Universal Audio UAD1 Flexi PAK User manual

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UAD P

SER

ERSION

Manual Version 070322

4.6

ANUAL

OWERED

LUG

-I

330 Encinal Street Santa Cruz, CA 95060-2101 voice: 831-466-3737 fax: 831-466-3775

Email Inquiries

info@uaudio.com

World Wide Web

www.uaudio.com

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. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material.

concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Your rights to the software are governed by the accompanying End-User license agreement.

Trademarks: UAD-1, Powered Plug-Ins, LA-2A, 1176, EX-1, DM-1, RS-1, CS-1 Channel Strip, DreamVerb, Precision Mastering, and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. RealVerb, RealVerb Pro, the Kind of Loud logo, and the Kind of Loud In Here mark are trademarks of Kind of Loud Technologies, LLC. Other company and product names mentioned herein are trademarks of their respective owners.

Universal Audio, Inc. End-User License Agreement

IMPORTANT - PLEASE READ THIS LICENSE AGREEMENT CAREFULLY BEFORE INSTALLING THIS SOFTWARE. This Universal Audio, Inc. End-User License Agreement (“Agreement”) is a legal agreement between you (either an individual or a single entity), as an end-user, and Universal Audio, Inc (“Universal Audio”) for the software accompanying this Agreement, which includes computer software and any bug fixes subsequently delivered and associated media, printed materials and “online” or electronic documentation (collectively, the “Software”). The Software is licensed, not sold, by Universal Audio to the original end user for use only on the terms set forth here. By exercising your rights to install, copy and use the Software, you agree to be bound by these terms. If you do not agree to these terms, you may not install, copy or use the Software.

1 Limited Use License. Universal Audio, as Licensor, grants you, as Licensee, a non-exclusive license to use the Software with a single computer unit at a single location.

2 Title. The Software is owned by Universal Audio or its suppliers and is protected by copyright laws and international treaty provisions, as well as other intellectual property laws and treaties. Universal Audio retains title to and ownership of the Software and all copies thereof in any form. Universal Audio retains all rights in the Software not specifically granted to the Licensee. Nothing in this Agreement constitutes a waiver of Universal Audio’s rights under United States copyright law or any other law.

3 Permitted Use and Restrictions. You may install the Software into the memory of a single computer, but may not electronically transfer the Software to someone else’s computer or operate it in a time-sharing or service-bureau operation. You may make one copy of the Software for backup purposes only (and replacement backup copies in the event of loss of or damage to a backup copy), provided you include all copyright notices contained on the original media on the backup copy. You may not modify, translate, adapt, reverse engineer, decompile, create other works from, or disassemble the Software or any portions thereof. Similarly, you may not copy, modify, adapt, transfer, or create other works based upon the printed materials and “online” or electronic documentation accompanying or published for use with the Software (the “Documentation”).

4 Transfer. You may not export, transfer, convey, rent, sublicense, or otherwise distribute the Software or any rights therein to any person or entity. Notwithstanding the foregoing, you may transfer this license to a transferee:

(i) for whom you have provided registration details (your name, hardware ID(s), user e-mail ID, buyer’s name and buyer’s e-mail address) to Universal Audio at info@uaudio.com in advance of such transfer; and

(ii) who has agreed to be bound by the terms of this license by registering with Universal Audio at my.uaudio.com and confirming such agreement during installation of the software. Any such permitted transferee may not subsequently transfer this license and the limited 90 day warranty set forth in the first two sentences of Section 5 shall expire upon such permitted transfer.

5 Limited Warranty. Universal Audio grants solely to you a limited warranty for a period of ninety (90) days from the original purchase date that the media on which the software is distributed shall be substantially free from material defects. Your exclusive remedy, at Universal Audio’s option, is to return and have replaced the inaccurate media containing the software programs or receive a refund of the price paid within the warranty period. UNIVERSAL AUDIO DOES NOT WARRANT THAT THE SOFTWARE WILL MEET YOUR REQUIREMENTS OR THAT ITS OPERATION WILL BE

UNINTERRUPTED OR ERROR-FREE. EXCEPT AS SPECIFIED HEREIN, UNIVERSAL AUDIO MAKES NO WARRANTIES OR REPRESENTATIONS, EXPRESS OR IMPLIED, REGARDING THE SOFTWARE, DOCUMENTATION, OR MEDIA, AND HEREBY EXPRESSLY DISCLAIMS THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, AND NONINFRINGEMENT OF THIRD PARTY RIGHTS. FURTHERMORE, UNIVERSAL AUDIO DOES NOT WARRANT OR MAKE ANY REPRESENTATIONS REGARDING THE USE OR THE RESULTS OF THE USE OF THE SOFTWARE OR DOCUMENTATION IN TERMS OF THEIR CORRECTNESS, ACCURACY, RELIABILITY, OR OTHERWISE. NO ORAL OR WRITTEN INFORMATION OR ADVICE GIVEN BY UNIVERSAL AUDIO OR A UNIVERSAL AUDIOAUTHORIZED REPRESENTATIVE SHALL CREATE A WARRANTY OR IN ANY WAY INCREASE THE SCOPE OF THIS WARRANTY. EXCEPT AS SPECIFIED HEREIN, SHOULD THE SOFTWARE PROVE DEFECTIVE, YOU (AND NOT UNIVERSAL AUDIO OR A UNIVERSAL AUDIO-AUTHORIZED REPRESENTATIVE) ASSUME THE ENTIRE COST OF ALL NECESSARY SERVICING, REPAIR, OR CORRECTION. SOME STATES DO NOT ALLOW THE EXCLUSION OF IMPLIED WARRANTIES, SO THE ABOVE EXCLUSION MAY NOT APPLY TO YOU.

6 Limitation of Liability. UNIVERSAL AUDIO SHALL HAVE NO LIABILITY TO YOU OR ANY THIRD PARTY, WHETHER IN CONTRACT, TORT, NEGLIGENCE OR PRODUCTS LIABILITY, FOR ANY CLAIM, LOSS, OR DAMAGE, INCLUDING BUT NOT LIMITED TO LOST PROFITS, LOSS OF USE, BUSINESS INTERRUPTION, LOST DATA, OR LOST FILES, OR FOR ANY INDIRECT, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES OF ANY KIND OR NATURE WHATSOEVER ARISING OUT OF OR IN CONNECTION WITH THE USE OF OR INABILITY TO USE THE SOFTWARE OR DOCUMENTATION, OR THE PERFORMANCE OR OPERATION OF THE SOFTWARE, EVEN IF UNIVERSAL AUDIO HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES. SOME STATES DO NOT ALLOW THE EXCLUSION OR LIMITATION OF INCIDENTAL OR CONSEQUENTIAL DAMAGES, SO THE ABOVE EXCLUSION OR LIMITATION MAY NOT APPLY TO YOU. IN NO EVENT SHALL UNIVERSAL AUDIO’S TOTAL LIABILITY TO YOU FOR ALL DAMAGES, LOSSES, AND CAUSES OF ACTION WHETHER IN CONTRACT, TORT (INCLUDING NEGLIGENCE) OR OTHERWISE EXCEED THE AMOUNT PAID BY YOU FOR THE SOFTWARE.

7 Term. This Agreement is effective until terminated. You may terminate the license without recompense at any time by returning the Software and all Documentation and any copies thereof (whether or not the copying was authorized hereunder) to Universal Audio and by removing the Software from the memory of any computer into which the Software has been transferred by you or with your permission. In addition to any other rights of Universal Audio, this license may be terminated by Universal Audio immediately and without notice in the event you fail to comply with any term or condition hereof. Upon termination by Universal Audio, you will return to Universal Audio, at your expense, the Software and all Documentation and any copies thereof (whether or not the copying was authorized hereunder).

8 United States Government Rights. The Software and Documentation are provided with RESTRICTED RIGHTS. Use, duplication, or disclosure by the Government is subject to restrictions as set forth in subparagraph (c)(1)(ii) of the Rights in Technical Data and Computer Software clause at DFARS

252.227-7013 or subparagraphs (c)(1) and (2) of the Commercial Computer Software-Restricted Rights at 48 CFR 52.227-19, as applicable. Manufacturer is Universal Audio, Inc., 330 Encinal Street, Santa Cruz, CA, 95060-2101, USA.

9 Miscellaneous. This Agreement shall be governed by and construed in accordance with the laws of the United States and the State of California, as applied to agreements entered into and to be performed entirely within California between California residents. If for any reason a court of competent jurisdiction finds any provision of this License or portion thereof to be unenforceable, that provision of the License shall be enforced to the maximum extent permissible so as to effect the intent of the parties, and the remainder of this License shall continue in full force and effect. This Agreement constitutes the entire agreement between the parties with respect to the use of the Software and Documentation, and supersedes all prior or contemporaneous understandings or agreements, written or oral, regarding such subject matter. No amendment to or modification of this License will be binding unless in writing and signed by a duly authorized representative of Universal Audio.

Should you have any questions concerning this Agreement, please contact Universal Audio at 330 Encinal Street, Santa Cruz, CA, 95060-2101, USA, +1 (831) 466-3737 voice, +1 (831) 466-3775 fax, www.uaudio.com web.

TABLE OF CONTENTS

Chapter 1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Welcome

Features

System Requirements

Manual Conventions

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Chapter 2. Installation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Refer to the QuickStart Guide

Install Software First

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

About PCI and PCI Express

UAD-1 and UAD-1e

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Installing the UAD Hardware

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Chapter 3. Using UAD Powered Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview

Launching a UAD Powered Plug-In

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

UAD DSP Performance Meter Application

Accessing Meter Functions

Using the Meter

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

UAD System Information Window

UAD Configuration Window

Delay Compensation

UAD Delay Compensator plugin

DelayComp Examples

Compensating for Pultec EQ

Compensating for Precision Limiter

Compensating for Precision Equalizer

Compensating for Precision Multiband

UAD Track Advance

TrackAdv Examples

Live Processing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 48

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

DSP Usage

UAD Powered Plug-Ins Manual - 3 - Contents

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

TABLE OF CONTENTS

Tempo Sync

Multiple Cards

Optional Plug-Ins

Authorizing Multiple Cards

Authorizations Window

Demo Mode

Plug-In Authorization Procedure

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Chapter 4. RealVerb Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview

RealVerb Pro Background

Spectral Characteristics

Resonance (Equalization)

Timing

Positioning

Levels

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Morphing

RealVerb Pro Preset Management

RealVerb Pro Preset List

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Chapter 5. DreamVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview

Signal Flow

Resonance (Equalization) Panel

Shape Panel

Materials Panel

Reflections Panel

Reverberation Panel

Positioning Panel

Levels Panel

DreamVerb Preset Management

Spatial Characteristics

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

UAD Powered Plug-Ins Manual - 4 - Contents

TABLE OF CONTENTS

Preset Design Tips

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Chapter 6. Plate 140 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview

Plate 140 Screenshot

Plate 140 Controls

Reverb

Hidden Controls

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112

Chapter 7. LA-2A and 1176LN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview

Compressor Basics

Teletronix LA-2A Leveling Amplifier

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

LA-2A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

1176LN Solid-State Limiting Amplifier . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

107

114

1176LN Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

1176SE “Special Edition”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Chapter 8. Fairchild 670. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Fairchild Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

2 Compressors, 4 Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Controls Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Fairchild Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Chapter 9. Precision Multiband . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Precision Multiband Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Precision Multiband Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Band Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

UAD Powered Plug-Ins Manual - 5 - Contents

TABLE OF CONTENTS

EQ Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Frequency Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Dynamics Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Precision Multiband Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Chapter 10. Precision Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Precision Limiter Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Controls Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Precision Limiter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Precision Limiter Meters Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Precision Limiter Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152

Chapter 11. Precision Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Precision Equalizer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Precision Equalizer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Control Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Precision Equalizer Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Chapter 12. Cambridge EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Cambridge EQ Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Cambridge EQ Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Low Cut / High Cut Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

EQ Bands. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Parametric EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Shelf EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

UAD Powered Plug-Ins Manual - 6 - Contents

TABLE OF CONTENTS

Chapter 13. Pultec and Pultec-Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Pultec Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Pultec EQP-1A Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Pultec EQP-1A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Low Frequency Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

High Frequency Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

High Attenuation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Pultec MEQ-5 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Pultec MEQ-5 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Low Peak Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Dip Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

High Peak Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

MEQ-5 Response Curves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

Chapter 14. Nigel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Introducing Nigel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Preflex Plugin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Preflex Modules . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Gate/Comp Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Amp Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Amp Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Cabinet Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Phasor Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Mod Filter Module. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

TremModEcho Plugin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Trem/Fade Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Mod Delay Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Echo Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Chapter 15. CS-1 Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

UAD Powered Plug-Ins Manual - 7 - Contents

TABLE OF CONTENTS

EX-1 Equalizer and Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

EX-1 Equalizer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

EX-1 Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

EX-1M Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

DM-1 Delay Modulator. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

DM-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212

DM-1L . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

RS-1 Reflection Engine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

RS-1 Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Chapter 16. Roland CE-1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Roland CE-1 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Roland CE-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Chapter 17. Roland Dimension D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Roland Dimension D Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

Roland Dimension D Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Chapter 18. Roland RE-201 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Roland RE-201 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Roland RE-201 Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Roland RE-201 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Chapter 19. Neve 1073 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Neve 1073 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Neve 1073 and 1073SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Neve 1073SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Neve 1073 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

UAD Powered Plug-Ins Manual - 8 - Contents

TABLE OF CONTENTS

Chapter 20. Neve 33609 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Neve 33609 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Neve 33609 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Other Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Neve 33609SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Neve 33609 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

Chapter 21. Neve 1081 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Neve 1081 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Neve 1081 and 1081SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Neve 1081SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Neve 1081 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

Chapter 22. Helios Type 69 Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Helios Type 69 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

Helios Type 69 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

WebZine Article . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Chapter 23. History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

LA-2A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

1176LN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Thank You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

