Universal Audio UAD Plug-Ins User Manual ver.7.5

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UAD P

OFTWARE

Manual version 140211

ERSION

LUG

7.5

-I

ANUAL

Universal Audio, Inc. 4585 Scotts Valley Drive Scotts Valley, CA 95066-4517 www.uaudio.com

Customer Support USA (toll-free): 1-877-698-2834 International: +1-831-440-1176

OTICES

Disclaimer

This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio UAD Powered Plug-Ins. The information contained in this manual is subject to change without notice.

Universal Audio, Inc. makes no warranties of any kind with regard to this manual, or the product(s) it refers to, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose.

Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material or the product(s).

Trademarks

Universal Audio, the Universal Audio diamond logo, UAD, UAD Series, UAD-1, UAD-2, UAD-2 SOLO, UAD-2 DUO, UAD-2 QUAD, UAD-2 OCTO, Powered Plug-Ins, 1176LN, 1176SE, Teletronix, LA-2A, LA-3A, LA-610, LA610MkII, 2-1176, 610, 2-610, 6176, 710 Twin-Finity, 2192, 4-710d, Cambridge EQ, DreamVerb, Plate 140, Precision Limiter, RealVerb Pro, Precision Buss Compressor, Precision De-Esser, Precision Maximizer, Satellite, Satellite DUO, Satellite QUAD, Apollo, Apollo DUO, Apollo QUAD, Apollo 16, Analog Ears | Digital Minds and Helios, are trademarks or registered trademarks of Universal Audio, Inc.

Other company and product names mentioned herein are trademarks of their respective owners.Universal Audio, Inc.

End User License Agreement

By installing the software, you confirmed your acceptance of the Universal Audio End User License Agreement, as well as the Universal Audio terms of service and privacy policy, and any additional Third-Party Software terms, all of which can be found at: www.uaudio.com/eula

Chapter 1. Documentation & Support . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

UAD Documentation Overview Customer Support

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Chapter 2. Ampex ATR-102 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Mastering Tape Recorder Ampex ATR-102 Screenshots Operational Overview Primary Controls

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Secondary Controls Manual Calibration Procedure Manual Calibration Notes Parameter Dependencies

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Chapter 3. API 500 Series EQ Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Introduction API 500 Series EQ Collection Screenshots Operational Overview API 550A Controls API 560 Controls Historical Background

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Chapter 4. API Vision Console Channel Strip. . . . . . . . . . . . . . . . . . . . . . . . . .

Introduction API Vision Console Channel Strip Screenshot Operational Overview API Vision Console Channel Strip Controls Historical Background

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Chapter 5. Cambridge EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview Cambridge EQ Screenshot Cambridge EQ Controls Low Cut / High Cut Filters EQ Bands Parametric EQ Shelf EQ

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Chapter 6. Cooper Time Cube . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Dual Mechanical Delay Line Cooper Time Cube Screenshot

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UAD Powered Plug-Ins Manual - 3 - Table of Contents

TABLE OF CONTENTS

Design Overview Cooper Time Cube Controls Channel Controls Cooper Time Cube Hardware

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Chapter 7. 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 DM-1 Controls DM-1L RS-1 Reflection Engine RS-1 Controls

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Chapter 8. dbx 160 Compressor/Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview dbx 160 Screenshot dbx 160 Controls

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Chapter 9. DreamVerb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Overview Signal Flow Resonance (Equalization) Panel Shape Panel Materials Panel Reflections Panel Reverberation Panel Positioning Panel Levels Panel Spatial Characteristics DreamVerb Presets Preset Design Tips

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Chapter 10. Empirical Labs EL7 FATSO . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Introduction FATSO Screenshots FATSO Functional Overview FATSO Controls

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TABLE OF CONTENTS

Channel Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

FATSO Sr. Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125

Chapter 11. EMT 140 Plate Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

EMT 140 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

EMT 140 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Reverb Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Stereo Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

EQ Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Modulation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Blend Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Chapter 12. EMT 250 Electronic Reverberator . . . . . . . . . . . . . . . . . . . . . . . . 136

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

EMT 250 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Functional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

Program Mode Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

Chapter 13. EP-34 Classic Tape Echo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

EP-34 Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

EP-34 Tape Echo Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

EP-34 Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

EP-34 Hardware History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Chapter 14. Fairchild Tube Limiter Collection. . . . . . . . . . . . . . . . . . . . . . . . . 156

The Gold Standard in Vintage Tube Limiters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Fairchild Tube Limiter Collection Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Fairchild Plug-In Family. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

Fairchild 670 Operational Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Fairchild 670 Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Fairchild Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

Historical Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Chapter 15. Harrison 32C EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Harrison 32C EQ Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Harrison 32C EQ and Harrison 32C SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Harrison 32C SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

UAD Powered Plug-Ins Manual - 5 - Table of Contents

TABLE OF CONTENTS

Harrison 32C Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Chapter 16. Helios Type 69 Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Helios Type 69 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Helios Type 69 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Helios 69 Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Chapter 17. LA-3A Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

LA-3A Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

LA-3A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Chapter 18. Lexicon 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Classic Digital Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

Lexicon 224 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Primary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Hidden Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Program Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Chapter 19. Little Labs IBP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Little Labs IBP Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Little Labs IBP Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Little Labs IBP Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Chapter 20. Little Labs VOG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Bass Resonance Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Little Labs VOG Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Little Labs VOG Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211

Chapter 21. Manley Massive Passive EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Massive Passive Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Unusual EQ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Massive Passive Mastering EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Standard vs. Mastering Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Massive Passive Band Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Channel Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

Other Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

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Massive Passive Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Notes from Manley Laboratories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Additional Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Chapter 22. Moog Multimode Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Moog Filter Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Moog Filter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Moog Filter SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Moog Filter Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Chapter 23. MXR Flanger/Doubler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Classic Electronic Flanging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

MXR Flanger/Doubler Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

MXR Flanger/Doubler Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

MXR Flanger/Doubler Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Chapter 24. Neve 1073 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Neve 1073 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Neve 1073 and 1073SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Neve 1073SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Neve 1073 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Chapter 25. Neve 1081 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Neve 1081 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Neve 1081 and 1081SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Neve 1081SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Neve 1081 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Chapter 26. Neve 31102 Console EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Neve 31102 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Neve 31102 and 31102SE Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Neve 31102SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Neve 31102 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Chapter 27. Neve 33609 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Neve 33609 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

