Universal audio UAD1SP User Manual

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UAD-1 P

SER

ERSION

Manual Version 040113

3.4

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 www.poweredplugins.com

Notice

This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio 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.

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

Trademarks

UAD-1, Powered Plug-Ins, LA-2A, 1176, EX-1, DM-1, RS-1, CS-1 Channel Strip, 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 OPENING THE ACCOMPANYING PACKAGE. 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 from one computer to another, 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.

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 AUDIO-AUTHORIZED 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./ Postal Box 3818/Santa Cruz, CA/95063-3818.

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 Postal Box 3818, Santa Cruz, CA 95063-3818 USA, +1 (831) 466-3737 voice, +1 (831) 466-3775 fax, www.uaudio.com web.

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

Welcome Features System Requirements Manual Conventions

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

Refer to the QuickStart Guides Install Software First

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Installing the UAD-1 Hardware

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Chapter 3. Using UAD-1 Powered Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview Launching a UAD-1 Powered Plug-In UAD-1 DSP Performance Meter Application Accessing Meter Functions

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Using the Meter

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UAD-1 System Information Window UAD-1 Configuration Window Delay Compensation

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UAD Delay Compensator plugin DelayComp Examples

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Compensating for Pultec EQ UAD Track Advance TrackAdv Examples Live Processing DSP Usage

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Multiple Cards Copy Protected Plug-Ins

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Authorizing Multiple Cards Authorizations Window

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UAD-1 Powered Plug-Ins Manual - 3 - Contents

TABLE OF CONTENTS

Demo Mode Plug-In Authorization Procedure

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

Overview RealVerb Pro Background Spectral Characteristics Resonance (Equalization) Timing Positioning Levels Morphing RealVerb Pro Preset Management RealVerb Pro Preset List

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Chapter 5. LA-2A and 1176LN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview Compressor Basics Teletronix LA-2A Leveling Amplifier LA-2A Controls 1176LN Solid-State Limiting Amplifier 1176LN Controls 1176SE “Special Edition”

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Chapter 6. CS-1 Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview EX-1 Equalizer and Compressor EX-1 Equalizer Controls EX-1 Compressor Controls EX-1M Overview DM-1 Delay Modulator

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DM-1 Controls

UAD-1 Powered Plug-Ins Manual - 4 - Contents

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TABLE OF CONTENTS

DM-1L

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RS-1 Reflection Engine RS-1 Controls

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Chapter 7. Nigel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Introducing Nigel Preflex Plugin Preflex Modules Gate/Comp Module Amp Module Amp Controls Cabinet Module Phasor Module Mod Filter Module TremModEcho Plugin Trem/Fade Module

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Mod Delay Module Echo Module

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Chapter 8. Pultec EQP-1A Program Equalizer . . . . . . . . . . . . . . . . . . . . . . . .

Overview EQP-1A Screenshot Pultec EQ Controls Low Frequency Controls High Frequency Controls High Attenuation Controls

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Chapter 9. Cambridge EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview Cambridge EQ Screenshot Cambridge EQ Controls Low Cut / High Cut Filters

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UAD-1 Powered Plug-Ins Manual - 5 - Contents

TABLE OF CONTENTS

EQ Bands Parametric EQ Shelf EQ

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Chapter 10. DreamVerb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview Signal Flow Resonance (Equalization) Panel Shape Panel Materials Panel Reflections Panel Reverberation Panel Positioning Panel Levels Panel DreamVerb Preset Management

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

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. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

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135

Spatial Characteristics Preset Design Tips

Chapter 11. Fairchild 670. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Fairchild Screenshot

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

153

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

2 Compressors, 4 Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Controls Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Fairchild Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Chapter 12. History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

LA-2A. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

1176LN . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Thank You . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Index. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

UAD-1 Powered Plug-Ins Manual - 6 - Contents

LIST OF FIGURES

UAD-1 card installation 20 Launching a UAD-1 Powered Plug-In in Steinberg Cubase and Nuendo 24 Launching a UAD-1 Powered Plug-In in Emagic Logic Audio 24 The UAD-1 Performance Meter application window (Windows) 25 The UAD-1 Performance Meter application window (Mac OS) 25 System menu for the UAD-1 Performance Meter (Windows) 26 Alternate system menu for the Meter (Windows) 26 File Menu for UAD-1 Performance Meter (Mac OS) 27 Performance Meter Bring to Front button (Mac OS) 29 The UAD-1 System Information window (windows) 31 The UAD-1 System Information window (Mac OS) 32 The UAD-1 System Configuration window (Mac OS) 37 The UAD-1 System Configuration window (windows) 38 The UAD Delay Compensator plugin window 40 The UAD Track Advance plugin window 44 The UAD-1 Authorizations window 53 RealVerb Pro signal flow 58 The RealVerb Pro plugin window 58 RealVerb Pro Shape panel 59 RealVerb Pro Material panel 61 RealVerb Pro Resonance panel 64 RealVerb Pro Timing panel 66 RealVerb Pro Positioning panel 67 RealVerb Pro Levels panel 69 RealVerb Pro Morphing panel 69 RealVerb Pro in Morphing mode 70 Input and output characteristics of a compressor and perfect amplifier 73 Input and output curve of compressor with 2:1 ratio and –20 dB threshold 74 LA-2A signal flow 75 The LA-2A plugin window. 76 1176LN signal flow 77 The 1176LN plugin window 78

UAD-1 Powered Plug-Ins Manual - 7 - List of Figures

LIST OF FIGURES

The 1176SE plugin window 80 The CS-1 Channel Strip plugin window 81 The EX-1 EQ/Compressor plugin window 82 The DM-1 Delay Modulator plugin window 85 The DM-1L includes a Link button 88 The RS-1 Reflection Engine plugin window 88 The Nigel plugin window 92 The Preflex plugin window 93 The Gate/Comp module 94 The Amp module within Preflex 97 The Cabinet module within Preflex 101 The Phasor plugin window 103 The Mod Filter plugin window 106 The TremModEcho plugin contains three modules 110 The Trem/Fade module 111 The Mod Delay module 114 The Echo module 118 The Pultec EQP-1A Program Equalizer plugin window 121 Control grouping within the Pultec EQP-1A 121 The UAD Cambridge EQ plugin window 124 Cambridge EQ Response Curve display 125 Vertical resolution of the Response Curve can be changed with the Zoom buttons 126 The Curve Control Bats can be used to control EQ band frequency, gain, and Q 126 The EQ Band controls 129 Parametric Type I response 131 Parametric Type II response 131 Parametric Type III response 132 Shelf Type A 134 Shelf Type B 134 Shelf Type C 134 The DreamVerb plugin window 136 DreamVerb signal flow 136

UAD-1 Powered Plug-Ins Manual - 8 - List of Figures

LIST OF FIGURES

DreamVerb Resonance panel 138 DreamVerb Resonance Shelving Bands 139 DreamVerb Shape panel 139 DreamVerb Materials panel 141 DreamVerb Reflections panel 144 DreamVerb Reverberation panel 145 DreamVerb Positioning panel 147 DreamVerb Levels panel 148 The Fairchild plugin window 154

UAD-1 Powered Plug-Ins Manual - 9 - List of Figures

LIST OF TABLES

Keyboard shortcuts 22 Materials with high-frequency absorption 63 Materials with high-frequency reflection 63 RealVerb Pro Presets 71 Available RS-1 Shapes 89 Amp Type List and Descriptions 100 Cabinet Abbreviation Descriptions 102 List of Cabinet Types 102 Phasor LFO Types and Descriptions 105 Mod Filter: Mod Types and Descriptions 109 Mod Filter: Filter Types and Descriptions 109 Mod Delay LFO Types and Descriptions 117 Mod Delay Mode Menu List 117 Echo Mode Menu List 119 Available ranges for the Band Frequency parameter 129 Fairchild Operating Modes 157 Fairchild Time Constants 159

UAD-1 Powered Plug-Ins Manual - 10 - List of Tables

CHAPTER 1

Introduction

Welcome

Thank you for purchasing UAD-1 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-1™ 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-1 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™ and DreamVerb™ reverbs. Also included are our Vintage Compressor™ Plug-Ins, the 1176LN™ and LA-2A™. 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 multi-effects plugin solution. Nigel’s Preflex™ advanced guitar amp modeling technology goes well beyond the usual pre-amp/amp/cabinet emulators. The Cambridge EQ offers precise tonal manipulation. Last, but certainly not least, is the Pultec EQP-1A Program Equalizer. Its legendary sound is revered by mastering engineers worldwide.

At the heart of the Powered Plug-Ins package is the revolutionary UAD-1 DSP card. Because of its high precision data path, floating point processing, highspeed memory, and hardware dithering, the UAD-1 delivers outstanding, distortion-free, high-resolution sound quality.

The UAD-1 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-1 uses a single, unpartitioned processor, allowing for more sophisticated plug-in algorithms.