UAD Powered Plug-Ins Manual - 9 - Contents

LIST OF FIGURES

UAD card installation 27

Launching a UAD Powered Plug-In in Steinberg Cubase and Nuendo 31

Launching a UAD Powered Plug-In in BIAS vBox 31

The UAD Performance Meter application window (Windows) 32

The UAD Performance Meter application window (Mac OS) 32

System menu for the UAD Performance Meter (Windows) 33

Alternate system menu for the Meter (Windows) 33

File Menu for UAD Performance Meter (Mac OS) 34

The UAD System Information window (Windows) 37

The UAD System Information window (Mac OS) 38

The UAD System Configuration window (Mac OS) 44

The UAD System Configuration window (windows) 45

The UAD Delay Compensator plugin window 48

The UAD Track Advance plugin window 57

The Tempo Sync feature within UAD DM-1L 60

Tempo Sync note value display 63

The UAD Authorizations window 69

RealVerb Pro signal flow 75

The RealVerb Pro plugin window 75

RealVerb Pro Shape panel 76

RealVerb Pro Material panel 78

RealVerb Pro Resonance panel 81

RealVerb Pro Timing panel 83

RealVerb Pro Positioning panel 84

RealVerb Pro Levels panel 86

RealVerb Pro Morphing panel 86

RealVerb Pro in Morphing mode 87

The DreamVerb plugin window 90

DreamVerb signal flow 90

DreamVerb Resonance panel 92

DreamVerb Resonance Shelving Bands 93

DreamVerb Shape panel 93

UAD Powered Plug-Ins Manual - 10 - List of Figures

LIST OF FIGURES

DreamVerb Materials panel 95

DreamVerb Reflections panel 98

DreamVerb Reverberation panel 99

DreamVerb Positioning panel 101

DreamVerb Levels panel 102

The UAD Plate 140 plugin window 107

Plate 140 in Controls mode 112

Input and output characteristics of a compressor and perfect amplifier 115

Input and output curve of compressor with 2:1 ratio and –20 dB threshold 116

LA-2A signal flow 118

The LA-2A plugin window. 118

1176LN signal flow 120

The 1176LN plugin window 121

The 1176SE plugin window 123

The Fairchild plugin window 125

The UAD Precision Multiband plugin window 132

Precision Multiband EQ Display 139

The Precision Limiter plugin window 147

Precision Limiter Meter Types 149

Precision Limiter meter scale in PK-RMS Zoom mode 151

The UAD Precision Equalizer plugin window 153

The UAD Cambridge EQ plugin window 159

Cambridge EQ Response Curve display 160

Vertical resolution of the Response Curve can be changed with the Zoom buttons 161

The Curve Control Bats can be used to control EQ band frequency, gain, and Q 161

The EQ Band controls 164

Parametric Type I response 166

Parametric Type II response 166

Parametric Type III response 167

Shelf Type A 169

Shelf Type B 169

Shelf Type C 169

UAD Powered Plug-Ins Manual - 11 - List of Figures

LIST OF FIGURES

The Pultec EQP-1A Program Equalizer plugin window 171

Control grouping within the Pultec EQP-1A 172

The Pultec-Pro MEQ-5 Midrange Equalizer plugin window 174

Control grouping within the Pultec-Pro MEQ-5 174

Pultec MEQ-5 Low Peak Response 176

Pultec MEQ-5 Dip Response 177

Pultec MEQ-5 High Peak Response 178

The Nigel plugin window 180

The Preflex plugin window 181

The Gate/Comp module 182

The Amp module within Preflex 185

The Cabinet module within Preflex 189

The Phasor plugin window 191

The Mod Filter plugin window 194

The TremModEcho plugin contains three modules 198

The Trem/Fade module 199

The Mod Delay module 202

The Echo module 206

The CS-1 Channel Strip plugin window 208

The EX-1 EQ/Compressor plugin window 209

The DM-1 Delay Modulator plugin window 212

The DM-1L includes a Link button 215

The RS-1 Reflection Engine plugin window 215

The Roland CE-1 plugin window 218

The Roland Dimension D plugin window 222

The Roland RE-201 plugin window 225

The Neve 1073 plugin window 231

The Neve 1073SE plugin window 234

The Neve 33609 plugin window 237

Signal flow within UAD Neve 33609 237

The Neve 33609SE plugin window 245

The Neve 1081 plugin window 246

UAD Powered Plug-Ins Manual - 12 - List of Figures

LIST OF FIGURES

Neve 1081 band control layout 247

The Neve 1081SE plugin window 252

The Helios Type 69 plugin window 253

Helios Type 69 band control layout 254

UAD Powered Plug-Ins Manual - 13 - List of Figures

LIST OF TABLES

Keyboard shortcuts 29

Host Application Plugin Delay Compensation Implementations 46

Precision Limiter Latency Compensation Values 52

Precision Equalizer Latency Compensation Values 54

Precision Multiband Latency Compensation Values 55

Tempo Sync available note values 61

Materials with high-frequency absorption 80

Materials with high-frequency reflection 80

RealVerb Pro Presets 88

Fairchild Operating Modes 128

Fairchild Time Constants 130

Precision Equalizer Band Frequency Ranges 157

Precision Equalizer band gain values 157

Precision Equalizer high-pass filter frequencies 157

Available ranges for the Band Frequency parameter 164

Amp Type List and Descriptions 188

Cabinet Abbreviation Descriptions 190

List of Cabinet Types 190

Phasor LFO Types and Descriptions 193

Mod Filter: Mod Types and Descriptions 197

Mod Filter: Filter Types and Descriptions 197

Mod Delay LFO Types and Descriptions 205

Mod Delay Mode Menu List 205

Echo Mode Menu List 207

Available RS-1 Shapes 216

RE-201 Mode Selector Positions 227

UAD Powered Plug-Ins Manual - 14 - List of Tables

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. By reducing the burden on your computer’s CPU, your host application will be able to deliver more tracks, automation, and native effects.

The UAD Powered Plug-Ins bundle gives the native user a fully professional suite of plugins including EQ, compression, modulation, delay, and more, and features our acclaimed RealVerb Pro™, DreamVerb™, and Plate 140 reverbs. Also included are our Vintage Compressor™ Plug-Ins, the 1176LN™, LA-2A™, and Fairchild 670. We've combined the best of our analog expertise with our digital signal processing capabilities to deliver emulations that capture every nuance of these classic compressors. Nigel™ offers the latest generation of guitar processing technology integrated into a complete multieffects plugin solution. The Cambridge EQ offers precise tonal manipulation with an ‘analog’ sound. The Pultec EQP-1A Program Equalizer and MEQ-5 Midrange Equalizer have legendary sound that is revered by mastering engineers worldwide, and our Precision Mastering Series™ ensures your audio is production ready. Our modeling is so accurate, Universal Audio is the only company endorsed by the original manufacturers to create faithful reproductions of classic Roland/Boss and AMS-Neve hardware.

At the heart of the Powered Plug-Ins package is the revolutionary UAD DSP card. Because of its high precision data path, floating point processing, highspeed memory, and hardware dithering, the UAD delivers outstanding, distortion-free, high-resolution sound quality.

The UAD features a ground-breaking super-DSP chip with a proprietary audio engine. Unlike other DSP cards (which juggle DSP tasks between multiple chips), the UAD uses a single, unpartitioned processor, allowing for more sophisticated plug-in algorithms.

UAD Powered Plug-Ins Manual - 15 - Introduction

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

Vintage Compressors

• UltraDither™ supported in hardware for all plug-ins

• Floating point processor for maximum dynamic range

• Bus mastering DMA (direct memory access) for minimal host load and maximum sustained host-card transfer rate

• Fully compliant with PCI 2.1 (and higher) speciﬁcation

• 7" form factor (PCI short card)

• Up to four cards supported with automatic load balancing

• PCI/PCI-X (UAD-1) and PCI Express/PCIe (UAD-1e) versions available

Fairchild 670

• The ultimate vintage compressor/limiter

• Highly usable, incredibly musical sonic characteristics

• Precision emulation of actual circuitry and performance

• Complete absence of audible thumps often associated with other limiters

• Extremely fast attack times

• Program dependent release times available

• Lateral/Vertical (sum and difference) processing for vinyl mastering

• Sidelink Chain modiﬁcation provides additional modes

• Mono or Stereo operation

UAD Powered Plug-Ins Manual - 16 - Introduction

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 1.1 second

• Mono or Stereo operation

Teletronix LA-2A Leveling Ampliﬁer

• Precision emulation of actual circuitry and performance

• 0 to 40 dB gain limiting

• Controls: Gain, Peak reduction, Meter selector, Compress/Limit Mode

• Mono or Stereo operation

1176SE Limiting Ampliﬁer

Precision Limiter™

• “Special Edition” compressor derived from UAD 1176LN

• Optimized for efﬁcient DSP usage

Neve 33609 Compressor

• Exclusive Neve licensed/UA modeled 33609 buss compressor

• 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

• 1.5ms look-ahead brickwall Limiter with zero overshoot performance

• Totally colorless, no upsampling

• High-resolution RMS and peak metering conforms to “K-System” specs

• User–adjustable or automatic release

UAD Powered Plug-Ins Manual - 17 - Introduction

• Unique Mode feature affects attack shape for subtle tonal variations

Precision Equalizer™

Precision Multiband™

Vintage Equalizers

• Stereo or dual mono four-band EQ and high-pass filter designed primarily for program material mastering

• Based on industry standard ﬁlters and classic control arrangements

• Upsamples to 192khz for utmost in performance and accuracy

• Two sets of two overlapping frequency ranges

• 18dB per octave high-pass ﬁlter aides in sub-harmonic management

• Flexible EQ conﬁguration auditioning

• Five bands of dynamics Compression, Expansion or Gate

• Gain, Ratio, Threshold, Attack, Release and Bandwidth

• Filterbank modes: Linear Phase and Minimum Phase

• Band bypass, solo, mute, global parameter copy

• Visualization of input levels and dynamic EQ response

Pultec EQP-1A Program Equalizer

• Legendary EQ revered by mastering engineers

• Highly usable, incredibly musical sonic characteristics

• Precision emulation of actual circuitry and performance

• UAD DSP load remains constant even at highest sample rates

• Mono or Stereo operation

Pultec-Pro with MEQ-5

• Pultec EQP-1A and Pultec MEQ-5 together in one plugin

• Faithful modeling of vintage Pultec MEQ-5 midrange equalizer

• Precision emulation of actual circuitry and performance

• UAD DSP load remains constant even at highest sample rates

• Mono or Stereo operation

Neve 1073

• Accurate model of original Neve 1073 Channel Equalizer

• Four bands of EQ: Hi & low shelving, parametric midrange, and hi-pass

UAD Powered Plug-Ins Manual - 18 - Introduction

• The only Neve plugins endorsed by AMS-Neve, England.

Neve 1073SE

• “Special Edition” equalizer derived from UAD Neve 1073

• Optimized for efﬁcient DSP usage

Neve 1081

• Accurate model of original Neve 1081 Channel Equalizer

• Revered 4-band 8048 console EQ

• Shelf or Bell High and Low ﬁlters with selectable frequencies

• Parametric High and Low Mid ﬁlters, with swtichable High or Low Q

• High and low pass ﬁlters with selectable frequencies

• Original “Royal Air Force” Cosmetics & Concentric Controls

• The only Neve plugins endorsed by AMS-Neve, England.

Neve 1081SE

• “Special Edition” equalizer derived from UAD Neve 1081

• Optimized for efﬁcient DSP usage

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

Cambridge EQ • Five bands of parametric or shelving equalization

• Additional low cut and high cut ﬁlters with seventeen ﬁlter slope types, including butterworth, bessel, and elliptic

• Complex Lattice Filters provide smooth, analog-like sound

• Graphical display of equalization curve with “bats” for adjusting the frequency, gain, and bandwidth directly on the EQ curve

• Three types of resonant shelving: a peak at the edge of the stopband, a peak at edge of the passband, or both provide smooth, Pultec-like low end

UAD Powered Plug-Ins Manual - 19 - Introduction

• Two channels of EQ instantly accessible within one preset for quick A/B switching between two curves

• Special “Type” modes automatically adjust Q as band gain is changed

• Proprietary algorithm avoids problems typical to digital EQs

• Filters work at high frequencies without oversampling

• Parametric section controls emulate popular high-end analog consoles

• Mono or Stereo operation

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

• Level ramping for early reﬂections and late-ﬁeld reverberations

• 5-band equalizer with dedicated shelving bands

• Diffusion control for late-ﬁeld reverberations

• Real-time Shape and Materials blending offers dynamic sound

• Built-in preset management

• Mono or Stereo operation

RealVerb Pro

• Design custom rooms, controlling shape, size, and materials

• Adjust room sizes from 1 to 99 meters

• 15 room shapes

UAD Powered Plug-Ins Manual - 20 - Introduction

• 36 room materials

• Independent stereo placement of direct path, early reﬂections, and late-ﬁeld reverberations, as well as control over the perceived source position

• Realtime morphing between presets

• Control intensity and timing of early reﬂections and late-ﬁeld reverberation

• Diffusion control for late-ﬁeld reverberations

• Blend between two different room shapes and sizes

• 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 – 2.25 seconds)

• Either EQ or compression may be bypassed in realtime for improved processor efﬁciency

DM-1™ Delay Modulator

• Mono or Stereo operation

• 2400ms maximum delay per channel

• Multiple modulation waveforms with adjustable phase, including quadrature, in-phase and out of phase

• Mode selector provides all popular forms of chorus, ﬂanging, and echo

RS-1™ Reﬂection Engine

• Mono or Stereo operation

• 300ms maximum pre-delay per channel

• Adjustable room size from 1–99 meters

• Wide range of delay presets including single echo, pattern echo and spatial room simulations

UAD Powered Plug-Ins Manual - 21 - Introduction

• Room shapes/simulations developed in conjunction with NASA scientists

• Special effects include forward and reverse gated reverb

Nigel • Preﬂex advanced guitar processor with user updatable amp models

• Continuously variable morphing between any two amp types

• Gate/Compressor for noise and dynamics control

• Phasor capable of modern and classic sounds such as those produced by the Mutron Bi-Phase, Small Stone and MXR series of phasors

• 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 automation

• Unlimited presets can be saved and loaded as desired

• Artifact-free smoothing on all parameters (no zipper noise)

Preﬂex • Exciting guitar processing technology offers dynamic sonic possibilities

• Pre and post Lo, Mid, and High equalization controls

• Color and Bent controls modify frequency and gain characteristics in interesting and musically useful ways

• Amp type menu provides a starting point for the “classic” guitar tones

• Selectable speaker cabinet emulation for complete tonal control

• Real-time component-level morphing between any two amp types

• Threshold control for Gate

• Threshold, Ratio, Attack, and Release controls for Compressor

• Separate on/off controls for each Preﬂex submodule for maximum ﬂexibility and UAD DSP efﬁciency

UAD Powered Plug-Ins Manual - 22 - Introduction

Roland CE-1 • Reproduction of famous Chorus Ensemble in partnership with Roland

• Faithful to original Boss CE-1 hardware in every regard

• Chorus and vibrato modes

Roland

• Accurate model of unique Dimension D chorus effect

Dimension D

• Designed for subtle chorus and spatial effects

• Entrusted by Roland for accurate analog modeling

• 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 loops

• User selectable tape loops from New to Distressed

• Spring modeled from the commonly updated “Accutronics” tank

UAD Powered Plug-Ins Manual - 23 - Introduction

System Requirements

UAD Powered Plug-Ins require the following hardware and software:

All Platforms: • 100 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

• 1024 x 768 or higher resolution monitor

• CD drive or internet connection for software installation

• An AGP or PCI Express graphics video adapter (PCI graphics not supported)

• Internet connection required for registration and obtaining optional plugins

• Additional platform-speciﬁc requirements are listed below

Windows platform:

Mac OS X platform:

• Microsoft Windows 2000, Windows XP (Pro and Home only), or Windows Server 2003

• VST compatible host application software, such as Steinberg Cubase or Nuendo

• Mac OS X 10.4.0 or higher

• VST version requires VST-compatible host software, such as Steinberg Cubase or Nuendo

• Audio Units version requires AU-compatible host software, such as Apple Logic Pro or MOTU Digital Performer

• Processor upgrade cards are not ofﬁcially supported

UAD Powered Plug-Ins Manual - 24 - Introduction

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.