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Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Neve 33609 and 33609SE Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Other Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266

Neve 33609SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Neve 33609 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Chapter 28. Neve 88RS Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Neve 88RS Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Neve 88RS Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Gate/Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276

Limiter/Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

Cut Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

Chapter 29. Ocean Way Studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Dynamic Room Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

Ocean Way Studios Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

What Is Ocean Way Studios? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290

Operational Overviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Modes Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Microphones Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

Using Ocean Way Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Ocean Way Studios Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

Display Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Master Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

The History of Ocean Way Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315

Chapter 30. Precision Buss Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Precision Buss Compressor Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Precision Buss Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321

Chapter 31. Precision De-Esser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

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Precision De-Esser Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Precision De-Esser Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Operating Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Chapter 32. Precision Enhancer Hz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Precision Enhancer Hz Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Precision Enhancer Hz Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331

Precision Enhancer Hz Usage Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Chapter 33. Precision Enhancer kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Precision Enhancer kHz Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Precision Enhancer kHz Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336

Chapter 34. Precision Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Precision Equalizer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Precision Equalizer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Control Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342

Precision Equalizer Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Chapter 35. Precision K-Stereo Ambience Recovery . . . . . . . . . . . . . . . . . . . 345

Precision K-Stereo Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Blog Article by Bob Katz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Precision K-Stereo Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Ambience Recovery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Ambience Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349

Mid/Side Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Output Gain Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Output Level Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Factory Preset Notes by Bob Katz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Chapter 36. Precision Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Precision Limiter Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Controls Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

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Precision Limiter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Precision Limiter Meters Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358

Precision Limiter Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Chapter 37. Precision Maximizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Precision Maximizer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Precision Maximizer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

Operating Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Precision Maximizer Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Chapter 38. Precision Multiband . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Precision Multiband Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Precision Multiband Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Band Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

EQ Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

Frequency Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Dynamics Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381

Precision Multiband Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Chapter 39. Pultec Passive EQ Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Pultec Passive EQ Collection Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Pultec Plug-In Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Pultec EQP-1A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388

Pultec MEQ-5 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

Pultec HLF-3C Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Chapter 40. RealVerb Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

RealVerb Pro Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Spectral Characteristics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398

Resonance (Equalization) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406

Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

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Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

RealVerb Pro Preset Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

RealVerb Pro Preset List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Chapter 41. Boss CE-1 Chorus Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Boss CE-1 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Boss CE-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412

Chapter 42. Roland Dimension D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Roland Dimension D Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Roland Dimension D Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Chapter 43. Roland RE-201 Space Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Roland RE-201 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Roland RE-201 Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Roland RE-201 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418

Chapter 44. SPL Transient Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

SPL Transient Designer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

SPL Transient Designer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425

Acknowledgement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 427

Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431

Chapter 45. SSL E Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Large Format Mix Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

SSL E Channel Strip Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

SSL E Channel Strip Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Compressor/Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

Gate/Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442

Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Usage Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

Chapter 46. SSL G Bus Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

Large Format Console Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

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SSL G Bus Compressor Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

SSL G Bus Compressor Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450

General Usage Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452

Chapter 47. Studer A800 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Multichannel Tape Recorder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Studer A800 Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455

Primary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

Secondary Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461

Studer A800 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Chapter 48. Teletronix LA-2A Leveler Collection . . . . . . . . . . . . . . . . . . . . . . 468

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Teletronix LA-2A Leveler Collection Screenshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

LA-2A Plug-In Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

LA-2A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473

Historical Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 475

Chapter 49. Trident A-Range EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Trident A-Range EQ Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Trident A-Range EQ Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 479

Trident A-Range Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 481

Chapter 50. UA 1176 Classic Limiter Collection . . . . . . . . . . . . . . . . . . . . . . . 483

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

UA 1176 Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

1176 Plug-In Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 485

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 487

1176 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 489

Chapter 51. UA 610 Tube Preamp & EQ Collection . . . . . . . . . . . . . . . . . . . . 494

Historical to Modern Tube Amplification from Universal Audio . . . . . . . . . . . . . . . . . . . . . . . 494

UA 610 Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

The UA 610 Plug-Ins . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Input Level Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

Output Level Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 501

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 502

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610 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 503

UAD Powered Plug-Ins Manual - 13 - Table of Contents

CHAPTER 1

Documentation & Support

UAD Documentation Overview

This section describes the various instructional and technical resources that are available for installing, using, and troubleshooting UAD Powered PlugIns. Documentation for the product line is available in written, video, and online formats.

ReadMe The ReadMe contains information that may not be available in other loca-

tions. Please review all the information in the ReadMe before installing or using UAD Powered Plug-Ins. The ReadMe.rtf file is presented for viewing during the software installation process, and installed to:

Windows • Start Menu>All Programs>UAD Powered Plug-Ins Mac • Startup Disk/Applications/Universal Audio

Operation Manuals

Documentation for UAD-2 and Powered Plug-Ins are separated by areas of functionality, as described below. The user manuals are on the software disc, and also placed inside the Powered Plug-Ins Documentation folder on the hard drive during software installation.

All manuals are in PDF format. PDF files require a free PDF reader application such as Adobe Reader (Windows) or Preview (Mac).

UAD System Manual

The UAD System Manual is the complete operation manual for UAD functionality and applies to the entire UAD product line. It contains detailed information about installing and configuring UAD devices, the UAD Meter & Control Panel application, how to use UAD Powered Plug-Ins within a DAW, obtaining optional plug-in licenses at the UA online store, and more. It includes everything about UAD except Apollo-specific information and individual UAD Powered Plug-In descriptions.

UAD Plug-Ins Manual

The features and functionality of all the individual UAD Powered Plug-Ins is detailed in the UAD Plug-Ins Manual. Refer to this document to learn about the operation, controls, and user interface of each plug-in.

UAD Powered Plug-Ins Manual - 14 - Chapter 1: Documentation & Support

Direct Developers

UAD Powered Plug-Ins includes plug-ins from our Direct Developer partners. Documentation for these 3rd-party plug-ins are separate files that are written and provided by the plug-in developers themselves. The filenames for these plug-ins are the same as the plug-in names.

Installed Locations

The UAD and Direct Developer manual files are copied to the hard drive by the software installer to the following locations:

Windows • Start Menu>All Programs>UAD Powered Plug-Ins>Documentation Mac • /Applications/Universal Audio/Documentation

Manual Conventions

UAD Powered Plug-Ins is a cross-platform solution for both Windows and Mac computers. The UAD hardware device can be installed into either platform; it is the exact same hardware for both platforms. Operation of the plug-ins is practically identical regardless of the host system platform and application. However, certain platform-specific instructions will differ according to the host system you are using.