UAD-1 Powered Plug-Ins Manual - 11 - 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-1 PCI DSP

• UltraDither™ supported in hardware for all plug-ins

Card

• 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 PCI 2.1 Compliant, supports 66MHz operation and fast bus timing

• 7" form factor (PCI short card)

• Up to four cards supported with automatic load balancing

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

• Adjust room sizes from 1 to 99 meters

• 15 room shapes

• 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

UAD-1 Powered Plug-Ins Manual - 12 - Introduction

Vintage Compressors

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

CS-1™ Channel Strip

• “Special Edition” compressor derived from UA 1176LN

• Optimized for efﬁcient DSP usage

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

UAD-1 Powered Plug-Ins Manual - 13 - Introduction

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

• 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)

UAD-1 Powered Plug-Ins Manual - 14 - Introduction

Preﬂex • Exciting new 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-1 DSP efﬁciency

Pultec EQP-1A

• Legendary EQ revered by mastering engineers

Program Equalizer

• Highly usable, incredibly musical sonic characteristics

• Precision emulation of actual circuitry and performance

• UAD-1 DSP load remains constant even at highest sample rates

•Mono or Stereo operation

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

•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

UAD-1 Powered Plug-Ins Manual - 15 - Introduction

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

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-1 Powered Plug-Ins Manual - 16 - Introduction

System Requirements

UAD-1 Powered Plug-Ins require the following hardware and software:

Windows™ •Windows computer with available PCI slot for each UAD-1 card

•Microsoft Windows 98SE, ME, 2000, XP, or Server 2003

• 128 MB of RAM (256 MB is strongly recommended)

• 60 MB of available disk space

• CD drive or internet connection for software installation

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

• DirectX is supported under Cakewalk Sonar, and Sonic Foundry Sound Forge, Acid, and Vegas

• 1024 x 768 or higher resolution monitor

• An AGP graphics video adapter (PCI graphics is not recommended)

Macintosh™ •Mac OS PowerPC computer with available PCI slot for each UAD-1 card

(G3 or better recommended; processor upgrade cards are not ofﬁcially supported)

•Mac OS 9.x or Mac OS X 10.2 or higher

• 128 MB of RAM (256 MB is strongly recommended)

• 60 MB of available disk space

• CD drive or internet connection for software installation

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

•MAS version (OS 9 only) requires Mark Of The Unicorn MAS version 2.3 or higher, and Digital Performer or AudioDesk host software

• Audio Units version (OS X only) requires AU compatible host software such as Emagic Logic Audio 6.x or MOTU Digital Performer 4.1

• 1024 x 768 or higher resolution monitor

• An AGP graphics video adapter (PCI graphics is not recommended)

UAD-1 Powered Plug-Ins Manual - 17 - Introduction

Manual Conventions

Cross-Platform Solution

UAD-1 Powered Plug-Ins is a cross-platform solution for both Windows and Mac OS-based computers. The UAD-1 PCI 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-1 Powered Plug-Ins Manual - 18 - Introduction

CHAPTER 2

Installation

Refer to the QuickStart Guides

Software installation and removal for each of the various platforms and operating systems has its own particular procedures. Please refer to the printed QuickStart documentation included in the product box for complete instructions on how to install and remove the software on each system.

Note: The QuickStart guide is also included in Adobe’s Portable Document

Format (“pdf”) in the downloadable version of the software bundle. Get the latest version of the software bundle for your platform at: http://www.uaudio.com/PPI/downloads/readme.html

Install Software First

For best results, the Powered Plug-Ins software must be installed before installing the UAD-1 PCI card. See the QuickStart Guide for instructions.

Instructions for hardware installation follows in the next section.

UAD-1 Powered Plug-Ins Manual - 19 - Installation

Installing the UAD-1 Hardware

After installing the UAD-1 Powered Plug-Ins software, install the UAD-1 PCI DSP card(s). Hardware installation is the same for all platforms.

To install the UAD-1 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 PCI

expansion slot.

4. Before handling the UAD-1 card, discharge any static electricity by touch-

ing the outer casing of the power supply.

5. Remove the UAD-1 card from its protective anti-static bag. Do not touch the

gold PCI edge connector contacts.

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

the PCI slot inside the computer.

Figure 1. UAD-1 card installation

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

ﬁrm, even pressure. The card should “pop” into place. The top of the PCI slot on the motherboard should be ﬂush and parallel with the edge of the UAD-1 card.

8. Secure the card with the previously removed screw.

9. Replace the computer case

Hardware installation is now complete.

UAD-1 Powered Plug-Ins Manual - 20 - Installation

CHAPTER 3

Using UAD-1 Powered Plug-Ins

Overview

Once the UAD-1 card and Powered Plug-Ins have been properly installed, the UAD-1 Powered Plug-Ins are accessed and used just like any host-based plugin. All UAD-1 Powered Plug-Ins can run concurrently with each other and with host-based plugins simultaneously, in any combination.

All UAD-1 Powered Plug-Ins support up to 32-bit, 192KHz operation. 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-1 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-1 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 35.

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-1 Powered Plug-Ins Manual - 21 - Using UAD-1 Powered Plug-Ins

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

trols. Place the mouse cursor over any knob or slider control to increment or decrement the parameter value with the scroll wheel. This feature is not supported under Mac OS due to a limitation of the 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-1 Powered Plug-Ins Manual - 22 - Using UAD-1 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-1 Powered Plug-In parameter can be automated if this feature is

supported 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-1 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-1 Powered Plug-Ins Manual - 23 - Using UAD-1 Powered Plug-Ins

Launching a UAD-1 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/Nuendo

Emagic Logic Audio

Figure 2. Launching a UAD-1 Powered Plug-In in Steinberg Cubase and Nuendo

Figure 3. Launching a UAD-1 Powered Plug-In in Emagic Logic Audio

UAD-1 Powered Plug-Ins Manual - 24 - Using UAD-1 Powered Plug-Ins

UAD-1 DSP Performance Meter Application

Overview The UAD-1 Performance Meter is an application that displays the current CPU

and memory status of the UAD-1 DSP hardware card in realtime. Its small floating window enables you to monitor the resource load of the UAD-1, while simultaneously using your host application.

It also contains system information and configuration windows that enable you to confirm the UAD-1 is functioning properly, check the version of the software drivers, and adjust the UAD-1 buffers.

If multiple UAD-1 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 30).

Launching the Meter

Windows

Figure 4. The UAD-1 Performance Meter application window (Windows)

Figure 5. The UAD-1 Performance Meter application window (Mac OS)

To launch the UAD-1 Performance Meter application in Windows:

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

ing installation. OR,

2. Access the application from the Start Menu at Programs/UAD-1 Powered

Plug-Ins/UAD-1 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-1 Powered Plug-Ins Manual - 25 - Using UAD-1 Powered Plug-Ins

Launching the

To launch the UAD-1 Performance Meter application in Mac OS:

Meter

Mac OS

1. Double-click the UAD-1 Meter alias that was placed on the Desktop (OS 9)

or in the Dock (OS X) during installation. OR,

2. Double-click the UAD-1 Meter application ﬁle that was copied to your hard

drive inside the Powered Plug-Ins Tools folder during installation.

Accessing Meter Functions

The UAD-1 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-

1 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-1 Performance Meter (Windows)

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

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Mac OS The File menu is available when the UAD-1 DSP Performance Meter is in the

foreground. When the UAD-1 Performance Meter application is in the foreground, toggle the ‘Always on top’ item in the File Menu (or type the Command + T shortcut). You can easily bring the Meter to the foreground by clicking the Bring to Front button (see Figure 9 on page 29).

Figure 8. File Menu for UAD-1 Performance Meter (Mac OS)

Using the Meter

The UAD-1 DSP Performance Meter can be launched or quit at any time. It does not need to be open or active to use UAD-1 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.

The CPU gauge indicates the percentage of UAD-1 DSP that is currently in use. It indicates the total available UAD-1 DSP statistics, regardless of the number of UAD-1 cards that are installed. When UAD plugins are disabled, DSP requirements are decreased.

The Memory gauge indicates the percentage of UAD-1 memory that is currently in use. It indicates the total available UAD-1 memory available, regardless of the number of UAD-1 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.

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Always On Top 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 (Windows) and On/Off button (Mac OS). This setting is saved when the meter is quit.

Enable Menu

(Windows)

On/Off Button

(Mac OS)

The Enable Menu allows you to disable all UAD-1 Powered Plug-Ins that are currently running. This enables you to add new plugins for offline processing if the UAD-1 is low on DSP, or easily compare the sound of the processed and unprocessed audio.

When the menu displays “Enabled” all UAD-1 plugins are active. Select “Disable current” from the menu to disable the active plugins. New UAD-1 plugins can then be added. Select “Enable all” to re-activate all UAD-1 plugins.

The On/Off button allows you to disable all UAD-1 Powered Plug-Ins that are currently running. This enables you to add new plugins for offline processing if the UAD-1 is low on DSP, or easily compare the sound of the processed and unprocessed audio.

When the button displays “On” all UAD-1 plugins are active. Click the button to disable the active plugins. New UAD-1 plugins can then be added. Click the button again to reactivate the plugins.

Bring to Front Button (Mac OS)

To access the File menu of the Performance Meter application, the application must be in the foreground. The “Bring To Front” shortcut button (see Figure 9

on page 29) makes this easy by immediately bringing the Performance Meter

application to the foreground when clicked, saving a mouse trip to the Mac OS application menu.

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Note: The “Bring To Front” button is only present when the Performance

Meter is in “Always On Top” mode. When the Performance Meter is not in this mode, the application comes to the foreground whenever you click anywhere in the Performance Meter window.

Figure 9. Performance Meter Bring to Front button (Mac OS)

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UAD-1 System Information Window

The UAD-1 System Information window (Figure 10 on page 31 and

Figure 11 on page 32) displays the version of the UAD-1 software drivers in

use by the UAD-1 hardware and also allows you to confirm that the card is working properly. When the window displays UAD-1 Status: OK and UAD-1 DSP: OK, the card is operating properly. The number of UAD-1 plugins loaded on the card(s) is also displayed here.