Headings Instructions in this guide that are platform-specific will be indicated with a

heading in red letters. Instructions that are identical regardless of platform are not differentiated.

Windows Instructions specific to the Windows platform will use this red Windows

heading.

Mac OS Instructions specific to the Macintosh platform will use this red Mac OS

heading.

Screen Shots Screenshots in this manual may be taken from the Windows and/or Mac OS

version of the software, and are used interchangeably when the content and functionality of the screenshot is the same on both platforms. Slight variations in the appearance of a screenshot between operating systems are inevitable.

When the content of and function of the software represented in a screenshot is identical on both platforms, no differentiation is made in the screenshot title. If there is a significant difference between platforms, screenshots from both platforms are included.

UAD Powered Plug-Ins Manual - 25 - Introduction

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.

The QuickStart Guide can be found on the product CD-ROM and it is placed into the Powered Plug-Ins Tools folder during software installation. The QuickStart Guide, and other important technical information, is online at:

• http://www.uaudio.com/support/software/UAD/techbulletins.html

Install Software First

For best results, the Powered Plug-Ins software should be installed before installing the UAD card. See the QuickStart Guide for instructions.

Instructions for hardware installation follows in a following section.

About PCI and PCI Express

PCI or PCI-X should not be confused with PCI Express (also known as PCIe). PCIe is not compatible with PCI or PCI-X because PCIe uses a completely different connector.

UAD-1 and UAD-1e

Note: IMPORTANT! The UAD-1 will ONLY work in PCI and PCI-X slots, and

the UAD-1e will ONLY work in PCIe slots.

However, if a computer system has both PCI/PCI-X and PCIe slots, the UAD–1 and UAD–1e can both be installed and used simultaneously as a multicard system. The UAD drivers are the same for both cards.

UAD Powered Plug-Ins Manual - 26 - Installation

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 ex-

pansion slot.

4. Before handling the UAD card, discharge any static electricity by touching

the outer casing of the power supply.

5. Remove the UAD card from its protective anti-static bag. Do not touch the

gold edge connector contacts.

6. Hold the card gently by the top edges, and line up its connector with the slot

inside the computer.

Figure 1. UAD card installation

7. When the connector and slot are aligned, press the card into the slot with

ﬁrm, even pressure. The card should “pop” into place. The top of the slot on the motherboard should be ﬂush and parallel with the edge of the UAD card.

8. Secure the card with the previously removed screw.

9. Replace the computer case

Hardware installation is now complete.

UAD Powered Plug-Ins Manual - 27 - Installation

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, and Roland RE-201 cannot run at 192kHz). Resolution is limited only the by resolution of the host application. Please note that Powered Plug-Ins running at 96KHz use twice as much UAD DSP resources than those used at 48KHz, and so forth.

Adjusting Parameters

Text Entry Parameter values can be modified directly with text entry. To enter a param-

The parameter settings for each of the UAD Powered Plug-Ins can be adjusted to achieve a desired effect. Parameter values are easily modified by dragging sliders, rotating knobs, clicking switches and buttons, or by selecting values in a pop-up menu. The function of all parameters are detailed in later chapters.

The parameter adjustment style can be Circular, Relative Circular, or Linear. For more information, see “User Interface Settings” on page 41.

Note: To increase resolution when adjusting rotary controls in circular and

relative circular modes, increase the radius of the mouse relative to the knob while dragging (i.e. move the mouse farther away from the knob while dragging).

eter value using text entry, single-click the parameter value text. The text value will highlight indicating it is ready to receive a new value. Type in a new value, then press Return, Enter, or Tab, or click outside of the text box. Press Esc if you want to revert to the prior setting without entering the new value.

Values entered via text entry are rounded to the closest significant digit. If an entered value is out of range, it will be ignored.

To enter time values, the units must be specified. m =milliseconds, and s = seconds. Examples: 400 milliseconds = .400s or 400m; 1.5 seconds = 1.5s or 1500m.

UAD Powered Plug-Ins Manual - 28 - Using UAD Powered Plug-Ins

Scroll Wheel If your mouse has a scroll wheel, it can be used to adjust knob and slider con-

trols 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. This feature cannot be supported under Mac OS due to a limitation of the operating system software.

Keyboard Control (Mac OS)

If you control-click a control it selects that control for keyboard control. This is useful for when you're in circular mode, and you want to fine-adjust a control. Normally, clicking on a control in this mode makes the value jump to where you clicked. Control-clicking will select the control so that you can use the keyboard to adjust it, without making its value jump first.

Shortcuts Table 1 lists the keyboard shortcuts that are available for modifying parame-

ter values. When using keyboard shortcuts, the last edited control will be modified (or, on Mac OS, you can use control-click to select a different control as the target for keyboard shortcuts without changing the control's value).

Note: Not all host applications support sending keystrokes to plugins.

Table 1. Keyboard shortcuts

Keyboard Action: Result:

Control + Click Parameter (Mac OS only) Select parameter for keyboard control

(without changing its value)

Shift + Drag Fine Control

UpArrow RightArrow Shift + PageUp

Increment Fine

DownArrow LeftArrow Shift + PageDown

Shift + UpArrow Shift + RightArrow PageUp

Shift + DownArrow Shift + LeftArrow PageDown

Home Maximum

End Minimum

Control + Click parameter (Windows) Modifier* + Click parameter (Mac OS) (*Modifier key set in Configuration Window)

Control + Shift + Click parameter (Windows) Modifier* + Shift + Click parameter (Mac OS) (*Modifier key set in Configuration Window)

UAD Powered Plug-Ins Manual - 29 - Using UAD Powered Plug-Ins

Decrement Fine

Increment coarse

Decrement coarse

Toggle initial editor setting (the value when the editor window was last opened)

Revert to initial editor setting (the value when the editor window was last opened)

Automation Every UAD Powered Plug-In parameter can be automated if this feature is sup-

ported by the host application. Each host application has its own particular methods for automation. Consult the host application documentation for specific instructions on using automation with the application.

Powered Plug-Ins reduce their UAD DSP load when bypassed or disabled, but not their memory load. This feature allows for automatable load balancing of DSP power, and keeps the track delay constant to avoid on/off clicks.

Note: If there is not enough DSP available when automating, the plugin may

not turn on.

UAD Powered Plug-Ins Manual - 30 - Using UAD Powered Plug-Ins

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

BIAS vBox (Mac OS)

Figure 2. Launching a UAD Powered Plug-In in Steinberg Cubase and Nuendo

Figure 3. Launching a UAD Powered Plug-In in BIAS vBox

UAD Powered Plug-Ins Manual - 31 - Using UAD Powered Plug-Ins

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.

If multiple UAD cards are installed, the displayed CPU and memory usage is the total for all installed cards. Usage statistics of individual cards can be viewed using the System Information window (see page 36).

Launching the Meter

Windows

Figure 4. The UAD Performance Meter application window (Windows)

Figure 5. The UAD Performance Meter application window (Mac OS)

To launch the UAD Performance Meter application in Windows:

1. Double-click the UAD Meter shortcut that was placed on the Desktop during

installation. OR,

2. Access the application from the Start Menu at Programs/UAD Powered

Plug-Ins/UAD Meter. OR,

3. Double-click the executable ﬁle on the hard drive located at C:Program

Files/Universal Audio/Powered Plug-Ins/UADPerfMon.exe.

UAD Powered Plug-Ins Manual - 32 - Using UAD Powered Plug-Ins

Launching the

To launch the UAD Performance Meter application in Mac OS:

Meter

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.

Accessing Meter Functions

The UAD DSP Performance Meter view mode, System Information Window, and Configuration Window functions are accessed from the System menu (Windows) or the File menu (Mac OS). After clicking the System or File menu with the mouse, the available functions are listed in the menu.

Windows Open the system menu by clicking the small icon at the upper left of the

UAD DSP Performance Meter window, or the alternate system menu on the right side of the Meter window, just above the Disable menu.

Figure 6. System menu for the UAD Performance Meter (Windows)

Figure 7. Alternate system menu for the Meter (Windows)

UAD Powered Plug-Ins Manual - 33 - Using UAD Powered Plug-Ins

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. Move the Performance Meter to a convenient location on your screen by dragging its window title bar.

Always On Top

(Windows)

The CPU gauge indicates the percentage of UAD DSP that is currently in use. It indicates the total available UAD DSP statistics, regardless of the number of UAD cards that are installed. When UAD plugins are disabled, DSP requirements are decreased.

The Memory gauge indicates the percentage of UAD memory that is currently in use. It indicates the total available UAD memory available, regardless of the number of UAD cards that are installed. When UAD plugins are disabled, memory requirements are not decreased. In this case, memory remains loaded so that reverb tails and delay lines are not cut off when the plugin is disabled.

The Performance Meter window can be set to a normal or ‘Always On Top’ view mode. In normal mode, the window can be covered by windows of the foreground application. When in ‘Always on top’ mode, the Performance Meter window always floats on top of other windows, even when other applications are in the foreground, so you can always see the meter and access the Enable Menu. This setting is saved when the meter is quit.

UAD Powered Plug-Ins Manual - 34 - Using UAD Powered Plug-Ins

Note: Always On Top mode is always active in Mac OS X.

Enable Menu

(Windows)

On/Off Button

(Mac OS)

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.

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.

The On/Off button 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.

When the button displays “On” all UAD plugins are active. Click the button to disable the active plugins. New UAD plugins can then be added. Click the button again to reactivate the plugins.

UAD Powered Plug-Ins Manual - 35 - Using UAD Powered Plug-Ins

UAD System Information Window

The UAD System Information window (Figure 9 on page 37 and Figure 10 on

page 38) 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. The card that has the lowest DSP usage will receive the next plugin load.

Important: The version of the UAD Drivers and the Powered Plug-Ins files

must match. If they don’t, a “driver mismatch” error will occur when attempting to process audio. If this occurs, you must reinstall the latest UAD Powered Plug-Ins software. Refer to the QuickStart Guide for instructions

Card Enabled Individual UAD cards can be disabled using the Card Enabled function. This

can be useful, for example, if creating a session on a system with multiple cards that will be transferred to a system with fewer cards or to streamline the performance of the host system when multiple cards are not needed.

For additional information regarding the use of multiple cards, see “Multiple

Cards” on page 64.

Note: For optimum results, quit any host applications using UAD plugins be-

fore disabling/enabling cards.

In Mac OS, the current UAD plugin latency is displayed in the System Information window. In Windows, this information is displayed in the Configuration window (page 45). The latency is usually twice the hardware buffer size.

Windows Click a card column to view more information about that card in the status

area. If a card has errors, the error information for that card is automatically displayed in the status area without having to click its card column.

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System Info

(Windows)

Figure 9. The UAD System Information window (Windows)

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System Info

(Mac OS)

Figure 10. The UAD System Information window (Mac OS)

UAD Powered Plug-Ins Manual - 38 - Using UAD Powered Plug-Ins

UAD Conﬁguration Window

The UAD Configuration Window (Figure 12 on page 45 and Figure 11 on

page 44) displays additional information about the UAD card and is also

used to modify some UAD settings.

Latency Calculator

DMA Settings (Windows)

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.

Conﬁguring Extra Buffers

Extra Buffers are required when “Buffer Size” displayed in the UAD Configuration Window is smaller than the actual ASIO buffer size selected for the active ASIO hardware device.

Note: Extra Buffers are not required for Cubase/Nuendo version 2 or

higher, Logic Audio, or Mac OS.

This situation may occur when users of Steinberg Cubase and Nuendo select ASIO buffer sizes of 2048 samples or greater, or when UAD Powered plugIns are used with a DirectX wrapper. If the situation is not corrected, the use of UAD Powered Plug-Ins will introduce excess host CPU load.

To conﬁgure the UAD for Cubase and Nuendo large ASIO buffer size support:

1. Launch the UAD Performance Meter.

2. Open the system menu by clicking the icon at the upper left of the Perfor-

mance Meter and select the ‘Conﬁguration’ option.

3. Increase the Extra Buffers control until “New latency” matches the current

buffer size of the ASIO device.

4. Reset the ASIO device using one of the following methods:

•Close the re-open the session

•Stop then restart the audio engine

•Modify or reset the audio device settings

5. The “Current latency” display should now match the “New latency” dis-

play. Conﬁguration of Extra Buffers is complete.

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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 na-

tive (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.

With the Limit CPU Load feature, the UAD CPU can also be limited so the load cannot exceed 100%, thereby increasing overall system stability in high load situations. With very heavy UAD loads, CPU load limiting may also improve host CPU performance.

There are many variables that affect DSP load (sample rate, bit depth, buffer size, parameter values, mono/stereo, automation, host system, etc). Although these variables are taken into account, the resulting measurement cannot be absolutely accurate. This is due to variations in system configurations, specifically PCI bus loading which is impossible to predict. Systems that are heavily loaded due to the presence of other devices or suboptimal configuration may cause additional DSP loading that cannot be predicted by the plugin load calculator. The CPU load limit should be reduced in this case.

It is possible for certain (non-typical) conditions to be met where another UAD plugin can’t be added, even when the UAD Meter says you should have CPU available when compared to the CPU Load Limit value.