Platforms Instructions in this guide that are platform-specific are indicated with a head-

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

Windows Instructions specific to the Windows platform use this red Windows heading. Mac Instructions specific to the Mac platform use this red Mac heading.

UAD Nomenclature

Unless specified otherwise, for descriptive purposes within this manual, “UAD-2” means all UAD-2 family products (SOLO, DUO, QUAD, OCTO, UAD-2 Satellite, and Apollo audio interface).

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

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

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

UAD Powered Plug-Ins Manual - 15 - Chapter 1: Documentation & Support

Online Documentation

The technical support pages on our website offer a wealth of helpful information that is not included in the documentation contained within the software bundle. Please visit our support pages for important technical information including the latest release notes, host application notes, and more. The main UAD Powered Plug-Ins support website is:

Support Website • www.uaudio.com/support

Videos Our support website contains many helpful videos that explain how to install

UAD hardware and software, register and authorize the products, obtain optional plug-ins, and more:

• www.uaudio.com/videos

Blog Our online magazine is published regularly and contains lots of useful and in-

teresting information. How-to pages, artist/producer/engineer interviews, support Q & A, detailed scientific notes, and other fascinating articles make the Webzine a great place to routinely visit:

• www.uaudio.com/blog

Users Forum The unofficial UAD Powered Plug-Ins users forum, for the exchange of tips and

information, is on the world wide web at:

• www.uadforum.com

UAD Powered Plug-Ins Manual - 16 - Chapter 1: Documentation & Support

Customer Support

Customer support is provided by Universal Audio staff to all registered UAD Powered Plug-Ins users.

Support Hours Our support specialists are available to assist you via email and telephone

during our normal business hours, which are from 9am to 5pm, Monday through Friday, Pacific Standard Time.

Phone Support Customer Service & Technical Support

USA toll-free: +1-877-698-2834 International: +1-831-440-1176

Online Support To request online support, please visit our support page, then click the “Sub-

mit Support Ticket” button to create a help ticket:

• www.uaudio.com/support

Website • www.uaudio.com

Address Universal Audio, Inc.

4585 Scotts Valley Drive Scotts Valley, CA 95066-4517 USA

Feedback Your feedback on the performance and features of UAD Powered Plug-Ins is

very important to us. Please send your comments and suggestions to us. Comments (not technical support issues) may be sent to info@uaudio.com.

UAD Powered Plug-Ins Manual - 17 - Chapter 1: Documentation & Support

CHAPTER 2

Ampex ATR-102

Mastering Tape Recorder

It's Not a Record Until it's Mastered on an Ampex® Tape Machine.

For more than three decades, the two-channel Ampex ATR-102 Mastering Tape Recorder has turned music recordings into records. With its cohesive sound, punch, and ability to provide subtle-to-deep tape saturation and color, the Ampex ATR-102 is a fixture in major recording and mastering studios — and is considered by many engineers to be the best-sounding tape machine for final mixdown. The perfect complement to the workhorse Studer 800 Multichannel Tape Recorder, the Ampex ATR-102 plug-in can provide the final “analog polish” on your music, turning songs into albums.

Impeccably modeled in the renowned UAD engineering tradition — and incorporating presets from noted Ampex ATR-102 users Chuck Ainlay, Richard Dodd, Buddy Miller, Mike Poole, and more — the Ampex ATR-102 Mastering Tape Recorder plug-in emulation for UAD-2 faithfully replicates the unique dynamics, frequency response, and saturation characteristics of the original hardware. Scrutinized and fully authenticated by the Ampex Corporation, the sound of the Ampex ATR-102 plug-in for UAD-2 is virtually indistinguishable from its analog cousin.

History Introduced in 1976, the Ampex ATR-102 2-Track Tape Recorder was a

near-instant hit, thanks to its revolutionary servo-controlled reel motors and capstan, which provided smooth, continuous tape tension and handling. The large capstan, and absence of pinch rollers, provided nearly non-existent speed drift and ultra-low flutter. The clever ATR-102 design allowed users to change out heads and guides in mere minutes, with a 1” head being a very popular “hot-rod” modification in more recent years — especially when running at 15 IPS (inches per second). The ATR’s role in modern recording history is so prevalent, that it would be easier to list classic albums that weren’t mixed down on this machine, rather than to try to list all those that were.

All visual and aural references to the Ampex Product and all use of Ampex’s trademarks are being made with written permission from Ampex Corporation. Any references to third party tape formulations are used solely for identification and do not imply any endorsement by, or affiliation with, any tape manufacturer.

UAD Powered Plug-Ins Manual - 18 - Chapter 2: Ampex ATR-102

Ampex ATR-102 Screenshots

Figure 1. The UAD Ampex ATR-102 plug-in window

Figure 2. Ampex ATR-102 secondary controls in “open” mode

UAD Powered Plug-Ins Manual - 19 - Chapter 2: Ampex ATR-102

Operational Overview

Famous Tape Sound

Mixdown Tape Deck

Multiple Tape Types

The UAD Ampex ATR-102 provides all of the original unit’s desirable analog sweetness. Like magnetic tape, users can dial in a clean sound, or just the right amount of harmonic saturation.

The primary purpose of the UAD Ampex ATR-102 is to obtain tape mixdown sonics within the DAW environment. To obtain the classic tape mixdown sound, instantiate the plug-in as the last insert on the output bus, after other processing is applied (or possibly as the second-to-last insert, before a brick-wall processor such as the (UAD Precision Limiter). Of course, creative “non-standard” results can be obtained by placing the Ampex ATR-102 in any channel insert or on busses in a send/return configuration.

The UAD Ampex ATR-102 models seven popular magnetic tape formulas. Each type has its own subtle sonic variation, distortion onset, and tape compression characteristics. The tape types that can be selected depend on the active tape speed and head type; all tape types are not available for all tape speeds and head types. Lower fidelity types are included to facilitate more signal coloration options.