If more than one UAD-1 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-1 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-1 Powered Plug-Ins software. Refer to the QuickStart Guide for instructions

Card Enabled Individual UAD-1 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 48.

Note: For optimum results, quit any host applications using UAD-1 plugins

before disabling/enabling cards.

In Mac OS, the current UAD-1 plugin latency is displayed in the System Information window. In Windows, this information is displayed in the Configuration window (page 38). 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 10. The UAD-1 System Information window (windows)

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System Info

(Mac OS)

Figure 11. The UAD-1 System Information window (Mac OS)

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UAD-1 Conﬁguration Window

The UAD-1 Configuration Window (Figure 13 on page 38 and Figure 12 on

page 37) displays additional information about the UAD-1 card and is also

used to modify some UAD-1 settings.

Latency Calculator

DMA Settings (Windows)

The number of active UAD-1 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-1 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-1 Powered plugIns are used with a DirectX wrapper. If the situation is not corrected, the use of UAD-1 Powered Plug-Ins will introduce excess host CPU load.

To conﬁgure the UAD-1 for Cubase and Nuendo large ASIO buffer size support:

1. Launch the UAD-1 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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AMD-8131 Mode

If your computer uses the AMD-8131 PCI controller chipset, check the “AMD8131 Compatible” box. This will improve UAD-1 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-1 is in an external PCI expansion chassis, this mode should be disabled.

The AMD-8131 chipset is also used in Macintosh G5 systems. However, the UAD-1 software automatically determines when it is running on a G5 and sets the mode appropriately, therefore there is no corresponding checkbox in the Mac OS Configuration Window.

DSP Settings These controls limit the maximum UAD-1 CPU load before no more plugins

will be processed by the UAD-1.

CPU load limiting was introduced in version 3.0. The option is off by default so sessions with heavy UAD-1 loads that have been saved with UAD-1 software versions previous to 3.0 will playback without any UAD-1 plugins being disabled due to overload.

Without UAD-1 Powered Plug-Ins installed, overloading the host system with native (host based) plugins can cause dropouts and possibly system lockup. Steinberg hosts, for example, provide a switch that allows you to trade latency for stability when the system is overloaded. Similarly, the UAD-1 DSP load cannot exceed 100% without unpredictable behavior.

With the Limit CPU Load feature, the UAD-1 CPU can also be limited so the load cannot exceed 100%, thereby increasing overall system stability in high load situations. With very heavy UAD-1 loads, CPU load limiting may also improve host CPU performance.

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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-1 plugin can’t be added, even when the UAD-1 Meter says you should have CPU available when compared to the CPU Load Limit value.

Limit CPU Load

UAD-1 CPU Load Limiting is enabled when this box is checked.

CPU Load Limit

This setting controls the maximum UAD-1 CPU when load limiting is enabled. It has no affect when CPU load limiting is off.

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).

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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

Modiﬁer Key

(Mac OS)

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-1 user interface settings.

Note: When Use Host Mode is checked, the UAD-1 Meter user interface set-

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

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 22.

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PCI Bus Settings This parameter adjusts a low-level system setting and should never need to be

modified. It is provided for technical support purposes only.

Important: System performance can be adversely affected by changing this

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

Conﬁguration Window

(Mac OS)

Figure 12. The UAD-1 System Configuration window (Mac OS)

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Conﬁguration Window

(Windows)

Figure 13. The UAD-1 System Configuration window (windows)

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Delay Compensation

Overview When UAD-1 Powered Plug-Ins are used, audio data to be processed by a

Powered Plug-In is sent by the host application to the UAD-1 card. The audio is then processed by the UAD-1 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-1 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 Delay Compensation” throughout the entire signal path, including sends, groups, and busses.

However (depending on the host application implementation), the delay compensation feature may not provide automatic compensation when UAD-1 Powered Plug-Ins are inserted on sends, groups, or busses. In this situation, the solution is to use the UAD Delay Compensator plugin (“UAD Delay Com-

pensator plugin” on page 40).

Host Application Settings

Note: These explanations of delay compensation apply primarily to play-

back only. For more information about using UAD-1 Powered Plug-Ins for live performance and during recording, “Live Processing” on page 47.

Note: For information about using UAD-1 Powered Plug-Ins on audio tracks

while simultaneously running MIDI tracks, “UAD Track Advance” on

page 44.

For optimum results, the “Plugin Delay Compensation” option setting should be active in the host application. This will provide automatic latency compensation when UAD plugins are used on track inserts (and sends/group/busses 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 switch for this option within several popular applications is as follows:

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

•Nuendo: File Menu>Preferences>VST

•Logic Audio: Audio Menu>Audio Preferences...

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UAD Delay Compensator plugin

Overview 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-1 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 busses.

Note: UAD DelayComp should not be used in situations where the host ap-

plication 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. As of this writing, hosts with fully automatic compensation include all DirectX hosts, Steinberg Nuendo/Cubase 2.x, and Magix Samplitude 7.x.

The UAD Delay Compensator acts as a dummy UAD-1 Powered Plug-In, automatically introducing the necessary amount of latency for tracks which are NOT processed by UAD-1 Powered Plug-Ins. It requires no DSP from the host CPU or the UAD-1 card and allows you specify the number of UAD-1 Powered Plug-Ins instances you wish to compensate.

Figure 14. The UAD Delay Compensator plugin window

When to use DelayComp

UAD DelayComp should be used whenever unprocessed audio tracks are played alongside audio tracks that are assigned to a send/group/bus that is using a UAD 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-1 Powered

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

Note: When the UAD Pultec EQ is being used in conjunction with Delay-

Comp, the Samples parameter should be used in addition to the Plugs parameter (“Compensating for Pultec EQ” on page 43).

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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-1 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-1 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-1

Powered Plug-Ins used serially (stacked one above another in series), NOT the total number of UAD-1 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 43 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.

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

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 Plugin 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 Plugin value of 1 on this group/bus that contains the unprocessed tracks. Keep the Sample value at zero.

Note: Some host applications provide fully automatic delay compensation

throughout the entire signal path. UAD DelayComp is not needed at all in such hosts. As of this writing, hosts with fully automatic compensation include all DirectX hosts, Steinberg Nuendo/Cubase 2.x, and Magix Samplitude 7.x.

Note: Check out our UAD DelayComp Examples on the UAD-1 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 Pultec EQ uses an internal sample rate of 192kHz to achieve its magic quality. This upsampling results in a slightly larger latency than other UAD-1 plugins. Therefore, it requires slightly more compensation to remain perfectly synchronized with other tracks. Specifically, it requires an extra 13 samples of compensation.

Therefore, when using the DelayComp or TrackAdv plugin on sends, groups, and busses to compensate a Pultec EQ, enter a Samples value of 13 for each instance of Pultec.

Note: Compensating for Pultec EQ is required even if the host application

supports “full delay compensation” throughout the signal path.

Note: When running audio at 192kHz resolution, no Pultec upsampling is

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

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

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

Pultec Group/Bus Example

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 Plugin value of 1 and a Sample 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 Sample value would be 26.

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UAD Track Advance

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

on page 39) apply mainly when using only audio tracks. When MIDI tracks

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

Let’s say you have a MIDI track and an audio track with a UAD plugin on the audio track insert. 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/busses. 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-1 so the net result is that the audio plays early.

Figure 15. The UAD Track Advance plugin window

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

delay compensation. This is why the MAS version does not include UAD TrackAdv.

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When to use TrackAdv

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).

How to use TrackAdv

UAD TrackAdv is designed to be used on audio track inserts of tracks that are assigned to a send/group/bus that has one or more UAD plugins applied. 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.

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-1 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-1 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-1 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 43 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.

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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 au-

tomatically 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.

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: First, send the output of the unprocessed audio tracks (but not the vocal tracks or LA2A return) to a different group/bus and put one DelayComp with a Plugin value of 1 on this group/bus that contains the unprocessed tracks. This aligns the audio tracks. Second, put a TrackAdv on the drum and guitar track inserts with a Plugs value of 1. This aligns the audio tracks to the MIDI track. Keep the Sample value at zero.

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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-1 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-1 card, then back again. For example, with a buffer size of 256 samples, one Powered Plug-In will introduce 512 samples of latency, and two Powered Plug-Ins in succession will introduce 1024 samples of latency.

DSP Usage

The UAD-1 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-1 CPU usage is proportional to the host application sample rate and system 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, bypassing the compressor in the EX-1 when only the EQ is in use, and/or bypassing any of the unused bands of the EX-1 EQ will use less UAD-1 CPU.

• The UAD-1 CPU resources required by each successive UAD-1 Powered

Plug-In instance will slightly decrease.

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Multiple Cards

When multiple UAD-1 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 52.

Power Requirement

Up to four UAD-1 cards can be installed simultaneously in the host computer. Each UAD-1 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.

Multicard Use The UAD-1 card that has the lowest resource usage will receive the next Pow-

ered Plug-In load. Note that an individual UAD-1 plugin cannot be split across two (or more) UAD-1 cards.

For example, let’s say you have two UAD-1 cards installed, the UAD-1 Meter displays 90%, you load another UAD-1 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-1 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 31).

Disabling Cards Individual UAD-1 cards can be disabled using the Card Enabled function (see

page 30). 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-1 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).