Limit CPU Load

UAD CPU Load Limiting is enabled when this box is checked.

CPU Load Limit

This setting controls the maximum UAD CPU when load limiting is enabled. It has no affect when CPU load limiting is off.

Note: When Limit CPU Load is enabled and the CPU Load Limit is exceeded

when instantiating a new UAD plugin, the plugin that was just added will be disabled. Even though its interface will load, it will not process audio.

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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).

Circular (jump)

In Circular mode, the software knobs behave similar to physical knobs. Values are changed by clicking on the knob then rotating in a circular direction. When the edge of the knob is clicked, the parameter value jumps to the mouse position.

Relative Circular (grab)

Relative Circular mode operates similar to Circular mode, but the knob value does not jump to the mouse position when clicked. Instead, the knob value is modified relative to its original value.

In this mode you can click anywhere on the knob to make an adjustment originating at the original value. You don’t have to click on the current knob position.

Linear (slider)

In Linear mode, the knob is adjusted by dragging horizontally or vertically instead of by rotating. This behavior is similar to moving a slider.

Use Host Mode

When Use Host Mode is checked, the control mode set within the host application preferences is used if this feature is supported by the host. This setting forces the host to override the control mode set in the UAD user interface settings.

UAD Powered Plug-Ins Manual - 41 - Using UAD Powered Plug-Ins

Note: When Use Host Mode is checked, the UAD Meter user interface set-

tings have no effect unless control mode is NOT supported by the host.

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 29.

PCI Bus Settings MIN_GNT is a low-level system setting that affects PCI bandwidth. The default

value of 64 is recommended for most systems. If you are experiencing crackles or dropouts, our technical support team may recommend a different value.

Important: System performance can be adversely affected by changing this

setting. This parameter DOES NOT AFFECT AUDIO LATENCY in any way!

AMD-8131 Mode

If your computer uses the AMD-8131 PCI controller chipset, check the “AMD8131 Compatible” box. This will improve UAD performance on these systems. For the new setting to take affect, you must reset the ASIO device using one of the following methods:

•Close the re-open the session

•Stop then restart the audio engine

•Modify or reset the audio device settings

Note: Do not enable AMD-8131 Mode unless your computer uses this PCI

controller chipset. AMD-8131 Compatible Mode is only required when the card is attached directly to an AMD-8131 PCI bus. If the UAD is in an external PCI expansion chassis, this mode should be disabled (unchecked).

Macintosh G5 Systems

The AMD-8131 chipset is used in most Macintosh G5 systems. The UAD software automatically determines when it is running on a G5 with AMD-8131 and sets the mode appropriately. If the UAD is in an external PCI expansion chassis, AMD-8131 mode should be unchecked.

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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 3.9.0, UAD plugins are no longer unloaded/reloaded each time the host performs this dynamic bypass. Instead, the UAD plugins stay loaded on the card, which reduces playback glitches.

Checking the “Release all DSP resources on AudioUnit bypass” option will unload UAD plugins from the card during dynamic bypassing. When the option is checked, UAD DSP usage may be reduced during dynamic bypassing, but the possibility of glitching during playback is increased.

Note: This setting affects the Mac OS X Audio Units platform only.

Force Logic Live Mode

When UAD v4.3.0 (and higher) and Logic 7.2.1 (and higher) are used together and this setting is checked, all Logic tracks with UAD plugins are forced into "Live Mode" and latency is reduced. Reduced latency is useful for tracking when Logic's Software Monitoring feature is active.

When Live Mode is active, UAD latency is twice the hardware I/O buffer size. In Logic versions prior to 7.2.1 (and later versions when live mode is disabled), UAD latency is determined by the larger of the hardware I/O buffer size and the Process Buffer Range setting within Logic. Since the minimum Process Buffer Range setting ("Small") in Logic 7 corresponds to 512 samples, this means the minimum possible UAD latency is 1024 samples (the current latency is displayed in the UAD Meter System Information window) when Live Mode is inactive.

Note: On dual processor machines Live Mode forces all plugins on tracks

with UAD plugins (and any aux/busses fed by those tracks) to run on one processor only. To allow host plugins to run on both processors under these conditions, deactivate this setting.

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Conﬁguration Window

(Mac OS)

Figure 11. The UAD System Configuration window (Mac OS)

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Conﬁguration Window

(Windows)

Figure 12. The UAD System Configuration window (windows)

UAD Powered Plug-Ins Manual - 45 - Using UAD Powered Plug-Ins

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. Latency time is determined by the sample rate, the hardware device driver (ASIO or similar) buffer setting, and the Extra Buffers (if any) in the UAD Configuration window.

If this latency is not compensated, the processed audio will not be perfectly synchronized with unprocessed audio. Fortunately, most host applications automatically compensate for this latency when plugins are used on track inserts by simply turning on the “Plugin Delay Compensation” or similar Preferences setting. Some hosts even provide “Full Plugin Delay Compensation” throughout the entire signal path, including sends, groups, and buses.

Important: Delay compensation is fully automatic and requires no user in-

tervention when UAD Powered Plug-Ins are used in hosts that support “Full Plugin Delay Compensation.”

Host PDC Implementation

Table 2 below lists the current implementation of plugin delay compensation

(PDC) in the officially supported UAD host applications.

Table 2. Host Application Plugin Delay Compensation Implementations

Full PDC Platform

Steinberg Cubase SX 2 & 3 Win / Mac Partial PDC Platform

Steinberg Nuendo 2 & 3 Win / Mac Logic 5, 6, 7.0 Win / Mac

Steinberg Wavelab 6 Windows

Sony Vegas 6 Windows No PDC

Sony ACID Pro 5 Windows Digidesign Pro Tools LE Win / Mac

Sony Sound Forge 8 Windows Image-Line FL Studio Windows

Ableton Live 5 Win / Mac Celemony Melodyne Win / Mac

Cakewalk Sonar 5 Windows Tascam GigaStudio 3 Windows

Magix Samplitude 7 & 8 Windows MOTU Digital Performer 4.12 Macintosh

Mackie Tracktion 1 & 2 Windows BIAS Peak 4 Macintosh

Adobe Audition 2 Windows Apple Waveburner Macintosh

Apple Logic 7.1 Macintosh Apple Garageband Macintosh

MOTU Digital Performer 4.5 Macintosh Apple Soundtrack Macintosh

Pro Tools TDM HD 6.7 Macintosh Apple Final Cut Pro Macintosh

BIAS Peak Pro 5 Macintosh

Spark XL 2.8 Macintosh

UAD Powered Plug-Ins Manual - 46 - Using UAD Powered Plug-Ins

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 46.

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 48).

UAD DelayComp should not be used in situations where the host application provides delay compensation automatically, such as on track inserts. Some host applications provide fully automatic delay compensation throughout the entire signal path. UAD DelayComp is not needed at all in such hosts (see

Table 2 on page 46).

These explanations of delay compensation apply primarily to playback only. For more information about using UAD Powered Plug-Ins for live performance and during recording, see “Live Processing” on page 59.

Host Application Settings

For information about using UAD Powered Plug-Ins on audio tracks while simultaneously running MIDI tracks, see “UAD Track Advance” on page 56.

For optimum results, the “Plugin Delay Compensation” option setting should be enabled in the host application. This will provide automatic latency compensation when UAD plugins are used on track inserts (and sends/groups/buses if full compensation is supported), so the UAD DelayComp will not have to be used. This option is usually found in the audio or plugin preferences window. The specific location of the setting for this option within some popular applications is as follows:

• Cubase 5.x: Options Menu>Audio Setup>System...

• Nuendo 1.x, Cubase SX 1.x: File Menu>Preferences>VST

• Cubase SX 2/3, Nuendo 2/3: Always on.

(Steinberg’s Constrain Delay Compensation feature can be used to disable delay compensation on individual plugins: Devices Menu>Plug-in Information)

• Emagic Logic Audio (PC): Options Menu>Preferences>Audio Preferences...

• Apple Logic Pro: Preferences>Audio...

• MOTU Digital Performer 4.5+: Setup menu>Conﬁgure Audio System>Con-

ﬁgure Studio Settings...

UAD Powered Plug-Ins Manual - 47 - Using UAD Powered Plug-Ins

• 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...

(Project independent; session ﬁle must be open to conﬁgure)

• Ableton Live: Options>Delay Compensation

UAD Delay Compensator plugin

DelayComp Overview

When to use DelayComp

The UAD Delay Compensator (DelayComp for short) is a simple plugin which can be used to synchronize unprocessed tracks with those that are processed by UAD Powered Plug-Ins. It provides a mechanism of delay compensation for situations when the host application does not implement automatic plugin latency compensation, such as on sends, groups, and buses (see Table 2 on

page 46).

The UAD Delay Compensator acts as a dummy UAD Powered Plug-In, automatically introducing the necessary amount of latency for tracks which are NOT processed by UAD Powered Plug-Ins. It requires no DSP from the host CPU or the UAD card and allows you specify the number of UAD Powered Plug-Ins instances you wish to compensate.

Figure 13. The UAD Delay Compensator plugin window

UAD DelayComp should be used whenever unprocessed audio tracks are played alongside audio tracks that are assigned to a send/group/bus that is using a UAD plugin(s). In this scenario, inserting a UAD DelayComp plugin on the UNPROCESSED track(s) will automatically re-synchronize the audio.

VSTi Cubase and Nuendo currently do not automatically compensate for latency

on MIDI virtual instrument (VSTi) tracks. Therefore, UAD DelayComp should also be used on non-VSTi tracks when VSTi’s are in use.

Note: Check out our UAD DelayComp Examples on the UAD Powered Plug-

Ins CD-ROM (or download them from our website) for “real-world” examples formatted for several popular host applications.

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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. However, if one send/group/bus is used that has three instances of UAD Powered Plug-Ins stacked up, the Delay Compensator Plugs value for the dry tracks would be three.

Note: The Delay Compensator “Plugs” value matches the total of UAD Pow-

ered Plug-Ins used serially (stacked one above another in series), NOT the total number of UAD Powered Plug-Ins used.

Samples parameter

Grouping Tracks Requiring DelayComp

The Samples parameter shifts the audio with single-sample accuracy in either direction. It is provided mainly for compensation of the Pultec EQ (“Compen-

sating for Pultec EQ” on page 51), Precision Limiter (“Compensating for Pre- cision Limiter” on page 52), Precision Equalizer (“Compensating for Precision Equalizer” on page 53), and Precision Multiband (“Compensating for Precision Multiband” on page 54). However, it can be used anytime minute shift-

ing of audio is desired. Audio can be shifted up to 128 samples in either direction.

The UAD DelayComp plugin is generally used on track inserts. However, when many tracks require delay compensation, instead of placing individual Delay Compensator plugins on each track you may find it easier to send the output of each unprocessed tracks to a bus or group. Then simply put one UAD Delay Compensator on that bus or group.

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DelayComp Examples

Important: Delay compensation is fully automatic and requires no user in-

tervention when UAD Powered Plug-Ins are used in hosts that support full plugin delay compensation. See “Host PDC Implementation” on page 46.

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. Delay compensation on track inserts is handled automatically by most host applications.

Send Situation: You have a song with bass, drums, guitar, and 2 vocal tracks. You

want a fantastic reverb on the vocals so you send both vocal tracks to the UAD RealVerb Pro via an effect send. Result: The RealVerb Pro effect return plays late in relation to the dry tracks.

Solution: Send the output of all the tracks (including the dry vocal tracks but NOT the RealVerb Pro return) to a different send/group/bus and put one UAD DelayComp with a Plugs value of 1 on this send/group/bus that contains the dry tracks. Keep the Sample value at zero.

Group/Bus Situation: You have a song with bass, drums, guitar, and 2 vocal tracks. You

want a smoother vocal blend so you put both vocal tracks on a group/bus for compression with the infamous LA2A. Result: The vocal tracks play late in relation to the instrument tracks.

Solution: Send the output of the unprocessed instrument tracks (but not the vocal tracks or LA2A return) to a different group/bus and put one DelayComp with a Plugs value of 1 on this group/bus that contains the unprocessed tracks. Keep the Sample value at zero.

Note: Check out our UAD DelayComp Examples on the UAD Powered Plug-

Ins CD-ROM (or download them from our website) for “real-world” examples formatted for several popular host applications.

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Compensating for Pultec EQ

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.

Therefore, when using the DelayComp or TrackAdv plugin to manually compensate for a Pultec EQ, enter a Samples value of 13 (in addition to the appropriate “Plugs” value) for each instance of Pultec and Pultec-Pro. The keyboard shortcuts PageUp/PageDown and Shift+Arrow automatically add the 13-sample Pultec value for your convenience.

Important: Compensating for Pultec and Pultec-Pro is not required if the

host application supports full plugin delay compensation throughout the signal path, or when it is used only on the outputs. See “Host PDC Implementa-

tion” on page 46.

Pultec Group/Bus Example

Note: When running audio at or above 100kHz resolution, no Pultec upsam-

pling is performed. In this case, leave the Samples value at zero.

Situation: You have a song with bass, drums, guitar, and 2 vocal tracks. You want a fat, warm vocal blend so you put both vocal tracks on a group/bus and apply one instance of Pultec EQ to the vocal bus. Result: The vocal tracks play late in relation to the instrument tracks.

Solution: Send the output of the unprocessed instrument tracks (but not the vocal tracks or the Pultec return) to a different group/bus, and put one DelayComp with a Plugs value of 1 and a Samples value of 13 on this group/bus that contains the dry non-vocal tracks. If you put 2 Pultec EQ’s stacked in series on the vocal bus, the unprocessed bus DelayComp Plugin value would be 2, and the Samples value would be 26.

Note: UAD Pultec-Pro only requires one compensation per instance. For ex-

ample, if using both MEQ-5 and EQP-1A within a single Pultec-Pro, only one instance compensation is required.

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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. However, if the Precision Limiter is used elsewhere in the signal chain and the host does not automatically compensate for latency at that point in the signal chain, it requires slightly more compensation to remain perfectly synchronized with other tracks.

Therefore, when using the DelayComp or TrackAdv plugin to manually compensate for the Precision Limiter, enter the Samples value from Table 3 below (in addition to the appropriate Plugs value) for each instance of Precision Limiter. Since the maximum Samples value in one DelayComp instance is 128, more than one DelayComp instance will be required (in series) if the sample rate is 88.2kHz or higher.