Multiple Tape Heads

Multiple Tape Speeds

Multiple Calibration Levels

The original hardware machine was manufactured with an interchangeable head block system which enabled the system to be quickly converted to use either 1/4” or 1/2” tape stock by simply swapping out the heads and recalibrating the electronics. As track width increases, subtle improvements to stability, fidelity, and noise become apparent. A popular custom aftermarket tape head is available which enables the use of 1” tape stock, enabling even higher fidelity with its greater track widths. All three tape head widths are accurately modeled and selectable in the UAD Ampex ATR-102.

All four tape speeds in the original hardware are modeled in the UAD Ampex ATR-102. Speeds of 3.75, 7.5, 15, and 30 inches per second (IPS) are available. Each speed provides distinct frequency shift, head bump, and distortion characteristics. Higher speeds have higher fidelity; 3.75 IPS has a distinctively “lo fi” character.

Tape machines can be setup with different calibration levels, which entails setting unity gain from input through output based on the magnetic flux (amount of magnetic field) of a given tape formulation. Different calibration levels provide different tape response characteristics for a given level into the recorder. Four selectable calibration levels are available in the UAD Ampex ATR-102.

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Ancillary Noises Tape recorders have inherent signal noises that are a by-product of the elec-

tro-mechanical nature of the machine. While “undesirable” tape system noise is historically considered a negative and was an attribute that pushed the technical envelope for better machine design and tape formulas (and ultimately, “noiseless” digital recorders), noise is still an ever-present characteristic of the sound of using tape and tape machines.

The UAD Ampex ATR-102 models the hum, hiss, wow, flutter, and crosstalk characteristics of the original hardware. These noise components can be individually disabled, adjusted, and/or exaggerated for creative purposes (even though the servo-controlled, direct-drive capstan tape transport of the original hardware provides excellent wow and flutter specifications).

Modeled Transformer

The original hardware was manufactured with isolation transformers, which can color the signal. A common modification to the hardware tape machine eliminates the transformers from the signal path to produce a (subjectively) “cleaner” sound. UAD Ampex ATR-102 simulates the behavior of the transformers in the hardware circuit, and can be optionally disabled in the plug-in, providing both sonic options.

Tape Delay A popular application of multi-head tape recorders is to employ them for slap-

back tape echo effects. If the machine is running in record mode but the recorded signal is monitored from the repro head (as opposed to the sync head), the physical space between these two heads results in a short delay between the signal sent to the recorder and the monitored signal. When these signals are combined with mixer routings, the classic slapback echo is manifest. The UAD Ampex ATR-102 implements the ability to reproduce this classic effect with a simple set of controls, and expands the capabilities by extending the available delay times beyond what is possible in the physical realm.

Automatic Calibration

The ability of a magnetic tape recorder, which has inherently non-linear response characteristics, to accurately reproduce an audio signal with a minimum of noise and distortion requires precise adjustments to the system electronics. The calibration settings are based on the current tape speed, formulation, emphasis EQ, and tape width. The hardware must be meticulously re-adjusted each time a different tape, speed, emphasis EQ, or head width is used (and for system wear and drift, even if these variables are not changed). UAD Ampex ATR-102 has an automatic calibration feature that tunes all calibration electronics with a single button.

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Low Level Tuning Even though automatic calibration is available, the individual controls that ad-

just calibration are exposed for sonic manipulation. Playback EQ, record (tape) EQ, and record bias can easily be altered for manual calibration and/or creative purposes.

Manual Calibration Tools

UAD Ampex ATR-102 includes the full suite of tools required to manually calibrate the recorder. Manual calibration tools are provided so expert users can calibrate the system to their preferred methods for obtaining desired results. The manual calibration tools consist of a tone generator (with multiple test tones and levels), a distortion meter with digital readouts, and a full suite of Magnetic Reference Laboratory (MRL) alignment tapes, which are used to calibrate playback electronics.

Mono/Stereo Operation

While the UAD Ampex ATR-102 is a true stereo processor designed primarily for use in stereo-in/stereo-out configurations, it will also operate in mono-in/stereo-out and mono-in/mono-out modes.

When used in a mono-in/stereo-out configuration, the mono input signal is sent to both channels of the processor, which can then be adjusted independently. When used in a mono-in/mono-out configuration, adjusting any left or right control will change both the left and right controls (the left/right controls are always linked in mono mode).

Quick Setup Set up the plug-in by first adjusting Tape Speed, Tape Type (tape formulation),

and Emphasis EQ, or simply select a factory preset. Note that as you lower the tape speed, the tape “sound” becomes more audible. Once this basic setup is made, adjust the L/R Record (gain) levels, for more or less tape/circuit coloration/saturation.

Artist Presets UAD Ampex ATR-102 includes artist presets from prominent ATR-102 users.

Some of the artist presets are in the internal factory bank and are accessed via the host application’s preset menu. Additional artist presets are copied to disk by the UAD installer. The additional presets can be loaded using the Settings menu in the UAD Toolbar.

Primary & Secondary Controls

The graphical interface panel has two modes; open and closed. In closed mode, the primary controls (those that are typically most used) are available on the main panel interface and the tape reels are visible. Additional (typically less used) controls are available on the secondary panel in open mode. The secondary controls panel (Figure 4 on page 31) is accessed by clicking the OPEN button beneath the AMPEX label.

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Primary Controls

Meters The two Meters display signal levels of the plug-in for the left and right chan-

nels. Meter ballistics of the original hardware are modeled. The Meters can be switched to display input or output levels in peak or VU modes.

Figure 3. One side of the Ampex ATR-102 “penthouse” showing meter and I/O controls

The plug-in operates at an internal level of –12 dBFS. Therefore a digital signal with a level of –12 dB below full scale digital (0 dBFS) at the plug-in input will equate to 0 dB on the Meters when Reproduce is in its calibrated position, which is marked with the “red arrow sticker.”

When Path Select is set to Thru, the Meters indicate signal levels at the input of the plug-in prior to processing.

Note: Although there are separate left/right Meter controls for VU/Peak and

Input/Output, these controls are permanently linked and cannot be switched individually for the left and right channels.

Input/Output These switches change the Meter to display levels at the input or output of the

plug-in. Input metering is a UAD-only feature which is unavailable in the original hardware.

Input

When in Input mode, the Meter reflects the signal level after the Record (input) gain when Path Select is set to Sync or Repro. In Input mode when Path Select is set to Thru, the Meter reflects the pre-processed (raw input) signal level.