UAD-1 Powered Plug-Ins Manual - 48 - Using UAD-1 Powered Plug-Ins

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-1 cards during tracking may give the extra pinch of host CPU you need. The buffer size can then be increased and the UAD-1 card(s) re-enabled for mixing.

UAD-1 Powered Plug-Ins Manual - 49 - Using UAD-1 Powered Plug-Ins

Copy Protected Plug-Ins

Overview The UAD-1 Powered Plug-Ins software installation bundles always includes ev-

ery component that is part of the current software version, such as drivers, plugins, UAD-1 Meter application, and documentation. Version 3.4 includes three copy-protected plugins, Cambridge EQ, DreamVerb, and Fairchild, that can be authorized for an additional fee.

UAD Cambridge, UAD DreamVerb, and UAD Fairchild 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 54).

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

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

• http://www.uaudio.com/authorizations

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-1 hardware identification number(s), into your account. Plugins can then be securely purchsed 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 direcly from your personalized account pages at my.uaudio.com. On the PC, this file is loaded into the host computer containing the UAD-1 card by simply double-clicking the file. On Mac OS, this file is dragged onto the UAD-1 Meter application icon (not the DSP/Memory bar graph window) or loaded using the “Load Settings File” menu item from within the Meter.

The specific details of the authorization process is detailed later in this section (see “Plug-In Authorization Procedure” on page 55).

Studio PAK The UAD-1 Studio PAK includes a license for all paid plugins. To authorize the

plugins for use with UAD-1 Studio PAK, see the license card inside the retail box. It contains the required license code as well as instructions on how to obtain the authorization key files.

UAD-1 Powered Plug-Ins Manual - 50 - Using UAD-1 Powered Plug-Ins

.reg Authorization Key File

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-1 card(s). It does not contain other system information that restrict use of the cards or authorized plugins.

Note: It is the UAD-1 hardware that is authorized, not the software plugin.

If the UAD-1 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-1 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-1 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!

Mac OS In OS 9, once a card is authorized and it is used with a different System

Folder or CPU, you can copy the UAD Registry file (inside System Folder:Preferences) into the current System Folder:Preferences instead of loading the .reg file. This has the advantage of not only copying your authorizations, but all your other UAD-related preferences as well. In 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

As of version 3.4, 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.

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Authorizing Multiple Cards

When you buy a copy-protected plugin, your purchase is valid for up to four UAD-1 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.

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 remains 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.

UAD-1 Powered Plug-Ins Manual - 52 - Using UAD-1 Powered Plug-Ins

Authorizations Window

The Authorizations window (Figure 16) is accessed within the UAD-1 Meter application.

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 26” 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-1 demo timer has not been started.

When the Start demo button is clicked, it checks to see if any UAD-1 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-1 plugins are running.

Figure 16. The UAD-1 Authorizations window

UAD-1 Powered Plug-Ins Manual - 53 - Using UAD-1 Powered Plug-Ins

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-1 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-1 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-1 Powered Plug-Ins version 3.1 or higher is already installed

and conﬁgured properly (see “Installation” on page 19).

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

3. Launch the UAD-1 Meter application (page 26).

4. When the UAD-1 Meter is in the foreground, select “Authorizations...” from

the System Menu (Windows; page 26) or File Menu (Mac OS; page 27). The Authorizations window (Figure 16 on page 53) 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.

UAD-1 Powered Plug-Ins Manual - 54 - Using UAD-1 Powered Plug-Ins

Plug-In Authorization Procedure

This section details how to acquire and load the plugin authorization file. Please read the overview (page 50) 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-1 hardware that is authorized, not the plugin file.

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

cific UAD-1 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-1 card to run a copy protected plugin under Windows:

1. Ensure UAD-1 Powered Plug-Ins version 3.1 or higher is already installed

and conﬁgured properly (see “Installation” on page 19). Versions before

3.1 will not generate the proper Hardware IDs.

2. Quit all open VST and DirectX host applications.

3. Launch the UAD-1 Meter application (page 25).

4. When the UAD-1 Meter is in the foreground, select “Authorizations...” from

the System Menu (page 26). 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://www.uaudio.com/authorizations

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-1 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-1 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.

UAD-1 Powered Plug-Ins Manual - 55 - Using UAD-1 Powered Plug-Ins

Authorization Procedure

(Mac OS)

To authorize a UAD-1 card to run a copy protected plugin under Mac OS:

1. Ensure UAD-1 Powered Plug-Ins version 3.1 or higher is already installed

and conﬁgured properly (see “Installation” on page 19). Versions before

3.1 will not generate the proper Hardware IDs.

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

UAD-1 Meter application (page 26).

3. When the UAD-1 Meter is in the foreground, select “Authorizations...” from

the File Menu (page 27). The Authorizations window appears.

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

text is copied to the system clipboard.

5. Go to the following URL on the internet:

•http://www.uaudio.com/authorizations

6. Follow the instructions on the web page(s). Y ou can paste the Hardware ID

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

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

tings ﬁle containing the authorization key for the UAD-1 is then downloaded directly from your account page at the web store.

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

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

•Drag and drop the ﬁle onto the UAD-1 Meter application icon or its alias (NOT the CPU/Memory bar graph window!).

•Select “Load Settings...” from the File Menu within the UAD-1 Meter , navigate to the location of the ﬁle on disk, then click Open.

10. The UAD-1 card is authorized to run the 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 Mac OS is complete.

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

cific UAD-1 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 OS 9 it is System Folder:Preferences:UAD

Registry; in OS X it is Library:Preferences: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!

UAD-1 Powered Plug-Ins Manual - 57 - RealVerb Pro

RealVerb Pro Background

Source

Input

Pan

Direct Path

Wet/Dry

Mix

Early

Reflections

LateField

Reverb

Pans &

Distance

Gain

Output

Gain &

Mute

Delay

Figure 17. RealVerb Pro signal flow

Figure 17 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 18. The RealVerb Pro plugin window

UAD-1 Powered Plug-Ins Manual - 58 - RealVerb Pro

The RealVerb Pro user interface is similarly organized (see Figure 18). 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 19. RealVerb Pro Shape panel

UAD-1 Powered Plug-Ins Manual - 59 - RealVerb Pro

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 22 on page 66), 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 62.

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First material

econd

material

Blending bar

First material selector pop-

up menu

First material

Thickness

control

Figure 20. 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 22 on page 66).

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.

UAD-1 Powered Plug-Ins Manual - 61 - RealVerb Pro

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-

UAD-1 Powered Plug-Ins Manual - 62 - RealVerb Pro

tion frequency, the frequency at which the decay rate is halfway between the low-frequency and high-frequency values. At 100% thickness, the ratio of 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 2. 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 3. Materials with high-frequency reflection

Heavy Plate Glass Seats Plywood Marble Hardwood Concrete Block Glass Window Linoleum Cork

UAD-1 Powered Plug-Ins Manual - 63 - RealVerb Pro

Resonance (Equalization)

The Resonance panel has a three-band parametric equalizer that can control the overall frequency response of the reverb, affecting its perceived 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 21. 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.

UAD-1 Powered Plug-Ins Manual - 64 - RealVerb Pro

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

adjacent to each other . T o 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 22).

UAD-1 Powered Plug-Ins Manual - 65 - RealVerb Pro

Amplitude

control

Predelay

control

Amplitude

Control

Predelay

control

Decay Time

control

Figure 22. 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 19).

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.

UAD-1 Powered Plug-Ins Manual - 66 - RealVerb Pro

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 23) 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 23. 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.

UAD-1 Powered Plug-Ins Manual - 67 - RealVerb Pro

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 23). 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 23). 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 24. 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 25. RealVerb Pro Morphing panel

Figure 25 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 appearance and will no longer be accessible. When inserted on a Send effect, the ‘W’ button automatically turns on (to keep the mix at 100% wet).

On an insert effect, the Mix will change back and forth between the two mix values of each preset.

Figure 26. 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 4. 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

LA-2A and 1176LN

Overview

The LA-2A and 1176LN compressor/limiters long ago achieved classic status. They're a given in almost any studio in the world - relied upon daily by engineers whose styles range from rock to rap, classical to country and everything in between. With so many newer products on the market to choose from, it's worth looking at the reasons why these classics remain a necessary part of any professional studio's outboard equipment collection.

The basic concept of a compressor/limiter, is of course, relatively simple. It's a device in which the gain of a circuit is automatically adjusted using a predetermined ratio that acts in response to the input signal level. A compressor/limiter “rides gain” like a recording engineer does by hand with the fader of a console: it keeps the volume up during softer sections and brings it down when the signal gets louder. The dynamic processing that occurs at ratios below 10 or 12 to one is generally referred to as compression; above that it's known as limiting.

Modern day compressors offer a great degree of programmability and flexibility; older devices such as the 1176LN and the LA-2A are more straightforward in their design. Perhaps it is this fact that has contributed to their appealing sound and the longevity of their popularity.

Compressor Basics

Before discussing the LA-2A and 1176LN plugins, this section will cover some compressor basics. A compressor automatically adjusts the gain of a signal by a predetermined ratio. In a sense, a compressor “rides” gain—much like a recording engineer does (by hand) with a fader—keeping the volume up during softer sections and bringing it down when the signal gets louder.