Important: Compensating for Precision Limiter is not required if the host ap-

plication 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 46.

Precision Limiter Group/Bus Examples

The compensation value to use depends on the session sample rate. Use the

Table 3 values in DelayComp to compensate for Precision Limiter latency

when using it on track inserts or buses.

Table 3. Precision Limiter Latency Compensation Values

Session Sample Rate UAD DelayComp “Samples” Value

44.1kHz 64 Samples

48kHz 69 Samples

88.2kHz 129 Samples

96kHz 140 Samples

176.4kHz 259 Samples

192kHz 281 Samples

Situation: You have a song with bass, drums, guitar, and 2 horn tracks. The session is running at 44.1kHz.You want to maximize the level for the horns so you put both horn tracks on a group/bus and apply one instance of Precision Limiter to the horn bus. Result: The horn tracks play late in relation to the other instrument tracks.

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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.

Here’s another example with the same situation, but with a session sample rate of 96kHz. Solution: Send the output of the unprocessed instrument tracks (but not the horn tracks or the Precision Limiter return) to a different group/bus. Insert one DelayComp with a Plugs value of 1and a Samples value of 128, and another DelayComp with a Plugs value of 0 and a Samples value of 12 (i.e. 140 – 128) on the group/bus that contains the dry non-horntracks. The latency of both groups/buses is now the same, so the playback timing is correctly aligned.

Note: You can keep it simple: Use the Precision Limiter only on outputs (as its

design was intended), or only in hosts that have full plugin delay compensation!

Compensating for Precision Equalizer

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. Therefore, it requires slightly more compensation to remain perfectly synchronized with other tracks. This is not normally an issue because the Precision Equalizer is designed to be used for program material on the output bus, where latency is not a consideration. However, if the Precision Equalizer is used elsewhere in the signal chain and the host does not automatically compensate for latency at that point in the signal chain, it requires slightly more compensation to remain perfectly synchronized with other tracks.

Therefore, when using the DelayComp or TrackAdv plugin to manually compensate for the Precision Equalizer, enter the Samples value from Table 4 on

page 54 (in addition to the appropriate “Plugs” value) for each instance of

Precision Equalizer.

Important: Compensating for Precision Equalizer 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 Implementa-

tion” on page 46.

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The compensation value to use depends on the session sample rate. Use the following values to compensate for Precision Equalizer latency when using it on track inserts or buses.

Table 4. Precision Equalizer Latency Compensation Values

Session Sample Rate UAD DelayComp “Samples” Value

48kHz and lower 31 Samples

88.2kHz and 96kHz 13 Samples

176.4kHz and 192kHz Zero

Precision Equalizer Group/Bus Example

Situation: You have a song with bass, drums, guitar, and 4 string tracks. You want to change the EQ for all the strings so you put the string tracks on a group/bus and apply one instance of Precision Equalizer to the string bus. Result: The string tracks play late in relation to the other instrument tracks.

Solution: Send the output of the unprocessed instrument tracks (but not the string tracks or the Precision Equalizer return) to a different group/bus, and put one DelayComp with a Plugs value of 1 and a Sample value from Table 4

on page 54 on this group/bus that contains the dry non-string tracks. If you

put 2 Precision Equalizers stacked in series on the string bus, the unprocessed bus DelayComp Plugs value would be 2, and the Sample value would be twice the chart value.

Compensating for Precision Multiband

The Precision Multiband requires a large processing buffer to perform its sonic wonders. This buffer results in a significantly larger latency than other UAD plugins. This is not normally an issue because the Precision Multiband is designed to be used for program material on the output bus, where latency is not a consideration. However, if the Precision Multiband is used elsewhere in the signal chain AND the host does NOT automatically compensate for latency at that point in the signal chain, the latency must be manually compensated.

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 Im-

plementation” on page 46.

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The Precision Multiband latency depends on the session sample rate. Latency values are listed in Table 5 below.

Table 5. Precision Multiband Latency Compensation Values

Session Sample Rate Precision Multiband Latency Value

44.1kHz 15,360 Samples

48kHz 16,896 Samples

88.2kHz 30,720 Samples

96kHz 33,792 Samples

176.4kHz (not supported)

192kHz (not supported)

Because manually compensating for Precision Multiband latency in hosts that don’t support full plugin delay compensation can be complicated, to avoid timing errors in these hosts we generally recommend using Precision Multiband only on outputs, so no manual compensation is required.

The Formula To manually compensate for Precision Multiband latency when used on

groups/buses in hosts that don’t support full PDC, use the following formula:

L1 ÷ L2 = UAD DelayComp(s) value

Where “L1” is the Precision Multiband latency from Table 5, and “L2” is the latency from the UAD Meter System Information window (note that at least one UAD plugin must be running in the host to obtain a valid value).

This formula will arrive at the DelayComp Plugs parameter value (whole number result), or Plugs plus Samples value (non-whole number result) needed for compensation. Since the maximum Plugs/Samples value in one DelayComp instance is 10/128, more than one DelayComp instance will be required (in series) if the Plugs/Samples value exceeds 10/128, which can happen at lower buffer sizes and/or higher sample rates.

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.

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Solution: Send the output of the vocal tracks (but not the rhythm tracks or the Precision Multiband return) to a different group/bus. Then enter the numbers into the formula:

15,360 ÷ 1,024 = 15

Now put one DelayComp with a Plugs value of 10, and another DelayComp with a Plugs value of 5 on the group/bus that contains the vocal tracks. The latency of both groups/buses is now the same, so the playback timing is correctly aligned.

Here’s another example with the same track setup, but with a session sample rate of 48kHz and an I/O buffer size of 1024 samples. Use the formula to arrive:

16,896 ÷ 2048 = 8.25

When a non-whole number results from the formula, the Samples parameter must be used in addition to the Plugs parameter. The Samples value to use is the fraction (in this case 0.25) times the UAD latency (from the UAD System Info window, in this case 2048). Therefore in this example, the total Samples value is 512. To finish the example:

Insert one DelayComp with a Plugs value of 8 and a Samples value of 128, and three more DelayComps with a Plugs value of 0 and a Samples value of 128 each on the group/bus that contains the vocal tracks. The four Samples values sum to 512 samples, which is 0.25 of one Plugs value (2048 x .25 =

512). The latency of both groups/buses is now the same, so the playback tim-

ing is correctly aligned.

Note: You can keep it simple: Use the Precision Multiband only on outputs

(as its design was intended), or only in hosts that have full plugin delay compensation!

UAD Track Advance

Overview The previous discussions on delay compensation (see “Delay Compensation”

on page 46) apply mainly when using only audio tracks. When MIDI tracks

are played simultaneously alongside audio tracks, a different (but related) synchronization issue can arise.

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Let’s say you have a MIDI track and an audio track with a UAD plugin on the audio track insert. In this scenario, the host application will automatically compensate for latency and no use of the UAD DelayComp or UAD Track Advance is required.

However, if the audio track is sent to a send/group/bus and that send/group/bus has a UAD plugin on it, the audio track will be delayed in relation to the MIDI track because the host does not compensate for latency automatically on groups/buses (unless full-path latency compensation is implemented in the host). If the MIDI track was an audio track, you would use the UAD DelayComp on it to compensate for the latency. But you can’t put a UAD DelayComp on a MIDI track, so what to do?

Enter the UAD Track Advance plugin (TrackAdv for short). It operates just like the DelayComp plugin, but backwards. Instead of delaying unprocessed tracks, it shifts them forward. It does this by reporting to the host application that a track has a UAD plugin on it, so the host compensates for the latency. However, the track audio is not actually processed by the UAD so the net result is that the audio plays early.

When to use TrackAdv

How to use TrackAdv

Figure 14. The UAD Track Advance plugin window

Note: The Track Advance plugin only works in hosts that support partial

(track inserts only) automatic delay compensation.

UAD TrackAdv should be used whenever MIDI tracks are played alongside audio tracks that are assigned to a send/group/bus that is using UAD plugin(s).

Important: UAD TrackAdv should not be used in host applications that pro-

vide full plugin delay compensation throughout the entire signal path. UAD TrackAdv or DelayComp is not needed at all in such hosts. See “Host PDC Im-

plementation” on page 46.

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. By first advancing the audio with TrackAdv on the track insert then processing the same track on a send/group/bus that has a UAD plugin, the “net latency result” is zero and the audio will be perfectly aligned with the MIDI tracks.

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Plugs parameter The TrackAdv Plugs parameter value to be used on a track insert is simply the

number of UAD plugins that are being used in sequence on the send, group, or bus that the track is assigned to.

For example, if three separate sends are used and each send return has one instance of UAD plugins, the TrackAdv Plugin value for the audio tracks insert would be one. However, if one send/group/bus is used that has three instances of UAD Powered Plug-Ins stacked up, the TrackAdv Plugs value for the tracks inserts would be three.

Note: The TrackAdv “Plugs” value on the track insert matches the total of

UAD Powered Plug-Ins used serially (stacked one above another in series) on the send/group/bus that the track is assigned to, NOT the total number of UAD Powered Plug-Ins used.

Samples parameter

The Samples parameter shifts the audio with single-sample accuracy in either direction. It is provided mainly for compensation of the Pultec EQ (“Compen-

sating for Pultec EQ” on page 51 for more information). However, it can be

used anytime minute shifting of audio is desired. Audio can be shifted up to 128 samples in either direction.

Note: The keyboard shortcuts PageUp/PageDown and Shift+Arrow auto-

matically add the 13-sample Pultec value for your convenience.

TrackAdv Examples

Insert Situation: You have one track with MIDI and one track with audio. You put a

UAD plugin on the audio track. Result: All tracks are perfectly aligned.

Solution: None needed. Delay compensation on track inserts is handled automatically by most host applications.

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.

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Group/Bus Situation: You have a song with 2 vocals on audio tracks, and a MIDI piano.

You want a smoother vocal blend so you put both vocal tracks on a group/bus for compression with the infamous LA2A. Result: The vocal tracks play late in relation to the MIDI track.

Solution: Put a TrackAdv with a Plugin value of 1 on the track inserts of the vocal tracks. Keep the Sample value at zero.

Situation: You have a song with drums, guitar, and 2 separate vocals on audio tracks, and a MIDI bass line. You want a smoother vocal blend so you put both vocal tracks on a group/bus for compression with the 1176LN. Result: The vocal tracks play late in relation to the instrument tracks.

Solution: Put a TrackAdv with a Plugin value of 1 on the track inserts of the vocal tracks. Keep the Sample value at zero. Note that the DelayComp plugin is not need at all in this situation.

Live Processing

The previous discussion of delay compensation applies primarily to playback and mixing of existing tracks. During recording (tracking), the primary concern usually centers around getting the absolute lowest possible latency out of your hardware and software combination. The lower the latency is, the closer you can get to a realtime, “ears match the fingers” performance situation in the digital environment where some latency is unavoidable.

Minimizing realtime latency is simply a matter of setting the hardware device driver (ASIO or similar) buffer setting as low as possible before system overloads or diminished audio quality (such as distortion) occurs. The manufacturer of the sound output device in use may offer additional tips for optimizing latency on systems that use their hardware.

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.

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DSP Usage

The UAD card features an on-board CPU and 4 MB of memory for processing Powered Plug-Ins. The host system memory and CPU are never used for Powered Plug-Ins processing. However, there will always be a small amount of load on the host CPU induced by PCI data transfer and user interface operations. This is unavoidable when using a DSP card.

• UAD CPU usage is proportional to the host application sample rate and sys-

tem PCI bus speed. Therefore, more plugins can be used simultaneously in a 44.1K session than in a 96K session, and likewise a higher speed PCI bus will use less CPU load than a slower bus.

• Bypassing individual components will conserve CPU. For example, bypass-

ing the compressor in the EX-1 when only the EQ is in use, and/or bypassing any of the unused bands of the EX-1 EQ will use less UAD CPU.

• The UAD CPU resources required by each successive UAD Powered Plug-In instance will slightly decrease.

• A chart showing expected plugin counts can be found on our website:

http://www.uaudio.com/support/software/UAD/charts.html

Tempo Sync

As of version 4.0, the time-based parameters of several UAD Powered PlugIns can be synchronized to the tempo of the host application using the Tempo Sync feature.

When Tempo Sync is activated, the time-based parameters that are available for synchronization are changed to note duration values, and will sync to the tempo of the host application using the displayed note value.

Figure 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.

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Tempo Sync Plugins

Tempo Sync is supported in the following plugins: Roland RE-201, UAD Nigel and submodules (Phasor, ModFilter, TremFade, ModDelay, Echo), and UAD CS-1 and submodules (DM-1, DM-1L, RS-1).

Activation To activate Tempo Sync, click the “Sync” button within the plugin interface.

The Sync button “LED” will illuminate and the time parameters will change from a time-based display to a note value (see Figure 15).

Note: When Tempo Sync is activated, the plugin will automatically switch

the time or rate parameter(s) to the nearest available note value(s) given the range of the parameter in question and the current tempo.

Available Note Values

The note values that are available for selection are listed in Table 6 on

page 61. The values are listed in musical notation as a division of measures.

For example 1/4 = one quarter note, 1/1 = one whole note, 4/1 = four whole notes, and so forth.

The available note values were chosen to allow syncing to tempo in odd time signatures as well the common 4/4 time signature.

LFO rate parameters have their note values listed from longest to shortest, since long note values correspond to slow LFO rates.

Table 6. 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). For example, say the time signature is 6/8 and the delay time tempo sync note value is 1/4. If a sound occurs on beat one of the measure then its delay will occur on beat 3, which is 1/4 note (i.e. two 8th notes) later.

Note: The “beat” value in a sequencer's BPM tempo setting always refers to

a quarter note, independent of time signature.

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Range Limits Some parameters in Tempo Sync mode cannot access the entire note value

range in Table 4, because their maximum values would always be out of range above certain note values (assuming a maximum usable tempo of 300 BPM; 250BPM for Roland RE-201). These parameter limits are:

• DM-1, RS-1 time – 300ms: maximum 1/4D

• DM-1L time – 2400ms: maximum 3/1

• Nigel Echo time – 1200ms: maximum 1/1D

• Nigel Tremolo fade in/onset – 4000ms: maximum 5/1

• Roland RE-201 Head 1 range: 5/32 – 1/64

• Roland RE-201 Head 2 range: 1/4 – 1/32

• Roland RE-201 Head 3 range: 1/2T – 1/32D

Entering Values In addition to adjusting the parameter knob, the two following methods can

be used for entering Tempo Sync values.