Output

When in Output mode, the meter reflects the signal level at the output of the plug-in, which is just after the Reproduce (output) gain.

Peak/VU This switch is used to change Meter behavior between Peak or VU modes.

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Clip LED The left and right channels each have a Clip LED, just above the Meter.

The Clip LED is not in the original hardware; it is a UAD-only feature.

The Clip LED illuminates only when the machine’s audio electronics clip. The Clip LED is not affected by the recorded tape signal, even if the tape is overloaded and distorting.

Reproduce Reproduce adjusts the signal level coming off the virtual tape

before the signal is sent to the Meters. There are two Reproduce controls, one each for the left and right channels. The left/right Reproduce controls can be adjusted individually, or simultaneously adjusted when Link mode (page 25) is active.

The available range is –∞ dB (off) to +9.48 dB. The default value of 0 dB is the “calibrated position” which is marked with a “red arrow sticker.” Reproduce is not affected by Auto Cal.

Tip: Click the “REPRODUCE” label text to return Reproduce to 0 dB.

The Meters accurately reflect the output level (when set to Output mode) even if Reproduce is not in its calibrated position. However, if Reproduce is moved from the “cal” position, the Meters will no longer correspond to a particular level being recorded onto the virtual tape. In this case, the Meters will not reflect the actual “operating level” of the tape because Reproduce changes the signal level coming off the tape before it is sent to the Meters.

Note: The graphical interface panel values for Reproduce, which range from

0 – 10, are arbitrary and do not reflect a particular dB value.

Record Record adjusts the signal level into the plug-in and the tape cir-

cuitry. There are two Record controls, one for the left channel and one for the right. These left/right Record controls can be adjusted individually, or simultaneously when Link mode (page 25) is active.

The available range is –∞ dB (off) to +9.3 dB. The default value is 0 dB. The graphical interface panel values, which range from 0 – 10, are arbitrary and do not reflect a particular dB value.

Tip: Click the “RECORD” label text to return the Record value to 0 dB.

UAD Powered Plug-Ins Manual - 24 - Chapter 2: Ampex ATR-102

Record is a primary “color” control for the plug-in. Just like genuine magnetic tape, lower Record levels will have a cleaner sound, while higher levels result in more harmonic saturation and coloration. Higher Record levels will also increase the output level from the plug-in. The Reproduce control can be lowered to compensate if unity gain operation is desired.

Reproduce/Record Controls Arrangement

Note that the Reproduce control is to the left of the Record control, which is atypical of most signal flow designs, where inputs usually precede outputs (flowing from left to right). This quirky arrangement of the Ampex ATR-102 I/O controls, where the input control “follows” the output control, is true to the original hardware design. In Controls View, the Record (input) control precedes the Reproduce (output) control.

Open/Close The secondary controls (Figure 4 on page 31) are accessed

by clicking the OPEN button beneath the AMPEX label. Conversely, the panel is closed by clicking the CLOSE button.

Link/Unlink Link mode is a software-only addition that enables controls

that are identical for the left and right channels to be linked

for ease of operation when both channels require the same values, or unlinked when independent left/right control is desired. In other words, left/right channel controls are ganged together in link mode.

The Link parameter is stored within presets and can be accessed via automation.

Note: Although there are separate left/right Meter controls for VU/Peak and

Input/Output, these controls are permanently linked and cannot be switched individually for the left and right channels, even if Unlink mode is active.

Link

In Link mode, modifying any left or right channel control causes its adjacent stereo counterpart control to snap to the same position.

Important: When Unlink mode is active and Link is enabled, the left chan-

nel control values are copied to the right channel. Control offsets between channels are lost in this case.

UAD Powered Plug-Ins Manual - 25 - Chapter 2: Ampex ATR-102

When Link is active, automation data is written and read for the left channel only. In this case, the automation data for the left will control both channels. Additionally, changing the right channel parameters from a control surface or when in “controls only” (non-GUI) mode will have no effect.

Unlink

When Unlink is active, the controls for the left and right channels are independent. When unlinked, automation data is written and read by each channel separately.

Emphasis EQ The Emphasis EQ buttons determine the active Emphasis EQ

values and the frequency of the Hum noise. NAB or CCIR curves can be selected when the Tape Speed is 7.5 or 15 IPS. When the Tape Speed is 30 IPS, neither value is available (the LEDs are dimmed) because the EQ is fixed with the AES emphasis curve, per the original hardware. At 3.75 IPS, only NAB is available (as it is with the hardware).

When the value is set to NAB (traditionally the United States standard), the Hum Noise frequency is 60 Hz. When set to CCIR (traditionally the standard in Europe and other regions), the Hum Noise frequency is 50 Hz. See “Noise

Enable” on page 33 and “Hum” on page 33 for more information about

Hum.

Tape Speed and Emphasis EQ were originally practical controls for recording duration versus noise and local standards. Historically, the origin of the tape machine (US or European) dictated the built-in EQ emphasis, but later machines like the Ampex ATR-102 had both circuits available.

CCIR (also known as IEC1) is the EQ pre-emphasis made famous on British records and is considered the technically superior EQ; many say this EQ was part of the “British sound” during tape’s heyday. NAB (also known as IEC2) was the American standard with its own sound. AES is truly standardized at 30 IPS and is the sole EQ found on the Ampex ATR-102 at 30 IPS.

Power Power is the plug-in bypass control. When set to OFF, em-

ulation processing is disabled, the Meters and control LEDs

are dimmed, the Bypass LED illuminates, and DSP usage is reduced. Power is useful for comparing the processed settings to the original signal.

UAD Powered Plug-Ins Manual - 26 - Chapter 2: Ampex ATR-102

OFF is similar to the Thru position in the Path Select control (page 29) except that the Meters are still active when the Thru control is used. However, in this state, the Meters indicate signal levels at the input of the plug-in prior to processing.

Note: DSP usage is reduced only when DSP LoadLock is disabled. If DSP

LoadLock is enabled (the default setting), activating OFF will not reduce DSP usage.

Tape Speed The Tape Speed control determines the speed of the tape trans-

port, in inches per second (IPS). Tape Speed affects the recorder’s fidelity and associated “head bump” sonics. Head bump is bass frequency build-up that occurs with magnetic tape; the dominant frequencies shift according to transport speed.

To change the Tape Speed value, click the IPS text values, or drag the knob, or click the knob then use the mouse scroll wheel.

