two voltages. Sustain amplitude is increased for positive SUSTAIN settings and reduced for negative settings.
Figure 117 on page 308 displays the processed waveforms with maximum and minimal sustain to compare against the original waveform in diagram 4. Figure 117. SPL Transient Designer Processed Sustain SPL Sound Performance Lab® and Transient Designer® are registered trademarks of SPL Electronics, GmbH Germany and are used under license. Portions of this SPL Transient Designer manual section is ©copyright SPL Electronics GmbH Germany and are used under license with kind permission from SPL.
CHAPTER 29 VCA VU Overview The VCA VU Compressor/Limiter is a faithful emulation of the first commercially available VCA (Voltage-Controlled Amplifier) compressor, the dbx 160. Originally designed and sold by David Blackmer in 1971, this solidstate design set the standard for performance and affordability. “VU” is the common nickname for this widely regarded studio staple, famous for its simple control set and firm compression characteristics.
VCA VU Controls The minimal controls on the UAD VCA VU make it very simple to operate. Threshold Knob The Threshold knob defines the level at which the onset of compression occurs. Incoming signals that exceed the Threshold level are compressed. Signals below the Threshold are unaffected. The available range is from -55dB to 0dB. The numbers on the graphical interface indicate volts, as on the original hardware.
Output Gain controls the signal level that is output from the plug-in. The available range is ±20dB. Output Gain Generally speaking, adjust the Output control after the desired amount of compression is achieved with the Threshold and Compression controls. Output does not affect the amount of compression. The Meter buttons define the mode of the VU Meter. The buttons do not change the sound of the signal processor. The active button has a darker appearance when compared to the inactive buttons.
CHAPTER 30 Precision Enhancer kHz Overview The Precision Enhancer kHz is a sophisticated tool with a simple control set, primarily designed to bring dull or poorly recorded tracks to life. However, with five distinct enhancement modes, the Precision Enhancer kHz will find uses on virtually any source. It can be used to minimally massage the middle and upper frequencies of a mix, or drastically alter the presence or dynamics of individual tracks or groups.
Precision Enhancer kHz Screenshot Figure 119. The Precision Enhancer kHz plugin window Precision Enhancer kHz Controls Control knobs for the Precision Enhancer kHz behave the same way as with all UAD plug-ins. Threshold, Frequency, and Output values can be modified with text entry. See “Text Entry” on page 32 for more information. The Sensitivity Knob controls the amount of processing that occurs in the plug-in. The available range is from 0.00 to 100.0%.
Mode C Mode C dynamically enhances the high frequency content. The enhancement amount is increased as the input signal level increases. Mode D Mode D dynamically enhances both high and low frequency content. The enhancement amount is increased as the input signal level increases. The Frequency parameter is disabled in this mode. All Mode All Mode is similar to Mode D in that it dynamically enhances both high and low frequency content, but the effected frequency spectrums are even broader.
Generally speaking, adjust the Output control after the desired amount of processing is achieved with the Sensitivity and Frequency controls. Output does not affect the amount of enhancement processing, nor does it have any effect when the plug-in is disabled. Output Meter The Output Meter displays the signal level at the output of the plug-in. When the plug-in is disabled with the plug-in Power switch (but not the host plug-in enable switch), the output meters still function.
CHAPTER 31 History LA-2A The LA-2A leveling amplifier, a tube unit with hand wired components and three simple controls, was introduced in the mid-1960s. It utilized a system of electro-luminescent optical gain control that was quite revolutionary. Gain reduction was controlled by applying the audio voltage to a luminescent driver amplifier, with a second matched photoconductive cell used to control the metering section.
After several unsuccessful attempts at using F.E.T.s in gain reduction circuits, Putnam settled upon the straightforward approach of using the F.E.T. as the bottom leg in a voltage divider circuit, which is placed ahead of a preamp stage. The output stage of the 1176 is a carefully crafted class A line level amplifier, designed to work with the (then) standard load of 600 ohms. The heart of this stage is the output transformer, whose design and performance is critical.
Thank You We would like to thank you again for becoming a Universal Audio customer. We urge you to fill out your registration card and send it back to us as soon as possible so we can keep you informed about new Powered Plug-In products that we will be releasing in the months to come. We always like to hear from our customers and welcome your comments and suggestions. If you have any questions you can email us at: info@uaudio.
INDEX Symbols .