Arrow Keys

After clicking the parameter to select it, the arrow keys can be used to scroll through available note values.

Text Entry

Direct text entry is also available (see “Text Entry” on page 28). Any notation values can be entered (fraction or decimal), and the values are automatically converted to the nearest appropriate setting.

For example: If 3/4 or 6/8 is entered using text entry, 1/2D is displayed because a dotted half note equals three quarter notes, which is the duration of one measure in a time signature of 3/4 or 6/8. If 12/8 is entered with text entry, 1/1D is displayed because a dotted whole note equals six quarter notes, which is the duration of one measure in a time signature of 12/8 (or two measures in a time signature of 3/4 or 6/8).

This means you can create a tempo sync duration of one measure for any time signature by simply typing in the time signature (assuming there is a match in the beat table).

Similarly, if 1/12 is entered with text entry, 1/8T is displayed because an eighth note triplet is equivalent to one-twelfth of a measure (if in 4/4 time).

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Out of range When a parameter note value is out of range of the current tempo note value,

the note value is displayed in parentheses on a red background (see

Figure 16).

Figure 16. Tempo Sync note value display

Modes with Tempo Sync

The UAD DM-1 and UAD DM-1L plugins (and DM-1 within CS-1) have a Mode menu (see “Mode Pop-up Menu” on page 213) that switches the plugin operation between delay, chorus, and flanger mode.

In these plugins, when the Mode is set to DualDelay and PingPong, the delay Time and modulation Rate parameters are simultaneously available for Tempo Sync.

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. In these cases, the Sync enable switch is greyed out and cannot be enabled.

Additionally, the UAD Nigel/TremFade Fade In and Onset parameters have a setting of “None” which allows you to set these parameters to the corresponding normal “None” value when in Tempo Sync mode. The Rate parameter has an “Off” setting which corresponds to a normal value of 0 Hz.

Roland RE-201 Tempo Sync

When the RE-201is in Tempo Sync mode, note values can be imprecise

due to the fixed tape head relationships. Values that are imprecise approximations (but are within the available delay time range) are displayed with a “+” or “–“ symbol. The leading head in the current mode is accurately synced; the other values are based on the fixed tape head relationship. Note that when a parameter note value is out of range of the current tempo note value, the note value flashes (instead of in parentheses on a red background as in Figure 16).

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Multiple Cards

When multiple UAD cards are installed in the host computer, the CPU and memory load of the cards are automatically balanced dynamically in realtime. With multiple cards there is no major difference in operating procedures, except that more Powered Plug-Ins can be loaded in the session.

Note: For information about authorizing copy-protected plugins on multiple

cards, see “Authorizing Multiple Cards” on page 67.

Power Requirement

Up to four UAD cards can be installed simultaneously in the host computer. Each UAD card uses a maximum of 14 watts of 5 volt power from the PCI bus. The PCI specification provides for up to 25W per device, however some host systems don't provide (or require) this much power.

Important: If insufficient power is available to the UAD cards, unpredict-

able behavior may result.

Multicard Use The UAD card that has the lowest resource usage will receive the next Pow-

ered 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. This would occur if both cards are already at 95% (the meter shows the total available CPU, not the per-card CPU), so a 6% plugin can’t load.

System Info Window

UAD CPU and memory resources used for each installed card, and the ability to enable/disable individual cards, is displayed in the System Information window (see page 37).

Disabling Cards Individual UAD cards can be disabled using the Card Enabled function (see

page 36). This can be useful, for example, if creating a session on a system

with multiple cards that will be transferred to a system with fewer cards.

Note: For optimum results, quit any applications using UAD plugins before

disabling/enabling cards.

If a Powered Plug-In is loaded on a card then that card is subsequently disabled, an error message will be displayed. This occurs because a plugin is assigned to a card when it is first instantiated. It stays assigned to the same card until it is de-instantiated (i.e. removed from the insert slot).

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Host CPU Using more than one card can cause a slight increase in host CPU require-

ments, so disabling unused cards can help you squeeze in a bit more host performance if you need it. Using additional devices on the PCI bus requires host resources, so running 15 UAD plugins on three cards at five plugins per card may require more host CPU than running the same 15 UAD plugins on one card.

For example, if you are trying to minimize latency during tracking by using a smaller buffer size (which will increase host CPU) and need a bit more host CPU, disabling one or more UAD cards during tracking may give the extra pinch of host CPU you need. The buffer size can then be increased and the UAD card(s) re-enabled for mixing.

Optional Plug-Ins

Overview The UAD Powered Plug-Ins software installation bundles always includes ev-

ery component that is part of the current software version, such as drivers, plugins, UAD Meter application, and documentation. Version 4.3 includes 12 optional copy-protected plugins that can be authorized for an additional fee.

DreamVerb, Plate 140, Cambridge, Fairchild, Pultec-Pro, Precision Limiter, Precision Equalizer, Precision Multiband, Roland CE-1, Roland Dimension D, Roland RE-201, Neve 1073/1073SE, and Neve 1081/1081SE (also UAD 1176LN and UAD LA-2A with Project PAK) require authorization for unlimited use. Without authorization, these plugins can be enabled to run for 14 days without functional limitations in a timed demo mode (see “Demo Mode” on

page 71).

UAD PAK The UAD cards are available in a variety of retail packages. The UAD-1 card

comes with the Ultra PAK, Studio PAK, and Project PAK. The UAD-1e card comes with the Expert PAK and Express PAK.

The difference between each PAK (besides the UAD card itself) is the selection of plugins that are included. Each PAK has either a set of included plugins, or a voucher system that you use to specify the specific plugins you want. For a list of specific plugins or vouchers that are included with each PAK, please visit: http://www.uaudio.com/support/software/UAD/charts.html

To authorize the PAK plugins or redeem the voucher, create your account at my.uaudio.com. Ultra PAK and Studio PAK licenses are issued automatically and can be downloaded after entering your hardware identification number(s) into your my.uaudio.com account.

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Note: The Mackie UAD-1 card includes licenses for UAD 1176LN and UAD

LA-2A, but the Project PAK card does not.

Purchasing To authorize the plugin for permanent unlimited use, an authorization license

key is purchased on the internet via our web-based online store. To purchase authorizations, go to:

• http://my.uaudio.com/store/

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 “.reg” settings file containing the authorization key(s) can then be downloaded directly from your personalized account pages at my.uaudio.com. On the PC, this file is loaded into the host computer containing the UAD card by simply double-clicking the file. On Mac OS, this file is dragged onto the UAD Meter application icon (not the DSP/Memory bar graph window!) or loaded using the “Load Settings File” menu item from within the Meter.

.reg Authorization Key File

The specific details of the authorization process is detailed later in this section (see “Plug-In Authorization Procedure” on page 72).

The .reg file contains the authorization key(s) that allow a plugin to run on the authorized cards, and is independent of the machine and operating system. The authorizations can be used on multiple machines if the card is moved around (for example, if a PCI expansion chassis is shared between a laptop and desktop machine). These authorizations will remain valid even if the plugin software is subsequently replaced with the same or newer version, or if any host system hardware or operating system changes are made.

The .reg files contain only the Hardware ID and authorization codes that enable a plugin to run on specific UAD card(s). It does not contain other system information that restrict use of the cards or authorized plugins.

Note: It is the UAD hardware that is authorized, not the software plugin.

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If the UAD card is installed into a different system, the same (already acquired) .reg file must be loaded into the different computer and the card becomes authorized to run the plugin on that system. The same UAD and its associated .reg file can be loaded into an unlimited number of computer systems (including Windows and Mac systems, as the card and key file are cross-platform).

Important: The .reg settings file contains the authorization key for the spe-

cific UAD card. It is required every time the card needs to be authorized, such as if it is installed into a different computer. Back it up and keep it in a safe place!

Important: The optional plugins are contained within the UAD software in-

staller, not the .reg 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 .reg file.

Order Fulﬁllment Timing

Purchasing and downloading plugin authorizations is a completely automatic process. Purchased plugin authorization keys can now be downloaded within minutes of payment verification.

Note: We recommend you do not wait until the last day of demo period to

purchase plugin authorizations, in case there is a unexpected delay in obtaining authorizations.

Authorizing Multiple Cards

When you buy a copy-protected plugin, your purchase is valid for up to four UAD cards. However, the authorization key is tied to the specific Hardware IDs entered during purchase. If you have four cards when you purchase the plugin, your .reg file will authorize all four cards. If you have one card during purchase then later acquire another card(s), you will need to acquire a new .reg file containing the authorization for the new card(s). However, there is no charge for the new .reg file containing the additional authorizations. Your purchase buys authorizations for a maximum of four cards.

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Each individual card must be authorized in order to run copy-protected plugins. If one card is authorized then another card is added without obtaining a new .reg file, the copy-protected plugin will only load on the authorized card. To obtain a new .reg key file for additional cards, visit my.uaudio.com on the internet.

If two cards are authorized at the same time then one is removed, the remaining card stays authorized. If you install an authorized card into another system or want to use it with a different OS partition on the same system, you will need to reapply any .reg files containing the card's authorizations on the new system or OS partition.

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Authorizations Window

The Authorizations window (Figure 17) is accessed within the UAD Meter application.

Figure 17. The UAD Authorizations window

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On Windows systems, access the Authorizations window from the System Menu or alternate system menu. On Mac OS, use the File Menu. See “Access-

ing Meter Functions” on page 33” 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. This text can then be pasted into the web form.

Authorizations

The status of each authorizable plugin and function is displayed in this area. A “Start demo” button is present if any UAD demo timer has not been started.

When the Start demo button is clicked, it checks to see if any UAD plugins are running and if they are, a message instructing you to quit the host application is displayed. The demo cannot be started if any UAD plugins are running.

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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. Once the demo period has expired, demo mode cannot be activated again on the same UAD card.

Important: The 14 day demo period can only be activated once, and can-

not be stopped or restarted during this period! We recommend you do not activate demo mode until you have the opportunity to thoroughly check out its sound and functionality.

Demo Activation To activate demo mode:

1. Ensure UAD Powered Plug-Ins version 4.0 or higher is already installed and

conﬁgured properly (see “Installation” on page 26).

2. Quit all open VST, DirectX, MAS, and Audio Units host applications.

3. Launch the UAD Meter application (page 33).

4. When the UAD Meter is in the foreground, select “Authorizations...” from

the System Menu (Windows; page 33) or File Menu (Mac OS; page 34). The Authorizations window (Figure 17 on page 69) appears.

5. Click the Start Demo button. A conﬁrmation window appears and the timed

demo can be activated or demo activation can be cancelled.

The timed demo is activated for 14 days.

Important: Demo mode relies on the computer system date and time. Ma-

nipulating the system clock can result in a decreased demo period.

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Plug-In Authorization Procedure

This section details how to acquire and load the plugin authorization file. Please read the overview (page 65) before proceeding with authorization. The procedure is slightly different under Windows and Mac OS; it is detailed separately per platform.

Note: It is the UAD hardware that is authorized, not the plugin file.

Important: The .reg settings file contains the authorization key for the spe-

cific 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. Back it up and keep it in a safe place!

Authorization Procedure

(Windows)

To authorize a UAD card to run a copy protected plugin under Windows:

1. Ensure UAD Powered Plug-Ins version 4.0 or higher is already installed and

conﬁgured properly (see “Installation” on page 26). Prior versions do not contain all the optional plugins.

2. Quit all open VST and DirectX host applications.

3. Launch the UAD Meter application (page 32).

4. When the UAD Meter is in the foreground, select “Authorizations...” from

the System Menu (page 33). The Authorizations window appears.

5. Click the Copy button within the Hardware IDs window. The Hardware IDs

text is copied to the system clipboard.

6. Go to the following URL on the internet:

•http://my.uaudio.com/store/

7. Follow the instructions on the web pages. You can paste the Hardware ID

text if it is in the clipboard. The ID text must match EXACTLY.

8. After payment is received, a link to the .reg ﬁle is provided.

9. The .reg settings ﬁle containing the authorization key for the UAD is then

downloaded directly from your account page at the web store.

10. Save the .reg ﬁle to disk, then double-click the resulting .reg settings ﬁle on

the disk. Click “Yes” to automatically update the windows registry. The UAD card is authorized to run the copy protected plugin.

11. Back up the .reg settings ﬁle containing the authorization key and keep it

in a safe place for future authorizations!

The authorization procedure for Windows is complete.

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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 26). Prior versions do not contain all the optional plugins.

1. Quit all open VST and Audio Units host applications, then launch the

UAD Meter application (page 33).

2. When the UAD Meter is in the foreground, select “Authorizations...” from

the File Menu (page 34). The Authorizations window appears.

3. Click the Copy button within the Authorizations window. The Hardware IDs

text is copied to the system clipboard.

4. Go to the following URL on the internet:

•http://my.uaudio.com/store/

5. Follow the instructions on the web page(s). You can paste the Hardware ID

text if it is in the clipboard. The ID text must match EXACTLY.

6. After payment is received, a link to the .reg ﬁle is provided. The .reg set-

tings ﬁle containing the authorization key for the UAD is then downloaded directly from your account page at the web store.

7. Save the .reg ﬁle to disk (control-click the link to view the save menu).

8. Load the resulting .reg settings ﬁle using one of the following techniques:

•Drag and drop the ﬁle onto the UAD Meter application icon or its alias (NOT the CPU/Memory bar graph window!).

•Select “Load Settings...” from the File Menu within the UAD Meter, navigate to the location of the ﬁle on disk, then click Open.

9. The UAD card is authorized to run the plugin.

10. Back up the .reg settings ﬁle containing the authorization key and keep it

in a safe place for future authorizations!

The authorization procedure for Mac OS is complete.

Important: The .reg settings file contains the authorization key for the spe-

cific 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. Back it up and keep it in a safe place!

Note: If the UAD Registry file (in Mac OS X it is Library/Prefer-

ences/com.uaudio.uad.plist) is moved or deleted, you will lose your authorization(s) and the .reg authorization key will need to be reloaded.

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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

Resonance, Timing and Diffusion

Stereo Soundﬁeld Panning

RealVerb Pro provides two graphic menus each with preset Room Shapes and Materials. You blend the shapes and material composition and adjust the room size according to the demands of your mix. Controls are provided to adjust the thickness of the materials – even inverse thickness for creative effects. Through some very clever engineering, the blending of room shapes, size and materials may be performed in real-time without distortion, pops, clicks or zipper noise. Once you've created your custom room presets, you can even morph between two presets in real-time, with no distortion.