15 IPS is considered the favorite for rock and acoustic music due to its low frequency “head bump” (low frequency rise) and warmer sound, while 30 IPS is the norm for classical and jazz due to its lower noise floor, greater fidelity and flatter response. 7.5 and 3.75 IPS are also available for an even more colored experience, with even greater frequency shift and other artifacts.

Note: The available parameter ranges of Tape Type, Head Width, and Em-

phasis EQ are affected by Tape Speed. See Table 6 on page 43 for details.

Tape Type Tape Type selects the active tape stock formulation. Seven

Tape Types are modeled in the UAD Ampex ATR-102. To select the Tape Type, click the TAPE button to cycle through the available types, or click directly on the Tape Type value label. The active Tape Type is highlighted in yellow.

Note: The available Tape Types and defaults are dependent

on the current Tape Speed and Head values. The available Tape Types, and the associated Tape Speed and Head values, are shown in Table 6 on page 43.

Each type has its own subtle sonic variation, distortion onset, and tape compression characteristics. Generally speaking, the lower the Cal Level for each formula, the higher the signal level required to reach saturation and distortion.

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Cal Level Cal Level automatically sets tape calibration/fluxivity. The Cal Level

setting takes care of the setup one would need to make under equivalent hardware operation, and sets the reference tape/flux level without disturbing the (unity) gain of the plug-in.

To select the Cal Level, click the CAL button to cycle through the available levels, or click directly on the calibration value label. The active Cal Level is highlighted in yellow. The default value is +6 dB.

Because Cal Level affects the operating levels in the plug-in, it can be used to compensate for overly high (or low) levels at the input of the plug-in. For example, if the input is too hot, lowering the Cal Level will reduce the signal level without changing Record, which can affect the tape saturation characteristics.

Note: The noise floor is affected by the Cal Level when Noise Enable

(page 33) is active.

As tape formulas advanced, their output level increased, thus lowering relative noise floor. Under normal use, the machine would be calibrated to the tape’s output level. However, sometimes the machine is under-calibrated to leave more headroom for a broader sweet spot or to prevent electronics from clipping. Therefore, one can “go traditional” and calibrate to the recommended levels (Table 1), or select a non-corresponding calibration setting.

As an example, if 456 is the selected Tape Type and when Cal is set at +6 (6 dB higher than the NAB tape standard), the reference flux level is 355 nWb/m (nanoweber per meter) and is 10 dB below the point where THD reaches 3% (referred to as the maximum operating level). Therefore, with a 1 kHz test tone at –12 dBFS sent to the plug-in, with Tape Type set to 456, Cal set to +6, and Auto Cal enabled, output levels of the plug-in will match the input level and fluxivity on the tape will be 355 nWb/m.

The tape manufacturer’s recommended calibration settings for each Tape Type are shown in Table 1.

Table 1. Tape Manufacturer’s Recommended Calibration Levels

Tape Type Calibration Flux Level

111 +0 dB 177 nWb/m

35-90 +3 dB 251 nWb/m

250 +3 dB 251 nWb/m

UAD Powered Plug-Ins Manual - 28 - Chapter 2: Ampex ATR-102

Table 1. Tape Manufacturer’s Recommended Calibration Levels

456 +6 dB 355 nWb/m

468 +6 dB 355 nWb/m

900 +9 dB 502 nWb/m

GP9 +9 dB 502 nWb/m

Tip: The UAD Ampex ATR-102 default presets bank offers a variety of preset

Tape Type, Tape Speed, CAL level, and EQ configurations that are commonly used for the recording of specific genres.

Head Width This control specifies the active tape head model. Head Widths of

1/4,” 1/2,” or 1” can be selected.

To select the Head Width, click the HEAD button to cycle through the available values, or click directly on the value label. The active Head Width is highlighted in yellow.

Note: At tape speeds of 3.75” and 7.5” only the 1/4” head can be

used. At these speeds, the 1/2” and 1” heads cannot be selected.

Path Select The Path Select buttons specify which of the four possi-

ble signal paths is active in the Ampex ATR-102. The active mode is indicated by an illuminated LED above its associated button. The default value is Repro.

Sync

Sync mode models the sound of direct tape recording and playback via the sync/record head, plus all corresponding machine electronics.

Sync mode is generally not used for playback due to its poorer frequency response, but it is included for authenticity and creative purposes.

Repro

Repro mode models the sound of tape recording through the record head and playback through the reproduction head, plus all corresponding machine electronics.

Input

Input mode emulates the sound of the Ampex ATR-102 through the machine electronics only, without tape sonics. This is the scenario when the machine is in live monitoring mode but the tape transport is not running.

UAD Powered Plug-Ins Manual - 29 - Chapter 2: Ampex ATR-102

Thru

Click capstan to start/stop reels animation

Thru is a processor bypass control. When Thru is enabled, all controls are inactive, emulation processing is disabled, and DSP usage is reduced.

Thru behavior is similar to that of the OFF position in the POWER control (page 26), except that the Meters are still active in Thru mode. In this state, the Meters indicate signal levels at the input of the plug-in prior to processing.

Note: DSP usage is reduced only when DSP LoadLock is disabled. If DSP

LoadLock is enabled (the default setting), activating Thru will not reduce DSP usage.

Tape Reels Animation

When the secondary controls panel is closed (Figure 1 on page 19), by default the graphical tape reels “spin” if the DAW transport is running. The tape reels animation can be disabled by clicking the capstan graphic. Re-clicking the capstan will re-start the animation.

The “spin state” is saved until it is changed again.

Note: Spinning reels automation is not supported in all hosts. In Sonar, the

plug-in must be configured as a “tempo-based effect” for reels animation.

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Secondary Controls

The secondary controls (Figure 4 below) adjust the various calibration, ancillary noise, tone generator, and tape delay parameters. The secondary controls panel is accessed by clicking the OPEN button beneath the AMPEX label.

Figure 4. UAD Ampex ATR-102 secondary controls

Auto Cal The Ampex ATR-102 has individual calibration controls for ad-

justing sync (record) EQ, reproduction (playback) EQ, and record bias, which are used to compensate for the inherent

non-linearities of tape systems. On the hardware, these controls are typically adjusted to calibrate the system for optimum response compensation due to tape non-linearities whenever the tape type, tape speed, emphasis EQ, or head width are changed.