INDEX Cambridge Equaliser 164 Curve Control Bats 166 Card Enabled 40 Curve Control Points 144 Cut Enable Button 168 Cut Filter 118 CE-1 223 CE-1 Chorus Intensity Knob 225 Cut Frequency Knob 168 Cut Type Menu 168 CE-1 Clip LED 224 CE-1 Controls 224 CE-1 Depth Knob 226 D CE-1 Normal/Effect Switch 224 Damper Controls (Reverb Time) 114 CE-1 Output Level Knob 225 Damping Knob 209, DC Bias 136 CE-1 Power Switch 228 CE-1 Rate Knob 226 Decay Time 105 Default Preset Location 108 Delay Compensation 50 C
INDEX Frequency Knob 162, E Early 106 Early & Late Adjustment 106 169 G Echo On/Off Button 212 Gain (G) Knob 215 Echo Overview 211 Gain Knob 162, Emagic Logic Audio 35 170 Gain Reduction 291 Enable Button 169 Gain Reduction Meter 155 Enable Menu (Windows) 39 Gate Fast Button 188 Enable/Bypass Switch 215, 216, 219, 222 Gate Level Display 187 energy 96 Gate Off/On Button 187 Envelope Mode 201 Gate Threshold Knob 188 EQ 114 Gate/Comp 187 EQ Bands 169 Grit 127 EQ Display 144 Group/Bus
INDEX Lo Knob 197, I In/Out Toggle Switch 177, Input 107, 126 Input Mode Switch 228 179 Install Software First 30 Installation 30 Installing the UAD Hardware 31 Introduction 17 K KCS Selector Switch 178 Keyboard Control 33 K-System 153 L 200, 208 Logic Audio 35 Low Cut / High Cut Filters 168 Low Frequency Controls 177, 180 Low Frequency Knob 115 Low Gain Knob 115 L-Pan Knob 219, 222 M Mac OS 29 Manual Conventions 29 Master 167 Master Level Knob 167 Materials Blending 102 LA-2A 119, 316 LA-2A Levelin
INDEX Morph Slider 194 Output Level Meter 196 Multicard Use 70 Output VU Meter 115 Multiple Buttons 228 Overview 137, 213, 229, 236, 241, 251, 258, 264, Multiple Cards 69 279, 281, 288, 292, 298, 309, 312 Mute 108 P N parameter 32 Neve 1073 Equalizer 236 Parameter Copy Buttons 160 Neve 1073 Latency 240, Parametric EQ 170 250, 287 Neve 1073 Screenshot 236, 242 Neve 1073SE 239, 250 Neve 1073SE Controls 240, 250 Neve 1081 Controls 252, 259, 266, 280, 289, 313 Neve 1081 Equalizer 251 Neve 1081 L
INDEX Precision Enhancer kHz Controls 313 Rate Knob 196, Precision Enhancer kHz Screenshot 313 Rate knob 205 Precision Equalizer 158 Ratio 126 Precision Equalizer Controls 159 Ratio Knob 216 Precision Limiter 151 R-Delay Knob 217 Precision Limiter Controls 152 RealVerb Pro 24, Precision Limiter Latency 150, 157, 163 Recirculation (RECIR) Knob 218, Precision Limiter Screenshot 152 Precision Maximizer 281 Precision Maximizer Controls 282 Precision Maximizer Operating Tips 286 Precision Maximize
INDEX Room Shape and Material 79 Steinberg Nuendo 35 R-Pan Knob 219, 222 RS-1 Controls 221 RS-1 Reflection Engine 25, Stereo 280 Stereo Mode 159 Stereo Operation 124, 220 127 Sweep Hi Knob 197, 201, 208 Sweep Knobs 196, 200, 208 Sweep Lo Knob 197, 200, 208 Sync Button 217, 221 System Information Window 40, 70 System Requirements 28 S Samples parameter 53, Save/Load 108 Sends 54 63 Sens 200 Sens/Rate/Wah Knob 200 Shape 283 Shape Blending Bar 99 Shape Menus 99 T Teletronix LA-2A 19 Tempo Sync 65 Sha
INDEX UAD-1 Hardware 31 Use Host Mode 45 User Interface Settings 45 Using Powered Plug-Ins 32 Using the Meter 38 V VariTrem Mode 206 VCA VU 309 VCA VU Controls 310 VCA VU Screenshot 309 version 36 VSTi 52 VU Meter 230 W Wah 200 Wah Pedal Mode 201, 202 Welcome 17 Wet 108 Wet Solo Button 116 Wet/Dry Mix Knob 219, 222 When to use TrackAdv 62 Width 290 Width Knob 115 Windows 29, 43 X Xpander 30 Z Zoom Buttons 166 UAD Powered Plug-Ins Manual - 326 - Index