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Figure 27 depicts the input and output characteristics of a compressor and

perfect amplifier. When operated within its specified range, an amplifier provides a constant amount of gain regardless of the input signal level. In

Figure 27, the signal level of a perfect amplifier is represented with a constant

output gain of 10 dB. In this example, a signal with an input level of –30 dB results in an output level of –20 dB, which is an increase of 10 dB. Similarly, an input level of 0 dB results in an output level of 10 dB (the gain stays fixed at 10 dB regardless of the input level).

In contrast to an amplifier, whose function is to present a constant gain, a compressor varies its gain in response to the level of the input signal. Large input signals result in less gain, thus reducing or compressing the dynamic range of the signal. In Figure 27, a compressed signal with an input level of –30 dB results in an output level of –20 dB, indicating a gain of 10 dB. However, with input levels of –20 dB and –10 dB, the compressor exhibits gains of 5 dB and 0 dB (respectively), thereby illustrating that the gain decreases as the input signal increases. This increase in output level by 5 db for every 10 dB is defined as a compression ratio of 2:1 (reduced from 10:5).

Perfect Amplifier

+10

Output Level (dB)

Figure 27. Input and output characteristics of a compressor and perfect amplifier

–10

–20

–30

–30 –20 0

–10

Input Level (dB)

Compression

+10

The amount of compression, or gain reduction, typically expressed in decibels (dB), is defined as the amount by which the signal level is reduced by the compressor. Graphically, this can be represented (see Figure 28) by the difference in output levels between the original signal (without compression) and the compressed signal. The LA-2A and 1176LN display this value when their VU Meters are set to Gain Reduction.

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+10

Compression region

10 dB of compression

Output Level (dB)

Figure 28. Input and output curve of compressor with 2:1 ratio and –20 dB threshold

–10

–20

–30

knee

–30 –20 0

–10

Input Level (dB)

2:1 compression ratio

+10

As mentioned previously, the compression ratio is defined as the ratio of the increase of the level of the input signal to the increase in the level of the output signal. In Figure 28, the input level is increased by 10 dB while the output level increases 5 dB. This is a compression ratio of 2:1. Lower compression ratios such as 2:1 result in mild compression. A compression ratio of 1:1 yields no compression.

Note: Compression ratios above 10:1 are commonly referred to as “limiting” or “peak-limiting,” where amplitude peaks are reduced.

Compressors often let you set a threshold, the point at which gain reduction starts to take place. When the level of an audio signal is below this threshold there is no gain reduction. As the level of the signal increases above the threshold level, gain reduction and compression occurs. The point at which a signal transitions into compression is commonly referred to as the knee. In practical compressors, this transition is more gentle than what is depicted in

Figure 28.

Most modern compressors provide a control that adjusts the threshold directly. In the case of the LA-2A, the Peak Reduction control adjusts both the threshold and the amount of gain reduction. Similarly, the 1176LN uses its Input control to adjust the threshold and amount of gain reduction.

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Teletronix LA-2A Leveling Ampliﬁer

Background Audio professionals passionate about their compressors revere the LA-2A.

The original was immediately acknowledged for its natural compression characteristics. A unique electro-optical attenuator system allows instantaneous gain reduction with no increase in harmonic distortion – an accomplishment at the time, still appreciated today.

The LA-2A is known for adding warmth (such as for vocals, guitar, or synths) and fatness (such as for drums or bass) to signals.

LA-2A Signal Flow

A functional block diagram of the LA-2A Leveling Amplifier is provided in

Figure 29. The input transformer provides isolation and impedance matching.

After this the signal is fed into both the side-chain circuit and the gain reduction circuit. The side-chain is comprised of a voltage amplifier, a pre-emphasis filter, and a driver stage that provides the voltage necessary to drive the electro-luminescent panel. This signal controls the gain of the compressor. After the gain reduction circuit, the signal is sent through an Output Gain control and a two-stage output amplifier, followed by the output transformer.

Input

Transformer

Peak Reduction

Voltage

Amplifier

Optical

Attenuator

Electro

Luminescent

Driver

Gain

Voltage

Amplifier

Negative Feedback

Cathode Follower

Output

Transformer

Output

Pre-

Emphasis

Trim

Figure 29. LA-2A signal flow

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Stereo Interconnection

LA-2A Controls

Figure 30. The LA-2A plugin window.

Limit/Compress Changes the characteristics of the compressor I/O curve. When set to Com-

press, the curve is more gentle, and presents a low compression ratio. When set to Limit, a higher compression ratio is used.

Gain Adjusts the output level (by up to 40 dB). Make sure to adjust the Gain control

after the desired amount of compression is achieved with the Peak Reduction control. The Gain control does not affect the amount of compression.

Peak Reduction Adjusts the amount of gain reduction, as well as the relative threshold. A Peak

Reduction value of 0 yields no compression. Rotate this control clockwise until the desired amount of compression is achieved (to monitor the Peak Reduction, set the VU Meter to Gain Reduction). The Peak Reduction should be adjusted independently of the Gain control.

Meter This knob (in the upper right) sets the mode of the VU Meter. When set to Gain

Reduction, the VU Meter indicates the Gain Reduction level in dB. When set to +10 or +4, the VU Meter indicates the output level in dB.

On/Power Switch

Stereo Operation

Determines whether the LA-2A plugin is active. When the Power switch is in the Off position, the plugin is disabled and UAD-1 DSP usage is reduced.

Phase-coherent stereo imaging is maintained when the LA-2A plugin is used on a stereo signal.

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1176LN Solid-State Limiting Ampliﬁer

The 1176LN is known for bringing out the presence and color of audio signals, adding brightness and clarity to vocals, and “bite” to drums and guitar.

1176LN Signal Flow

A functional block diagram of the 1176LN Limiting Amplifier is provided in

Figure 31. Signal limiting and compression is performed by the Gain Reduc-

tion section. Before the signal is applied to the Gain Reduction section, the audio signal is attenuated by the Input stage. The amount of attenuation is controlled by the input control potentiometer. The amount of gain reduction as well as the compressor Attack and Release times are controlled by Gain Reduction Control circuit. After Gain Reduction a pre-amp is use to increase the signal level. The Output Control potentiometer is then used to control the amount of drive that is applied to the output amplifier. The 1176LN is a feedback style compressor since the signal level is sensed after the gain reduction is applied to the signal.

Input

Transformer

Circuit

Pre-

Amplifier

GR Control

Circuit

Output

Ampliﬁer

Output

Figure 31. 1176LN signal flow

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1176LN Controls

Figure 32. The 1176LN plugin window

Input Adjusts the amount of gain reduction as well as the relative threshold. An In-

put value of ∞ (turned fully counterclockwise) yields no compression (and no signal level). Rotate this control clockwise to increase the amount of compression.

Output Adjusts the output level (by up to 45 dB). Make sure to adjust the Output con-

trol after the desired amount of compression is achieved with the Input and At- tack controls. To monitor the Output level, set the VU Meter to +8 or +4. The Output control does not affect the amount of compression.

Attack Sets the amount of time (from 20–800 microseconds) that must elapse once

the input signal reaches the Threshold level before compression is applied. Faster attack times are achieved by rotating the Attack control clockwise. The faster the Attack, the more rapidly compression is applied to signals above the threshold.

Release Sets the amount of time (from 50–1100 msec.) it takes for compression to

cease once the input signal drops below the threshold level. Faster release times are achieved by rotating the Release control clockwise. Slower release times can smooth the transition that occurs when the signal dips below the threshold, especially useful for material with frequent peaks. However, if you set too large of a Release time, compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals.

Ratio These four pushbutton switches (to the left of the VU Meter) determine the com-

pression ratio. Ratios of 20:1, 12:1, 8:1, and 4:1 are provided. The 20:1 and 12:1 settings are typically used when peak-limiting is desired, while the 4:1 and 8:1 settings are used for general dynamic range compression.

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All Buttons mode Just like the hardware version of the 1176LN, it is possible to depress all the

Ratio buttons simultaneously, a well-known studio trick. In this mode, the ratio is around 12:1, and the release happens faster, and

the shape of the release curve changes. With lower amounts of compression, the attack is delayed slightly, as there is a slight lag before the attack attenuated the signal. That attack value remains at whatever the value is on the Attack control.

To enter All Button Mode

Shift-click any of the Ratio buttons. All of the buttons will appear depressed.

To exit All Button Mode

Click any Ratio button without the shift key modifier.

Meter These four pushbutton switches (to the right of the VU Meter) determine the

mode of the VU Meter, and whether the plugin is enabled. When set to GR, the VU Meter indicates the Gain Reduction level in dB. When set to +8 or +4, the VU Meter indicates the output level in dB; when set to +4, a meter reading of 0 corresponds to an output level of +4 dB.

In gain reduction mode with all buttons depressed, the VU meter will appear to behave strangely. This is normal behavior in the hardware 1176LN, and is faithfully recreated in the plugin.

When the Meter Off switch is selected, the 1176LN plugin is disabled and UAD-1 DSP usage is reduced.

Grit One trick you can do with the 1176 is turning the attack and release up all

the way to their fastest setting. This has the audible effect of adding distortion to the audio source, and is especially pronounced in all-buttons mode. What happens here is the attack and release are happening so fast that minute level fluctuations sound like distortion. It can add a very useful, gritty compression effect.

This effect is useful on bass, where you might need compression and distortion at the same time, and the 1176 can provide both in a unique way. This trick also sounds great on screaming lead vocals. And yes, the hardware does this too!