When the Auto Cal (Automatic Calibration) ON button is clicked, the calibration EQ and bias controls are automatically adjusted to their “flat” calibrated position for the currently active Tape Type, Tape Speed, Emphasis EQ, and Head Type. The Auto Cal ON LED illuminates green when the calibration parameters (Shelf EQ, HF EQ, Repro HF, Repro LF, and Bias) are in their calibrated position.

Auto Cal is enabled by default. When Auto Cal is ON, the calibration parameters (Shelf EQ, HF EQ, Repro HF, Repro LF, and Bias) change values whenever Tape Type, Tape Speed, Emphasis EQ, or Head Type is modified. When Auto Cal is OFF, the calibration parameters do not change values when Tape Type, Tape Speed, Emphasis EQ, or Head Type is modified.

Important: Any calibration settings made manually are lost when Auto Cal

is activated. Consider saving manual settings as a preset before activating Auto Cal.

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After Auto Calibration occurs, the automatically adjusted pa-

rameters can be modified to any other value if desired. If a cal-

ibration parameter is adjusted while Auto Cal is ON, the ON

LED illuminates in red instead of green, indicating that the system is no longer in the calibrated state. If the moved controls are subsequently returned to their original position, the LED will return to its green state, indicating the unit is back in calibration.

Tip: To return any of the individual calibration controls to their “flat” (cali-

brated) position, click the label text adjacent to the control (or, simply re-click Auto Cal to return all calibration controls to their “flat” position).

The “Manual Calibration Procedure” on page 39 has instructions for perform- ing system calibration manually.

Record EQ The Record EQ controls (HF EQ and Shelf EQ) are applied in

the tape recording circuit and affect tape saturation characteristics. They compensate for common residual HF loss due to bias optimization and system filtering, and affect HF content in the signal prior to the tape non-linearity.

HF EQ

HF EQ provides high frequency emphasis in the signal recorded to tape.

Shelf EQ

Shelf EQ is another control (in addition to HF EQ) provided to compensate for tape non-linearity. Although adjustment of this control is not part of the Ampex factory calibration procedure, it can be used for customized manual calibrations or creative purposes.

Repro EQ The Repro EQ controls (Repro HF and Repro LF) are post-head

controls for tape playback calibration. They affect the signal coming out of the tape circuitry in both Repro and Sync modes.

The Repro EQs are used as filters to shape the frequency response of the system in maintaining a flat response and enable compensation for any tape frequency loss or head wear.

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Repro HF

Adjusts the tape playback high frequency content when Path Select is set to

Sync or Repro.

Repro LF

Adjusts the tape playback low frequency content when Path Select is set to

Sync or Repro.

Bias This control adjusts the amount of bias in the record signal.

Bias is defined as an oscillator beyond the audible range applied to the audio at the record head, allowing for adjustment of the record behavior. Ideal bias voltage settings provide maximum record sensitivity and low distortion. Intentionally overbiasing is a common technique especially for “tape compression” which produces a warmer, gently saturated sound. Underbiasing can also be used to add distortion and other nonlinear responses, similar to gate chatter or cold solder joints; extremely low voltages may even cause audio to drop out entirely.

Bias voltage, HF/Shelf EQ, and Emphasis EQ (CCIR, NAB, AES) all work together to provide a linear response to the recorded signal. The “flat” (calibrated position) is determined by tape speed, tape type, emphasis EQ, and head width.

Noise Enable This is a global enable control for the Hum and Hiss effect.

When Noise is ON, the level of Hum and Hiss can be independently adjusted using the Hum and Hiss Level controls.

The default values of 0 dB for Hum and Hiss are the actual modeled level in the original hardware. Noise is not affected by automatic calibration.

Hum Determines the amount of Hum in the signal. Hum is added after the

tape circuitry. This control affects both the left and right channels. Noise Enable must be ON for the Hum control to function.

The default value of 0 dB for Hum is the actual modeled level in the original hardware. This default value can be offset by ±25 dB.

The Hum frequency is dependent on the Emphasis EQ control (page 26). The frequency is 60 Hz when set to NAB (US) and 50 Hz when set to CCIR (European).

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When Tape Speed is set to 30 IPS, the green Emphasis EQ LEDs are not illuminated (and cannot be switched), indicating that the Emphasis EQ is set to AES. However, the Hum frequency can still be set for 30 IPS mode by setting Emphasis EQ to NAB (for 60 Hz) or CCIR (for 50 Hz) prior to setting Tape Speed to 30 IPS.

Note: When Tape Speed is 3.75 IPS, only 60 Hz is available.

Hiss Hiss determines the amount of tape hiss in the tape playback signal.

The default value is 0 dB and can be offset by –25 dB to +50 dB for creative purposes. Noise Enable must be ON for this control to function.

Like the hardware, the amount of hiss is dependent on settings of the various controls and may subtly change based on the values of Path Select, Tape Type, Emphasis EQ, Cal Level, Bias, Playback EQs, and Output Level.

Hiss Level is not affected by automatic calibration, so its level does not change with Tape Speed. When Hiss Level is at its default position (0 dB), the amount of hiss present in the signal is as if the Tape Speed is 15 IPS. To emulate the amount of hiss at the other tape speeds, enter the offsets from Table 2.

Wow & Flutter Enable

Table 2. Hiss Level Offsets

Tape Speed Hiss Level Setting

30 IPS –8 dB

15 IPS 0 dB

7.5 IPS 12.5 dB

3.75 IPS 17 dB

Note: Because hiss noise is an element of tape playback, Hiss is disabled

when Path Select is set to Input.

These buttons are global enable/disable controls for the Wow

and Flutter effects. When Wow & Flutter is ON, the level of

Wow and Flutter can be independently adjusted using the

Wow and Flutter Level controls.

Wow and Flutter are “undesirable” pitch modulations induced by the mechanical components of the tape transport. Wow is a by-product of capstan irregularities, while flutter is a by-product of tape stretching and sticking. Both can be effectively used for creative purposes.

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Wow usually refers to very low frequency fluctuations, while Flutter refers to faster fluctuations. Wow and flutter is measured as the percentage of deflection from the original pitch. Both are more pronounced at lower tape speeds.

Note: Wow and Flutter levels change with Tape Speed, but they are not af-

fected by automatic calibration.