RealVerb Pro also includes intuitive graphic control over equalization, timing and diffusion patterns. To maximize the impact of your recording, we put independent control over the direct path, early reflections and late-field reverberation in your hands.

Capitalizing on the psychoacoustic technology that went into the design of RealVerb 5.1, we have incorporated some of those principals into RealVerb Pro. Our proprietary Stereo Soundfield Panning allows you to spread and control the signal between stereo speakers creating an impression of center and width. The ability to envelop your listener in a stereo recording is an entirely new approach to reverb design.

Don't rely on your old standby. Let RealVerb Pro bring new quality and space to your recordings!

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RealVerb Pro Background

Source

Input

Pan

Direct Path

Wet/Dry

Mix

Early

Reflections

Late-

Field

Reverb

Pans &

Distance

Gain

Output

Gain &

Mute

Delay

Figure 18. RealVerb Pro signal flow

Figure 18 illustrates the signal flow for RealVerb Pro. The input signal is equal-

ized 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 19. The RealVerb Pro plugin window

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The RealVerb Pro user interface is similarly organized (see Figure 19). 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. The overall late field decay rate is chosen along with the room diffusion, late-field predelay, and late-field level at the bottom of the Timing panel. Finally, the Positioning panel contains controls for the placement of the source, early reflections, and late-field reverberation.

Spectral Characteristics

The Shape and Material panels specify the room shape, room size, room material and thickness. These room properties affect the spectral characteristics of the room’s reflections.

Shape and Size The pattern of early reflections in a reverb is determined by the room shape

and size. RealVerb Pro lets you specify two room shapes and sizes that can be blended to create a hybrid of early reflection patterns. There are 15 room shapes available, including several plates, springs, and classic rooms; room sizes can be adjusted from 1–99 meters. The two rooms can be blended from 0–100%. All parameters can be adjusted dynamically in real time without causing distortion or other artifacts in the audio.

First shape

selector

pop-up

First shape size control

Figure 20. RealVerb Pro Shape panel

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Second

shape

Blending bar

Second shape

selector pop-

up menu

Second

shape size

control

To conﬁgure the room shape and size:

1. Select a room shape from the ﬁrst (left) pop-up menu. The selected shape

appears in the left side of the Shape circle. Adjust the room size with the top horizontal slider.

2. Select a room shape from the second (right) pop-up menu. The selected

shape appears in the right side of the Shape circle. Adjust the room size with the bottom horizontal slider.

3. Blend the early reﬂection patterns of the two rooms by dragging the Blend-

ing bar. The relative percentages of the two rooms appear above their popup menus. Drag to the right to emphasize the ﬁrst room shape; drag to the left to emphasize the second room shape. To use only one room shape, drag the Blending bar so the shape is set to 100%.

The resulting early reflection pattern is displayed at the top of the Timing panel (see Figure 23 on page 83), where each reflection is represented by a yellow vertical line with a height indicating its arrival energy, and a location indicating its arrival time.

Material and Thickness

The material composition of an acoustical space affects how different 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. RealVerb Pro lets you specify two room materials with independent thicknesses, which can be blended to create a hybrid of absorption and reflection properties. For example, to simulate a large glass house, a blend of glass and air could be used.

There are 24 real-world materials provided, including such diverse materials as brick, marble, hardwood, water surface, air, and audience. Also included are 12 artificial materials with predefined decay rates. The thickness of the materials can be adjusted to exaggerate or invert their absorption and reflection properties. For a description of the different room materials, see “About

the Materials” on page 79.

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First material

econd

material

Blending bar

First material selector pop-

up menu

First material

Thickness

control

Figure 21. RealVerb Pro Material panel

Second material

selector pop-up

Second material

Thickness control

Note: While materials are used to control decay rates as a function of fre-

quency, the overall decay rate of the late-field reverberation is controlled from the Timing panel (see Figure 23 on page 83).

To conﬁgure the room material and thickness:

1. Select a room material from the ﬁrst (left) pop-up menu. The selected mate-

rial appears in the left side of the Material circle.

2. Adjust the thickness for the ﬁrst material with the top horizontal slider:

• A default thickness of +100% yields normal, real-world decays for the material.

• Thicknesses beyond the default (up to +200%) exaggerate how the frequencies are absorbed and reﬂected.

• Negative thicknesses invert the response of the material. If the material normally absorbs high frequencies (causing them to decay quickly) and reﬂects low frequencies (causing them to decay slowly), a negative thickness will instead absorb low frequencies (causing them to decay quickly) and reﬂect high frequencies (causing them to decay slowly).

• A thickness of 0% yields decay rates that are not affected by the material.

3. Select a material from the second (right) pop-up menu. The selected mate-

rial appears in the right side of the Material circle. Adjust the material thickness with the bottom horizontal slider.

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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%.

About the Materials

Some materials absorb high frequencies and reflect low frequencies, while other materials absorb low frequencies and reflect high frequencies. This characteristic is determined by the material surface and density.

Fiberglass, for example, absorbs high frequencies. When high frequencies strike fiberglass they bounce around inside the fibers and lose much of their energy.

At a thickness of 100%, fiberglass rolls off the high frequencies, a little bit each millisecond. After a while the high frequencies dissipate and the low frequencies linger. If we were to take fiberglass and increase its thickness to +200%, the high frequencies would roll off even faster. At +200%, this high frequency decay happens at twice its normal rate, producing a very heavy reverberant tail. At -200%, a very “sizzly” late field is created.

Some materials, such as plywood, naturally absorb low frequencies while reflecting high frequencies. Since plywood is usually very flat with little surface texture to capture high frequencies, high frequencies tend to be reflected. At +100%, the reverberation produced is very sizzly and increasingly bright. At

-100%, it is very heavy.

Keeping this in mind, if you look at the graphics in the material control panel, you can get a sense of how chosen materials, material blend, and thickness will affect the decay rate as a function of frequency. Hard materials that have lots of small cavities (Brick, Gravel, Plaster on Brick) and soft materials (Carpet, Grass, Soil) tend to absorb high frequencies. Flat, somewhat flexible materials (Heavy Plate Glass, Hardwood, Seats) tend to reflect high frequencies. Marble is the one material that tends to uniformly reflect all frequencies.

You probably noticed the artificial materials the top of the Materials menu. These are materials designed to have predictable behavior and can be very handy for achieving a desired reverberation preset when you know what decay rates you desire. All these materials preferentially absorb high frequencies; they give the selected decay time at low frequencies, and a much shorter decay time at high frequencies. The frequency in each graphic is the transi-

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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). At negative 100%, the sense of low frequency and high frequency is swapped —low frequencies decay 10 times faster than the high frequencies.

Many hardware and software reverbs tend to compensate for the high frequency absorption that air provides. RealVerb Pro instead provides “Air” as a material. If you do not choose to use Air as one of the materials, you can effectively compensate for the high frequency absorption properties of air with the Resonance filters. Set the right-hand Transition Frequency slider to

4.794 kHz, and bring the level down about –10 dB to –15 dB for large to huge rooms, and down about –4 dB to –9 dB for small to medium rooms.

To help you out, the following lists classify the materials under two headings: those that tend to reflect high frequencies, and those that tend to absorb them. They are listed in order of their transition frequencies, from lowest to highest.

Table 7. Materials with high-frequency absorption

Audience Fiberglass

Cellulose Grass

Drapery Plaster on Brick

Plaster on Concrete Block Water Surface

Soil Sand

Gravel Brick

Paint on Concrete Block Air

Carpet

Table 8. Materials with high-frequency reflection

Heavy Plate Glass Seats

Plywood Marble

Hardwood Concrete Block

Glass Window Linoleum

Cork

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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 controls,

first and second bands

Band Edge control,

second band

Figure 22. RealVerb Pro Resonance panel

To conﬁgure the reverb’s Resonance as a parametric EQ:

1. Drag the Band Edge controls horizontally for the second and third bands to

Amplitude control,

third band

Band Edge control,

third band

the desired frequencies. The ﬁrst band is preset to 16 Hz. The frequencies for all three bands are indicated in the text ﬁelds at the bottom of the Resonance panel.

2. Adjust the amplitude of the bands (from –60 dB to 0 dB) by dragging their

Amplitude controls either up or down. The amplitude values for all three bands are indicated in the text ﬁelds at the bottom of the Resonance panel. The shape of the EQ curve is displayed in the Resonance graph.

To conﬁgure the reverb’s Resonance as a high-shelf EQ:

1. Drag the Amplitude control for the second EQ band all the way down.

2. Drag the Amplitude controls for the ﬁrst and third bands all the way up, to

equal values.

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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. For a true shelf EQ, make sure these amplitudes are set to equal values.

To conﬁgure the reverb’s Resonance as a low-shelf EQ:

1. Drag the Amplitude control for the second EQ band all the way up.

2. Drag the Amplitude controls for the ﬁrst and third bands all the way down,

to equal values.

3. Adjust the Band-edge controls for the second and third bands so they are

adjacent to each other. To raise the frequency for the low-shelf, drag to the right with the Band-edge control for the second band. To lower the frequency for the low-shelf, drag to the left with the Band-edge control for the third band.

Timing

4. To attenuate the frequencies below the shelf frequency, drag the Amplitude

controls for the ﬁrst and second bands up or down. For a true shelf EQ, make sure these amplitudes are set to equal values.

The Timing panel offers control over the timing and relative energies of the early reflections and late-field reverberations. These elements affect the reverb’s perceived clarity and intimacy. The early reflections are displayed at the top of the Timing panel, with controls for Amplitude and Pre-delay. The late-field reverberations are displayed at the bottom, with controls for Amplitude, Pre-delay, and Decay Time. To illustrate the relation between both reverb components, the shape of the other is represented as an outline in both sections of the Timing panel (see Figure 23).

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Amplitude

control

Predelay

control

Amplitude

Control

Predelay

control

Decay Time

control

Figure 23. 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

Early

Reflections

display

Late-Field

Reverbera-

tions display

Diffusion

control

–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. Drag the Predelay control for the early reﬂections left or right (from

1–300 milliseconds) to affect the delay between the dry signal and the onset of early reflections. The Pre-delay time is indicated in the text ﬁeld at the bottom of the Timing panel.

Note: The length in time of the early reflections cannot be adjusted from the

Timing panel, and instead is determined by the reverb’s shape and size (see

Figure 20).

To adjust the timing of the late-ﬁeld reverberations:

1. Drag the Amplitude control for the late-ﬁeld reverberations up or down

(from –80 dB to 0 db) to affect the energy of the reverberations. The Amplitude value is indicated in the text ﬁeld at the bottom of the Timing panel.

2. Drag the Predelay control for the late-ﬁeld reverberations left or right (from

1–300 milliseconds) to affect the delay between the dry signal and the onset of late-field reverberations. The Predelay time is indicated in the text ﬁeld at the bottom of the Timing panel.

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Positioning

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, ad-

just the Diffusion control at the right of Late Reﬂection display in the Timing panel. The higher the Diffusion value (near the top of the display), the more rapidly a dense reverb tail evolves.

One of the unique features of RealVerb Pro is the ability to separately position the direct path, early reflections, and late-field reverberation. The Position panel (see Figure 24) provides panning controls for each of these reverb components. In addition, a proprietary Distance control adjusts perceived source distance. These controls allow realistic synthesis of acoustic spaces—for instance listening at the entrance of an alley way, where all response components arrive from the same direction, or listening in the same alley next to the source, where the early reflections and reverberation surround the listener.

Figure 24. RealVerb Pro Positioning panel

To pan the direct (dry) signal:

1. Drag the Direct slider left or right. 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.

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

1. Drag the left and right slider handles to adjust the stereo width. The length

of the blue slider is adjusted. For a full stereo signal, drag the left handle all the way to left, and right handle all the way to the right.

2. Drag the blue center of the slider left or right to set the positioning of the sig-

nal. If you drag all the way to the left or right, the stereo width is adjusted. For a mono signal panned hard left or right, drag the slider all the way to the left or right.

Distance RealVerb Pro allows you to control the distance of the perceived source with

the Distance control in the Positioning panel (see Figure 24). 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.

To adjust the distance of the source:

1. Drag the Distance slider to the desired percentage value. Larger percent-

ages yield a source that is further away from the listener. A value of 0% places the source as close as possible to the listener.

Wet/Dry Mix The wet and dry mix of the reverb is controlled from the Mix slider in the Po-

sitioning panel (see Figure 24). 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.

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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 25. 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. This approach is in contrast to the traditional method of morphing by crossfading between the output of two static reverberators. The method employed by RealVerb Pro produces more faithful, physically meaningful intermediate states.

Figure 26. RealVerb Pro Morphing panel

Figure 26 depicts the Morphing Panel. Click the Morphing Mode button to en-

able Morphing mode. When RealVerb Pro is in morphing mode, the other RealVerb Pro spectral controls are grayed out and cannot be edited. In morphing mode, two presets are selected using the pull-down menus. Once the desired presets are selected in the pull-down menus, the morphing slider is used to morph from one preset to the other.

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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 mi values of each preset.

Figure 27. RealVerb Pro in Morphing mode

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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.

Using Host

Most host applications include their own method of managing plugin presets.

Application Management

For example, the currently selected preset is saved in Cubase/Nuendo when “Save Effect” is used. Morphing parameters and the solo/mute buttons (wet, dry, input) are not saved.

All presets and programs are saved in Cubase/Nuendo when “Save Bank” is used. They are also saved in the session file for each instance of the plugin.

Editing the name in Cubase/Nuendo modifies the current preset's name. The new name will appear in all preset select lists, and will be saved with the session, bank or effect.

RealVerb Pro Preset List

Table 9. RealVerb Pro Presets

Acoustic Guitar Hairy Snare

Apartment Living High Ceiling Room

Big Ambience Jazz Club

Big Bright Hall Large Bathroom

Big Cement Room Large Dark Hall

Big Empty Stadium Long Tube

Big Snare Medium Drum Room

Big Warm Hall Nice Vocal 1

Cathedral Nice Vocal 2

Church Slap Back

Dark Ambience Small Bright Room

Drums in a Vat Small Dark Room

Eternity Sparkling Hall

Far Away Source Tight Spaces

Ghost Voice Wooden Hall

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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.

DreamVerb also features a flexible 5-band active EQ and unique level ramping for the early and late reflections for ultra-realistic dynamic room simulation. And with Universal Audio’s proprietary smoothing algorithm, all parameters can be adjusted with automation or in real-time without distortion, pops, clicks, or zipper noise.