Stereo Operation

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Phase-coherent stereo imaging is maintained when the 1176LN plugin is used on a stereo signal.

1176SE “Special Edition”

Figure 33. The 1176SE plugin window

Overview The 1176SE is derived from the 1176LN. Its algorithm has been revised in or-

der to provide sonic characteristics similar to the 1176LN but with significantly less DSP usage. It is provided to allow “1176LN-like sound” when DSP resources are limited.

The 1176SE behavior is practically identical to the 1176LN. Its sound is nearly identical too, but certain compromises had to be made in order to squeeze the extra DSP performance that the 1176SE provides. At nominal settings the sonic difference is negligible. At extreme (cranked) settings, nobody with “golden ears” will say it sounds exactly like the 1176LN, but it still sounds great and is very usable in most situations.

1176SE Controls The 1176SE controls are exactly the same as the 1176LN. Please refer to the

the 1176LN section for 1176SE control descriptions (see “1176LN Controls”

on page 78.).

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CHAPTER 6

CS-1 Channel Strip

Overview

The CS-1 Channel Strip provides the EX-1 Equalizer and Compressor, DM-1 Delay Modulator, and RS-1 Reflection Engine combined into one plugin. Individual effects in the CS-1 Channel Strip can be bypassed when not in use to preserve UAD-1 CPU use.

The CS-1 effects can also be accessed individually by using the individual plugins. This is useful if you want to use the plugins in a different order, or if you want to use multiple instances of the same plugin (such as a flange routed to a ping-pong delay with the DM-1 plugin).

Figure 34. The CS-1 Channel Strip plugin window

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EX-1 Equalizer and Compressor

Figure 35. The EX-1 EQ/Compressor plugin window

The EX-1 plugin consists of a five-band parametric EQ and compressor.

EX-1 Equalizer Controls

The Equalizer portion of the EX-1 is a five-band fully parametric EQ. Each band has its own set of controls. The first two bands can also be enabled to function as low-shelf or high-pass filter. Similarly, the last two bands can be enabled to function as either a high-shelf or low-pass filter.

Band Disable Button

Each band can be individually deactivated with the Band Disable button. All bands default to enabled (brighter blue). To disable any band, click the Disable button. The button is darker blue when the band is disabled.

You can use these buttons to compare the band settings to that of the original signal, or to bypass the individual band.

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Gain (G) Knob The Gain control determines the amount by which the frequency setting is

boosted or attenuated. The available range is ±18 dB.

Frequency (fc) Knob

Bandwidth (Q) Knob

Enable/Bypass Switch

Determines the center frequency to be boosted or attenuated by the Gain setting. The available range is 20 Hertz to 20 kiloHertz. When operating at sample rates less than 44.1kHz, the maximum frequency will be limited.

Sets the proportion of frequencies surrounding the center frequency to be affected. The Bandwidth range is 0.03–32; higher values yield sharper bands.

In either of the first two bands, when the Bandwidth value is at minimum the band becomes a low-shelf filter, and at maximum the band becomes a highpass filter.

Similarly, in either of the last two bands, when the Bandwidth value is at minimum the band becomes a high-shelf filter, and at maximum the band becomes a low-pass filter.

Globally enables or disables all bands of the Equalizer. You can use this switch to compare the EQ settings to that of the original signal or bypass the entire EQ section to reduce UAD-1 DSP load.

Output Knob Adjusts the signal output level of the plugin. This may be necessary if the sig-

nal is dramatically boosted or reduced by the EQ and/or compressor settings.

EX-1 Compressor Controls

Attack Knob Sets the amount of time that must elapse, once the input signal reaches the

Threshold level, before compression will occur. The faster the Attack, the more rapidly compression is applied to signals above the Threshold. The range is

0.05 milliseconds to 100.00 milliseconds.

Release Knob Sets the amount of time it takes for compression to cease once the input signal

drops below the Threshold level. Slower release times can smooth the transition that occurs when the signal dips below the threshold, especially useful for material with frequent peaks. However, if you set too large of a Release time, compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals. The range is 25 milliseconds to 2500 milliseconds (2.5 seconds).

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Ratio Knob Determines the amount of gain reduction used by the compression. For exam-

ple, a value of 2 (expressed as a 2:1 ratio) reduces the signal by half, with an input signal of 20 dB being reduced to 10 dB. A value of 1 yields no compression. Values beyond 10 yield a limiting effect. The range is 1 to Infinity.

Threshold Knob Sets the threshold level for the compression. Any signals that exceed this level

are compressed. Signals below the level are unaffected. A Threshold of 0dB yields no compression. The range is 0dB to -60dB.

As the Threshold control is increased and more compression occurs, output level is typically reduced. However, the EX-1 provides an auto-makeup gain function to automatically compensate for reduced levels. Adjust the Output level control if more gain is desired.

Meter Pop-up Menu

Enable/Bypass Switch

Compressor Output Knob

EX-1M Overview

Determines whether the VU Meter monitors the Input Level, Output Level, Gain Reduction, or Meter Off. Click the menu above the meter display to select a different metering function.

Enables or disables the Compressor.You can use this switch to compare the compressor settings to that of the original signal or bypass the entire compressor section to reduce UAD-1 DSP load.

Adjusts the relative output of the plugin.

The EX-1M is a monophonic version of EX-1 that enables independent left and right EQ settings in master effects chains and allows Logic Audio users to conserve UAD-1 DSP resources.

EX-1M requires half the processing power compared to that of EX-1 when used on a mono audio track within Logic Audio. Therefore, EX-1M should be used on monophonic audio tracks within Logic whenever possible to conserve UAD-1 resources.

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DM-1 Delay Modulator

Figure 36. The DM-1 Delay Modulator plugin window

The DM-1 Delay Modulator provides stereo effects for delay, chorus, and flange.

DM-1 Controls

L-Delay Knob Sets the delay time between the original signal and the delayed signal for the

left channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec. When the Mode is set to one of the chorus or flange settings, the maximum delay is 125 msec.

R-Delay Knob Sets the delay time between the original signal and the delayed signal for the

right channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec. When the Mode is set to one of the chorus or flange settings, the maximum delay is 125 msec.

In the Flanger modes, the L and R delay controls have a slightly different functions than in the chorus modes. The high peak of the flanger is controlled by the settings of the L and R delay controls. The low Peak of the flanger is determined by the setting of the Depth control.

When delay times longer than 300ms are desired, use the DM-1L plugin instead. DM-1L has a maximum time of 2400ms per channel.

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Mode Pop-up Menu

Determines the DM-1 effect mode. The available modes are: Chorus, Chorus180, QuadChorus, Flanger1, Flanger2, Dual Delay, and Ping Pong Delay. In addition to reconfiguring the DM-1’s settings, the Mode also determines the available parameter ranges for L/R Delay and Depth.

In Chorus mode, both oscillators (or modulating signals) are in phase. In Chorus 180 mode, both oscillators (the modulating signals) are180 de-

grees out of phase. In QuadChorus mode, both oscillators (the modulating signals) are 90 de-

grees out of phase. In Ping Pong delay mode, you will only get a ping-pong effect if you have a

mono source feeding the DM-1 on a stereo group track or send effect. On a mono disk track, it works exactly like Dual Delay.

Rate Knob Sets the modulation rate for the delayed signal, expressed in Hertz.

Depth Knob Sets the modulation depth for the delayed signal, expressed as a percentage.

LFO T ype Pop-up Menu

Recirculation (RECIR) Knob

In Dual Delay and Ping Pong Delay modes, adjusting the Depth and Rate controls can offer some very otherworldly sounds.

Determines the LFO (low frequency oscillator) waveshape and phase used to modulate the delayed signal. The waveshape can be set to triangle or sine, each with a phase value of 0, 90, or 180-degrees.

Sets the amount of processed signal fed back into its input. Higher values increase the number of delays and intensity of the processed signal.

Recirculation allows both positive and negative values. The polarity refers to the phase of the delays as compared to the original signal. If Recirculation displays a positive value, all the delays will be in phase with the source. If it displays a negative value, then the phase of the delays flips back and forth between in phase and out of phase.

In the flanger mode, Recir has the potential to make some very interesting sounds. Try turning RECIR fully clockwise or counter-clockwise, and set the delay to very short but different values.

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The RECIR units are expressed as a percentage in all Modes except Dual Delay and Ping Pong. In these modes, RECIR values are expressed as T60 time, or the time before the signal drops 60 decibels.

Damping Knob This low pass filter reduces the amount of high frequencies in the signal. Turn

down this control to reduce the brightness. Higher values yield a brighter signal. Damping also mimics air absorption, or high frequency rolloff inherent in tape-based delay systems.

Wet/Dry Mix Knob

This control determines the balance between the delayed and original signal. Values greater than 50% emphasize the wet signal, and values less than 50% emphasize the dry signal. A value of 50% delivers equal signals. A value of 0% is just the dry signal.

Wet/Dry Mix allows both positive and negative values. The polarity refers to the phase of the delays as compared to the original signal. If a positive value is displayed, then all the delays will be in phase with the source. With a negative value, the delayed signal is flipped 180 degrees out of phase with the source.

L-Pan Knob Sets the stereo position for the left channel, allowing you to adjust the width

or balance of the stereo signal. For a mono signal, L-Pan behaves as the level control for the left delay tap.

R-Pan Knob Sets the stereo position for the right channel, allowing you to adjust the width

or balance of the stereo signal. For a mono signal, R-Pan behaves as the level control for the right delay tap.

Enable/Bypass Switch

Enables or disables the Delay Modulator. You can use this switch to compare the DM-1 settings to that of the original signal or bypass the entire DM-1 section to reduce UAD-1 DSP load.

Output Knob Adjusts the relative output of the plugin.

DM-1L

DM-1L is identical to the DM-1 except that the maximum available delay time per channel is 2400milliseconds. DM-1L requires significantly more memory resources of the UAD-1 than the DM-1. Therefore, we recommend using the DM-1L only when very long delay times are needed.

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Link Button This button links the left and right delay knobs so that when you move one de-

lay knob, the other follows. The ratio between the two knobs is maintained.

Figure 37. The DM-1L includes a Link button

RS-1 Reﬂection Engine

Figure 38. The RS-1 Reflection Engine plugin window

Overview The RS-1 Reflection Engine simulates a wide range of room shapes, and sizes,

to drastically alter the pattern of reflections. While similar to that of the RealVerb Pro plugin, the RS-1 does not offer the same breadth of features (such as room hybrids, room materials, morphing, and equalization). However, if you do not need the advanced capabilities that RealVerb Pro offers, you can use the RS-1 to achieve excellent room simulations, while also preserving DSP resources on the UAD-1 card.

The Delay control sets the time between the direct signal and the first reflection. The Size parameter controls the spacing between the reflections. The Recir control affects the amount of reflections that are fed back to the input and controls how many repeats you hear.

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RS-1 Controls

Shape Pop-up Menu

Determines the shape of the reverberant space, and the resulting reflective patterns.

Table 5. Available RS-1 Shapes

Cube Square Plate Box Rectangular Plate Corr Triangular Plate Cylinder Circular Plate Dome Echo Horseshoe Ping Pong Fan Echo 2 Reverse Fan Fractal A-Frame Gate 1 Spring Gate 2 Dual Spring Reverse Gate

Delay Knob Sets the delay time between the original signal and the onset of the reflec-

tions.

Size Knob Sets the size of the reverberant space (from 1–99 meters) and defines the

spacing of the reflections.

Delay/Size Settings Interaction

You may notice that when Delay is set to its maximum value (300 ms) and you move the Size control to its maximum value (99), the Delay value is decreased to 16.85. This occurs because the maximum delay time available to the plugin has been reached. The available delay time is limited and it needs to be divided among the Delay and Size values. Therefore, if the value of the Delay or Size setting is increased towards maximum when the other control is already high, its complementary setting may be reduced.

Recirculation (RECIR) Knob

Sets the amount of processed signal fed back into its input. Higher values increase the number of reverberations/delays and intensity of the processed signal.

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Damping Knob This low pass filter reduces the amount of high frequencies in the signal. Turn

down this control to reduce the brightness. Higher values yield a brighter signal. Damping also mimics air absorption, or high frequency rolloff inherent in tape-based delay systems.

Wet/Dry Mix Knob

This control determines the balance between the delayed and original signal. Values greater than 50% emphasize the wet signal, and values less than 50% emphasize the dry signal.

L-Pan Knob Sets the stereo position for the left channel, allowing you to adjust the width

or balance of the stereo signal. For a mono signal, set both the L-Pan and RPan to the left.

R-Pan Knob Sets the stereo position for the right channel, allowing you to adjust the width

or balance of the stereo signal. For a mono signal, set both the L-Pan and RPan to the left.

Enable/Bypass Switch

Enables or disables the Reflection Engine. You can use this switch to compare the RS-1 settings to that of the original signal or bypass the entire RS-1 section to reduce UAD-1 DSP load.

Output Knob Adjusts the relative output of the plugin.

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CHAPTER 7

Nigel

Introducing Nigel

Nigel offers the latest generation of guitar processing technology integrated into a complete multi-effects plugin solution. Utilizing Universal Audio’s exclusive component modeling technology, along with some very creative digital design, Nigel delivers a complete palette of guitar tones along with most every effect a guitar player might need, all with minimal latency and no load on your host computer’s CPU.

Nigel’s Preflex™ advanced guitar amp modeling technology goes well beyond the usual pre-amp/amp/cabinet emulators. In addition to delivering a wide range of highly playable classic amp tones from the “Clean & Warm” California tube sound to more metal soaked “British” tones, a bevy of original timbres simply not possible on any other guitar system can be realized. Preflex also offers variable component-level morphing between any two amp presets, truly bringing creative guitar voicing to the next level.

As with the UAD-1 Powered Plug-Ins CS-1 channel strip, the components of Nigel are also supplied as individual plug-ins for unprecedented DSP and creative efficiency. Each Nigel module includes Universal Audio’s proven smoothing algorithm for zipper free automation of all parameters.

Nigel may change the way you think about guitar signal processing. Never before have such exciting, realistic, and extreme guitar sounds been heard from a software plugin. Enjoy!

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Nigel Screenshot

Figure 39. The Nigel plugin window

Nigel Modules Nigel is comprised of eight modules: Gate/Compressor, Phasor, Mod Filter,

Preflex, Cabinet, Trem/Fade, Mod Delay, and Echo. In order to conserve UAD-1 DSP resources when all of the modules are not required simultaneously, some of the Nigel components are also supplied as separate plugins.

The following UAD-1 Powered Plug-Ins are part of the complete Nigel package:

• Nigel (all of the modules in one plugin)

• Preﬂex (Gate/Compressor + Amp + Cabinet)

• GateComp (Gate/Compressor)

• Phasor

•Mod Filter

•TremFade (Tremolo/Fade)

•TremModEcho (Tremolo/Fade + Mod Delay + Echo)

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Preﬂex Plugin

Preflex is the heart of Nigel. All of our plug-ins sound amazing but when it comes to guitar, Preflex really shines. This exciting new guitar processing technology offers truly dynamic sonic possibilities Multiple equalizers, amp types, and cabinets use sophisticated algorithms to provide analog sound quality never before available in a digital environment.

The Color and Bent controls modify frequency and gain characteristics in interesting and musically useful ways, and realtime component-level morphing between any two amp types is possible. Additionally, the Amp models are user-updatable so your guitar sounds will never be obsolete.

Figure 40. The Preflex plugin window

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Preﬂex Modules

The Preflex plug-in consists of three sub-modules: gate/compressor, amplifier, and cabinet simulator. Controls for each of these sub-modules is described below.

Gate/Comp Module

Figure 41. The Gate/Comp module

Gate Level Display

The Gate is the first sub-module in the Preflex signal chain. Its output is passed to the input of the Compressor. The compressor output is then passed to the input of the Amp module within Preflex.

A gate stops the input signal from passing when the signal level drops below a specified threshold value. Gates are generally used to reduce noise levels by eliminating the noise floor when the ‘main’ signal is not present, but they are also useful for special effects.

The Preflex Gate is optimized for use with guitars. The threshold is dynamic and the gate output has multiple soft knees and dynamic slope, providing a more natural and less choppy sound.

The Compressor reduces the dynamic range of the signal based on the threshold and ratio settings. Guitarists often use compressors to increase perceived sustain on long notes and for special effects. Refer to Chapter 5 for more details on compressor theory and operation. Note that Nigel’s compressor sounds different than the CS-1/EX-1 compressor; it sounds “more vintage”.

This LED-style VU meter displays the level of the signal at the input of Preflex. For minimum distortion and maximum signal-to-noise, the input level should be as high as possible. The signal is at 0dB just before the red ‘LED’ is illuminated.

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Gate Off/On Button

Enables or disables the Gate module within Preflex. The Gate is engaged when the button indicator is bright red. Use this switch to compare the Gate settings to that of the original signal or bypass the entire Gate section to reduce UAD-1 DSP load.

Gate Fast Button The Fast control reduces the release time of the gate. It has no effect on the at-

tack time. When enabled, the gate will release immediately. On signals that slowly decay and/or have a wide dynamic range, a smoother (less choppy) sound may be obtained with Fast mode turned off.

Fast mode is engaged when the button indicator is bright red. The time values are 50ms when engaged and 170ms when off.

Gate Threshold Knob

Sets the threshold level for the gate. Any signals that exceed this level are passed into the module. Signals below the threshold level are increasingly attenuated. A Threshold of 0dB means the gate is always open. The range is 0dB to –96dB.

In typical use it’s best to set the gate threshold value to just above the noise floor of the desired signal (so the noise doesn’t pass when you are not playing), but below the desired signal input level (so the signal passes as you play).

Boost Button The Boost button (Figure 40 on page 93) increases the overall signal level within

Preflex by 20dB. It is completely independent of the Gate and Compressor On/Off controls and will provide a signal boost even with the Gate and Compressor are off.

Note: The Boost button is only available within Nigel and Preflex. The individ-

ual Gate/Comp plugin does not contain the Boost button because Boost only affects the Amp within Preflex.

Compressor Threshold Knob

Sets the threshold level for the compression. Any signals that exceed this level are compressed. Signals below the level are unaffected. A Threshold of 0dB yields no compression. The range is 0dB to -60dB.

As the Threshold control is increased and more compression occurs, output level is typically reduced. However, the compressor provides an auto-makeup gain function to automatically compensate for reduced levels. Adjust the Output level control if more gain is desired.

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Compressor Ratio Knob

Determines the amount of gain reduction used by the compressor. For example, a value of 2 (expressed as a 2:1 ratio) reduces the signal by half, with an input signal of 20 dB being reduced to 10 dB. A value of 1 yields no compression. Values beyond 10 yield a limiting effect. The range is 1 to 60dB.