DreamVerb provides two graphic menus for selecting preset room shapes. The shapes can be blended according to the demands of your mix. Room materials are selected with two graphic menus containing preset Materials. A third menu specifies the air density for further spectral control. As with the room shapes, the materials and air can be blended as desired.

DreamVerb also includes intuitive graphic control over equalization, timing and diffusion patterns. To maximize the impact of your recording, we put independent control over the direct path, early reflections, and late-field reverberation in your hands.

Capitalizing on the psychoacoustic technology that went into the design of RealVerb Pro, we have incorporated some of these principles into DreamVerb. Our proprietary Stereo Soundfield Panning allows you to spread and control the signal between stereo speakers creating an impression of center and width. The ability to envelop your listener in a stereo recording is an entirely new approach to reverb design.

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Screenshot

Figure 28. The DreamVerb plugin window

Signal Flow

Figure 29 illustrates the signal flow for DreamVerb. The input signal is equal-

ized 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.

Source

Input

Gain &

Mute

Delay

Direct Path

Early

Reflections

LateField

Reverb

Pan

Pans &

Distance

Wet/Dry

Mix

Gain

Output

Figure 29. DreamVerb signal flow

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The DreamVerb user interface (Figure 28 on page 90) 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 32 on page 93). Early reflection pre-delay, slope, timing, and amplitude are specified in the Reflections panel (Figure 34 on page 98). The Materials panel (Figure 33 on page 95) is used to select relative late-field decay rates as a function of frequency. The late-field predelay, decay rate, room diffusion, slope, and level is specified in the Reverberation panel (Figure 35 on page 99). Finally, the Positioning panel (Figure 36 on page 101) contains controls for the placement of the source, early reflections, and late-field reverberation.

Resonance (Equalization) Panel

The Resonance panel (Figure 30 on page 92) is a five-band equalizer that can control the overall frequency response of the reverb, effecting its perceived brilliance and warmth. By adjusting its Amplitude and band Edge controls, the equalizer can be configured as shelving or parametric EQs, as well as hybrids between the two.

The EQ curve effects the signal feeding both the early reflections and the late field reverberations, but not the direct path.

Bands 1 and 5 are configured as shelving bands. Bands 2, 3, and 4 also have an Edge control for adjusting its bandwidth.

Generally speaking, a lot of high-frequency energy results in a brilliant reverberation, whereas a good amount of low-frequency content gives a warm reverberation.

Note: The values for the EQ parameters are displayed in the text fields at the

bottom of the Resonance panel. The values can also be entered directly using the text entry method.

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Bypass switch Band Amplitude

control bats

Band 1 (low

shelving) control

Figure 30. DreamVerb Resonance panel

Band 2, 3, and 4

Edge control bats

Band 5 (high

shelving) control

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.

To adjust the amplitude of bands 2, 3, and 4, grab its control bat and drag vertically or use the direct text entry method. For bands 1 and 5, drag the horizontal line (these do not have a control bat).

Band Edge Bands 2, 3, and 4 have an Edge control. This parameter effects the band-

width of the band. To adjust the band edge, grab its control bat and drag horizontally or use the direct text entry method.

The effect of the band edge on the filter sound can depend upon the settings of the adjacent bands. For example, the sonic effect of this parameter is more pronounced if the amplitude of adjacent bands is significantly different than that of the band whose edge is being adjusted.

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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 31. DreamVerb Resonance Shelving Bands

Shape Panel

The parameters in the Shape panel, in conjunction with the Materials panel (Figure 33 on page 95), effect the spatial characteristics of the reverb.

The pattern of early reflections in a reverb is determined by the room shape(s) and the ER start and end points. Two shapes can be blended from 0–100%. All parameters can be adjusted dynamically in real time without causing distortion or other artifacts in the audio. 21 shapes are available, including various plates, springs, rooms, and other acoustic spaces.

Note: The Shape parameters effect only the early reflections. They have no

effect on the late field reverberation.

First shape

display

Second

shape

display

First shape percentage

Figure 32. DreamVerb Shape panel

First shape

selector

Blending bar

Second shape

selector menu

Second shape

percentage

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Shape Menus DreamVerb lets you specify two room shapes that can

be blended to create a hybrid of early reflection patterns. The first and second shape each have their own menu. The available shapes are the same for each of the two shape menus.

The first shape is displayed in the upper area of the Shape panel, and the second shape is displayed in the lower area.

To select a first or second shape, click its shape pop-up selector menu to view the available shapes, then drag to the desired shape and release.

Shape Blending Bar

The Shape Blending Bar (see Figure 32 on page 93) is used to blend the two shapes together at any ratio. The two shapes are not just mixed together with this parameter; the early reflections algorithm itself is modified by blending.

Blend the early reflection patterns of the two rooms by dragging the Blending Bar. Drag the bar to the bottom to emphasize the first shape; drag to the top to emphasize the second shape.

The relative percentages of the two rooms appear at the bottom of the Shape panel. To use only one room shape, drag the Blending Bar so a shape is set to 100%.

The resulting early reflection pattern is displayed at the top of the Reflections panel (Figure 34 on page 98), where each reflection is represented by a yellow vertical line with a height indicating its arrival energy, and a location indicating its arrival time.

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Materials Panel

The parameters in the Materials panel, in conjunction with the Shape panel (Figure 32 on page 93) and Reverberation panel (Figure 35 on page 99) 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.

Note: While materials are used to control decay rates as a function of fre-

quency, the overall decay rate of the late-field reverberation is controlled from the Reverberation panel (see Figure 35 on page 99).

24 real-world materials are provided, including such diverse materials as brick, marble, hardwood, water surface, and audience. Also included are 24 artificial materials with predefined decay rates, and seven air densities.

Note: The parameters in the Materials panel always effect the late-field re-

verberations. However, the materials parameters effect the early reflections ONLY if the “Filtering” parameter in the Reflections panel (Figure 34 on

page 98) is set to a non-zero value.

Air Density

selector menu

First material

display

Solid materials

Blending Bar

First material

selector menu

2nd material

percentage

Figure 33. DreamVerb Materials panel

Air percentage

Air Density

display

Air Blending

Bar

Second material

display

First material

percentage

Second material

selector menu

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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.

To select the first or second material, click its material pop-up selector menu to view the available materials, then drag to the desired material and release.

For a discussion of the various materials, see “About the

Materials” on page 79.

In addition to the “perfect” materials marked with a K, DreamVerb provides “J” materials that are not found in RealVerb Pro. These perform the inverse of the “K” materials. The materials marked with a J preferentially absorb low frequencies; they give the selected decay time at high frequencies, and a much shorter decay time at low frequencies.

Air Density Menu

DreamVerb allows you to specify the density of the air in the reverberant space with this menu, enabling another dimension of sonic control.

The more dense the air is, the more it absorbs high frequencies. At the top of the Air Density menu is Ideal Gas, where no frequencies are absorbed. The air quality increases in density with each selection as you go down the menu.

Inverse Air and Inverse Thick Fog absorb more low frequencies instead of high frequencies.

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Materials Blending Bars

The Materials Blending Bars (see Figure 33 on page 95) 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.

The relative percentages of the two materials appear next to each menu in the Materials panel. To use only one material, drag the Blending Bar so a material is set to 100%.

Air Blending

Blend the air density with the materials by dragging the horizontal Blending Bar vertically. Drag the bar to the top to emphasize the solid materials; drag to the bottom to emphasize the air.

The percentage of air used appears next to the Air Density menu. To use only solid materials, drag the horizontal Blending Bar to the top so air is set to 0%. To use only air, drag the horizontal Blending Bar to the bottom so air is set to 100%.

Reﬂections Panel

The Reflections panel (Figure 34 on page 98) offers control over the timing and relative energies of the reverb early reflections (ER). These parameters effect the reverb’s perceived clarity and intimacy. Each early reflection is visually represented by a yellow vertical line with a height indicating its arrival energy and a location indicating its arrival time.

Unique to DreamVerb is independent control of the amplitude at the early reflection start and end points which facilitates envelope shaping of the reflections. This allows the ability to fade-in or fade-out the reflections to more accurately emulate acoustic environments or for special effects.

Note: The values for the Start and End bats are displayed in the text fields at

the bottom of the Reflections panel. These values can also be entered directly using the text entry method.

UAD Powered Plug-Ins Manual - 97 - DreamVerb

ER End control

bat (time &

amplitude)

Bypass

switch

Materials

Filtering

control bat

ER Start control

bat (predelay &

amplitude)

Figure 34. DreamVerb Reflections panel

Late-field

relative timing

display

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. Dragging the bat hor-

izontally controls the ER predelay (the delay between the dry signal and the onset of the ER). Dragging it vertically controls the amplitude of the reflections energy at the ER start time.

Reﬂections End This bat controls two ER end point parameters. Dragging the bat horizontally

controls the ER end time (the time at which the ER is no longer heard). Dragging it vertically controls the amplitude of the reflections energy at the end point.

Filtering This parameter determines the amount of filtering from the Materials panel to

be applied to the early reflections. The Materials effect upon the ER is most pronounced when Filtering is set 100%.

Note: The parameters in the Materials panel have no effect on the early re-

flections unless this parameter value is above 0%.

UAD Powered Plug-Ins Manual - 98 - DreamVerb

Late-Field Relative Timing

To highlight the relative timing relationship between the early reflections and late-field reverberation components, the shape and timing of the late-field is represented as an outline in the Reflections panel. The shape of this outline is modified by parameters in the Reverberations panel, not the Reflections panel.

Reverberation Panel

The Reverberation panel (Figure 35) contains the parameters that control the late-field (LF) reverb tail for DreamVerb.

The primary spectral characteristics of the late-field reverberation is determined by the parameters in the Materials panel (page 95) in conjunction with the Reverberation panel settings.

Note: The values for the late-field controls are displayed in the text fields at

the bottom of the Reverberations panel. These values can also be entered directly using the text entry method.

Bypass

switch

Early reflections

relative timing

display

Late-field start time

control bat

Figure 35. DreamVerb Reverberation panel

Amplitude and Slope

control bat

Diffusion

control

Decay Time

control bat

Bypass The late-field reverberations can be disabled with this switch. When the

switch is off (black instead of grey), the other Reflections controls have no effect. This switch has no effect on the direct signal path.

UAD Powered Plug-Ins Manual - 99 - DreamVerb

Late-Field Start This parameter defines when the late-field reverb tail begins (the delay be-

tween the dry signal and the onset of the LF) in relation to the dry signal.

Amplitude & 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. Drag the bat to the left for a

short decay, or to the right for a long decay.

Diffusion This slider effects how quickly the late-field reverberations become more

dense. The higher the Diffusion value, the more rapidly a dense reverb tail evolves.

ER Relative Timing

To highlight the relative timing relationship between the early reflections and late-field reverberation components, the shape and timing of the early reflections is represented as an outline in the Reverberation panel. The shape of this outline is modified by parameters in the Reflections panel, not the Reverberation panel.

Positioning Panel

DreamVerb has the ability to separately position the direct path, early reflections, and late-field reverberation. The Positioning panel (Figure 36 on

page 101) provides panning controls for each of these reverb components. In

addition, a proprietary Distance control adjusts perceived source distance. These controls allow realistic synthesis of acoustic spaces—for instance listening at the entrance of an alley way, where all response components arrive from the same direction, or listening in the same alley next to the source, where the early reflections and reverberation surround the listener.

Note: When DreamVerb is used in a mono-in/mono-out configuration, all

Positioning controls except Distance are unavailable for adjustment.

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Universal Audio UAD1 Flexi PAK User manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Introduction

Welcome

Features

UAD PCI DSP Card

Vintage Compressors

Fairchild 670

Precision Limiter™

Neve 33609 Compressor

Neve 33609SE Compressor

Precision Equalizer™

Precision Multiband™

Vintage Equalizers

Pultec EQP-1A Program Equalizer

Pultec-Pro with MEQ-5

Neve 1073

Neve 1073SE

Neve 1081

Neve 1081SE

Helios Type 69

Cambridge EQ • Five bands of parametric or shelving equalization

Reverbs Plate 140

DreamVerb™

RealVerb Pro

CS-1™ Channel Strip

EX-1™ Equalizer/Compressor

DM-1™ Delay Modulator

Nigel • Preﬂex advanced guitar processor with user updatable amp models

Roland CE-1 • Reproduction of famous Chorus Ensemble in partnership with Roland

Roland RE-201 • Meticulous model of original Roland RE-201 Space Echo

System Requirements

All Platforms: • 100 MB of available hard disk space

Windows platform:

Mac OS X platform:

Manual Conventions

Cross-Platform Solution

Headings Instructions in this guide that are platform-specific will be indicated with a

Screen Shots Screenshots in this manual may be taken from the Windows and/or Mac OS

Installation

Refer to the QuickStart Guide

Install Software First

About PCI and PCI Express

UAD-1 and UAD-1e

Installing the UAD Hardware

Using UAD Powered Plug-Ins

Overview

Adjusting Parameters

Text Entry Parameter values can be modified directly with text entry. To enter a param-

Scroll Wheel If your mouse has a scroll wheel, it can be used to adjust knob and slider con-

Shortcuts Table 1 lists the keyboard shortcuts that are available for modifying parame-

Automation Every UAD Powered Plug-In parameter can be automated if this feature is sup-

Launching a UAD Powered Plug-In

Steinberg Cubase SX & Nuendo SX

UAD DSP Performance Meter Application

Overview The UAD Performance Meter is an application that displays the current CPU

Accessing Meter Functions

Windows Open the system menu by clicking the small icon at the upper left of the

Mac OS The File menu is available when the UAD DSP Performance Meter is in the

Using the Meter

UAD System Information Window

Card Enabled Individual UAD cards can be disabled using the Card Enabled function. This

Latency Calculator

DSP Settings These controls limit the maximum UAD CPU load before no more plugins will

Limit CPU Load Without UAD Powered Plug-Ins installed, overloading the host system with na-

Limit CPU Load

CPU Load Limit

User Interface Settings

Controls Mode

Circular (jump)

Relative Circular (grab)

Linear (slider)

Use Host Mode

PCI Bus Settings MIN_GNT is a low-level system setting that affects PCI bandwidth. The default

AMD-8131 Mode

Macintosh G5 Systems

Release all DSP resources on AudioUnit bypass

Force Logic Live Mode