Compressor Attack Menu

Compressor Release Menu

Compressor On/Off Button

Sets the amount of time that must elapse, once the input signal reaches the Threshold level, before compression will occur. The faster the Attack, the more rapidly compression is applied to signals above the Threshold.

Three Attack values are available: Slow (50ms), Medium (8ms), and Fast (400µs).

Sets the amount of time it takes for compression to cease once the input signal drops below the Threshold level. Slower release times can smooth the transition that occurs when the signal dips below the threshold, especially useful for material with frequent peaks. However, if you set too large of a Release time, compression for sections of audio with loud signals may extend to lengthy sections of audio with lower signals.

Three Release values are available: Slow (500ms), Medium (120ms), and Fast (40ms).

Enables or disables the Compressor module within Preflex.The Compressor is engaged when the button indicator is bright red. You can use this switch to compare the compressor settings to that of the original signal or bypass the entire compressor section to reduce UAD-1 DSP load.

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Amp Module

The Preflex Amp is where Nigel’s real magic happens. Behind its deceptively simple user interface is “rocket science” in action. The input to the Amp module is received from the Compressor output. The Amp output is passed to the input of the Cabinet module.

Amp Type and Variable Knob Functions

Color and Bent: Supercontrol

Figure 42. The Amp module within Preflex

The function of the amp knobs vary depending on the amp type. When an amp type is selected, Preflex is internally reconfigured. Although the amp types are essentially factory programmed presets, they are not simply a set of knob values. As different amp types are selected, the actual function and range of the amp knobs assume new characteristics.

The Color and Bent knobs have especially powerful functionality. Each modifies several amplifier characteristics simultaneously, so they behave as “super controls” that can have a dramatic effect on your sound with just one knob turn.

These are generally the main controls you will reach for when you want to make major changes to the overall dynamic response, timbre, or distortion characteristics of Preflex.

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Knob Values Are Offsets

Knob settings do not change to new values when an amp type is selected. This is because knob values are not absolute. Instead, they are an offset to the factory programmed amp type value. For example, if Post-Lo EQ displays a value of 3.0, then 3dB is added to the amp type internal (preset) value. Of course, knob settings do change when user settings are loaded.

Amp Types and Morph

The Amp submodule within Preflex is actually comprised of two independent amplifier processors, Amp-A and Amp-B. The amp types to be used are selected with the Amp Type pull-down menus. The two amp types share the amp controls.

These two amp types can then be ‘morphed’ to smoothly transform one amp type into another, creating new sounds never before possible. Morph accomplishes this task by interpolating between amplifier component values of the A and B Amp types as the slider is moved. Morph is NOT a blend or crossfade control.

Morph allows you to continuously shift between two completely different amp sounds in realtime with full automation. And because the Color and Bent knobs also control multiple parameters simultaneously (which is essentially a morph), amazing new dynamically shifting timbres can be realized.

Amp Controls

Amp EQ Groups Preflex has two groups of Lo, Mid, and Hi equalizer controls. Pre-EQ is before

the amplifier, and Post-EQ is after the amplifier. Both sets of EQ are available simultaneously.

The actual frequency and bandwidth of a particular EQ knob depends on the amp type setting. The EQ knob values are offsets relative to the preset amp type value; they do not display absolute values.

Amp Pre-EQ Knobs

The Pre-EQ group modifies the tone of the signal before it passes into the Amp. Note that the EQ knob values are offsets relative to the preset amp type value; they do not display absolute values.

Pre-EQ Lo Knob

Modifies the low frequency response of the signal before the Amp. This control is a set to a fixed frequency, but the frequency changes with the amp type.

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Pre-EQ Mid Knob

Modifies the middle frequency response of the signal before the Amp. The frequency that this knob controls is determined by the Color knob (see Color knob description for more details).

Pre-EQ Hi Knob

Modifies the high frequency response of the signal before the Amp. This knob behaves differently than the Lo and Mid knob. Rather than boosting or cutting the gain of a certain frequency, the Hi knob increases the amplifier's sensitivity to high frequencies. The Hi control is VERY interactive with the Bent control.

Amp Post-EQ Knobs

The Post-EQ group modifies the tone of the signal after it passes through the Amp but before it goes to the Cabinet. Note that the EQ knob values are offsets relative to the preset amp type value; they do not display absolute values.

Post-EQ LO Knob

Modifies the low frequency response of the signal after the Amp. This control is a set to a fixed frequency, but the frequency changes with the amp type.

Post-EQ Mid Knob

Modifies the middle frequencies response of the signal after the Amp. The frequency that this knob controls is determined by the Color knob (see Color knob description for more details).

Post-EQ Hi Knob

Modifies the high frequency response of the signal after the Amp. This control is a set to a fixed frequency, but the frequency changes with the amp type.

Amp Color Knob The Color knob is like a super tone control. It controls several amplifier char-

acteristics simultaneously, and its behavior is determined by the selected amp type.

Amp Bent Knob The Bent knob is like a super gain control. It controls several amplifier char-

acteristics simultaneously, and its behavior is determined by the selected amp type.

Amp Output Knob

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Adjusts the signal output level of Preflex. This may be necessary if the signal is dramatically boosted or reduced by the Gate/Compressor or Amp settings.

Bright Button Increases the brightness of the Amp model. Bright is on when the button glows

bright red.

Amp On/Off Button

Enables or disables the Amp module within Preflex. The Amp is engaged when the button indicator is bright red. You can use this switch to compare the Amp settings to that of the original signal or bypass the entire Amp section to reduce UAD-1 DSP load.

Amp T ype Menus The Amp Type pull down menus establish the overall sound and response of

Preflex and also determine the function and ranges of the Amp knobs. Two amp types (A and B) can be active simultaneously by positioning the Morph control between them.

Amp Types can be easily updated by the user. Check our web site at http://www.poweredplugins.com for the latest Amp Type downloads.

Note: For the following descriptions of the Amp models and other references

that you may find throughout this manual, please be aware that Fender, Marshall, Mesa, Matchless, Aiken, and any other manufacturer, model name, description, and designations are all trademarks of their respective owners, which are in no way associated or affiliated with Universal Audio. These trademarks and names are used solely for the purpose of describing certain timbres produced using Universal Audio’s exclusive modeling technology.

Amp Type List and Descriptions

Table 6. Amp Type List and Descriptions

AMP TYPE DESCRIPTION

Rectifried Modern super-high gain amplifiers Marsha Emulations from range of new and old Marshall amps Bassmon Fender Bassman and similar amplifiers Boutique Matchless, Aiken, and other high-end tube amplifiers Custom Blues Designed to achieve those hard-to-nail blues tones. Lower gain. Supa Clean Direct input into a channel strip Super Sat Extremely high gain amp, breaks up easily in low end Gemini Fender Twin and similar clean tube amplifiers Big Beaver Distortion pedal stomp-box emulations Super Custom Higher-gain and more power than Custom Blues Big Bottom Optimized for bass guitar Super Tweed Small Fender Champ and Princeton when cranked up loud

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Universal audio UAD1SP User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

TABLE OF CONTENTS

Introduction

Welcome

Features

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

Vintage Compressors

CS-1™ Channel Strip

EX-1™ Equalizer/Compressor

DM-1™ Delay Modulator

Nigel • Preﬂex advanced guitar processor with user updatable amp models

Cambridge EQ • Five bands of parametric or shelving equalization

DreamVerb™ • Amazing sound quality rivals high-end dedicated hardware reverbs

Fairchild 670 • The ultimate vintage compressor/limiter

System Requirements

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 Guides

Install Software First

Installing the UAD-1 Hardware

Using UAD-1 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-1 Powered Plug-In parameter can be automated if this feature is

Launching a UAD-1 Powered Plug-In

Steinberg Cubase/Nuendo

Emagic Logic Audio

UAD-1 DSP Performance Meter Application

Overview The UAD-1 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 UAD-

Mac OS The File menu is available when the UAD-1 DSP Performance Meter is in the

Using the Meter

Always On Top The Performance Meter window can be set to a normal or ‘Always On Top’

UAD-1 System Information Window

Card Enabled Individual UAD-1 cards can be disabled using the Card Enabled function.

Latency Calculator

AMD-8131 Mode

DSP Settings These controls limit the maximum UAD-1 CPU load before no more plugins

Limit CPU Load

CPU Load Limit

User Interface Settings

Controls Mode

Circular (jump)

Relative Circular (grab)

Linear (slider)

Use Host Mode

PCI Bus Settings This parameter adjusts a low-level system setting and should never need to be

Delay Compensation

Overview When UAD-1 Powered Plug-Ins are used, audio data to be processed by a

Host Application Settings

UAD Delay Compensator plugin

Overview The UAD Delay Compensator (DelayComp for short) is a simple plugin which

When to use DelayComp

VSTi Cubase and Nuendo currently do not automatically compensate for latency

Plugs parameter The DelayComp Plugs parameter value to be used on an unprocessed track or

Samples parameter

Grouping Tracks Requiring DelayComp

DelayComp Examples

Insert Situation: You have a song with bass, drums, and guitar. You want a room

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

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

Compensating for Pultec EQ

Pultec Group/Bus Example

UAD Track Advance

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

When to use TrackAdv

How to use TrackAdv

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

Samples parameter

TrackAdv Examples