Wow Determines the amount of Wow in the signal. Wow & Flutter Enable

must be ON for this control to function.

Flutter Determines the amount of Flutter in the signal. Wow & Flutter Enable

must be ON for this control to function.

Crosstalk Enable These buttons are global enable/disable controls for the

Crosstalk Level (XTALK) parameter. When Crosstalk is ON, the

amount of Crosstalk can be adjusted using the Crosstalk Level

control.

Crosstalk is the amount of signal bleed between the left and right channels. Crosstalk sonics can vary based upon the Tape Speed and Head Width pa- rameters, however the amount of crosstalk does not vary with these settings.

Crosstalk Level

This control determines the amount of signal crosstalk. Crosstalk Enable must be ON for the Crosstalk Level control to function. The default value of –45 dB is the actual modeled level in the original hardware. The available range is –50 dB to –10 dB. Crosstalk Level is not affected by automatic calibration.

Transformer Enable

These ON/OFF buttons enable and disable the transformer circuit of the Ampex ATR-102. For an overview of this feature, see

“Modeled Transformer” on page 21.

Tape Delay These parameters control the built-in Tape Delay, which

creates tape echo effects. For an overview of this feature, see “Tape Delay” on page 21. The Tape Delay controls are not available in the original hardware.

Note: Tape Delay is not available when Path Select is set

to Input or Thru, nor when the Manual Calibration Tools are active.

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Tape Delay Enable

Delay Time Defaults

• 30 IPS: 62 ms

• 15 IPS: 124 ms

• 7.5 IPS: 248 ms

• 3.75 IPS: 496 ms

These buttons are global enable/disable controls for the Tape Delay effect. When Tape Delay is ON, its red numerical display is active, and other Tape Delay parameters can be adjusted.

Dry/Wet Mix

The Dry/Wet pushbuttons control the mix of the Tape Delay effect. The amount of dry and wet signals are displayed as percentages.

Click the Dry button to increase the dry signal level by 1%, or the Wet button to increase the delayed signal level by 1%.

Tip: Hold the Dry/Wet buttons down to rapidly change the mix values. For

fine control in increments/decrements of 0.1%, hold down Shift while changing values.

Delay Time

The left and right channel delay times can be independently adjusted with these controls. Click the “+” or “–” buttons to change the delay times in increments of 10 milliseconds. The available range is 0 – 1000 milliseconds.

Tip: Hold the +/– buttons down to rapidly change the delay times. For fine

control in increments/decrements of 1ms, hold down Shift while changing values.

The default Delay Time values depend on the current

Tape Speed, and represent the actual delay time

that would occur in the physical realm, reflecting the elapsed time between the signal put on tape at the record/sync head and its reproduction at the playback/repro head. These “physical” default times are shown at right.

Important: When the tape speed is changed, the current delay time is

changed to reflect the new “physical time” between the sync and repro heads for the new tape speed, and previously set values are lost (see tip below).

Tip: To retain custom delay times when changing Tape Speed, hold Shift

when changing Tape Speed.

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Manual Calibration Tools

These controls are the suite of tools included to perform manual calibration of the recorder. These UAD-only tools are not in the original hardware. Manual calibration is entirely optional, as the Auto Cal feature can quickly and automatically calibrate the system.

The manual calibration tools consist of an “external” tone generator with multiple test tones and levels, a distortion meter with digital readouts, and a full suite of

modeled Magnetic Reference Laboratory (MRL) alignment tapes.

Note: The Manual Calibration Tools are operational only when Path Select

is set to Sync or Repro. Additionally, the tools may not operate in some hosts unless audio is present on the track containing the plug-in and the transport is running. Placing the plug-in on an aux, bus, or master output may eliminate this host limitation.

This section describes the functions of the manual calibration tools. For instructions on how to use the tools to perform a manual system calibration, see the

“Manual Calibration Procedure” on page 39.

About MRL Alignment Tapes

Alignment tapes are carefully recorded with accurate and consistent flux levels and test tone frequencies. They are constant companions to all well-maintained professional tape machines. Different alignment tapes are required for each tape speed, head width, equalization standard (CCIR/IEC or NAB), and fluxivity level.

Alignment tapes are required for system calibration and adjustment so that playback of previously-recorded session tapes will have correct and consistent equalization and levels, regardless of when, or where, the session tape was originally recorded.

After tape playback system EQ and levels are calibrated to match the known-to-be-correct values of the alignment tape(s), the record-side alignment is performed. The entire record/playback system will then have proper EQ and gain structuring.

Magnetic Reference Laboratory (“MRL”) is a company that produces alignment tapes. The MRL tapes used in the UAD Ampex ATR-102 are fringing compensated. In-depth discussions about fringing compensation and system alignment are beyond the scope of this manual; thorough resources are available from the MRL website at: http://www.mrltapes.com

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Manual Cal Knob The Manual Cal knob performs two functions: it sets the

signal level of the “external” test tone generator for record calibration, and specifies when alignment tapes are to be used for playback calibration.

When set to –16 dB, –6 dB, or +4 dB, a generated sine wave test tone at the frequency specified by the Tones buttons is sent to the input of the record circuitry. This mode emulates sending external test tones into the system. The level of the test tone is set by the knob position and remains static regardless of other parameter values.

When set to MRL, a test tone from the “alignment tape” is sent into the playback circuitry. The MRL frequency is also specified by the Tones buttons, but the levels used are from the calibrated alignment tape. Therefore the MRL tone levels are dependent on other tape parameter values.

Tones The Tones buttons set the frequency of the “external” test

tone generator and the MRL tape test tones. Tone frequencies of 50 Hz, 100 Hz, 1 kHz, 2.5 kHz, 5 kHz, 10 kHz, 15 kHz, and 20 kHz are available.

Click a button to specify that frequency; the active frequency’s button is shadowed gray as if in the “down” position.

Distortion Meter The red numerical display, between the Manual Cal

knob and the Tones buttons, represents the amount (dis-

played as a percentage) of third harmonic distortion present in each of the left and right channels. This feature can be useful for custom calibration techniques.

When the Manual Cal knob is set to –16 dB, –6 dB, or +4 dB, the value represents third harmonic distortion in the tape playback circuit. Generally speaking, increasing Record (input) will increase distortion while in this mode, as tape saturation increases. If Bias is set very low, distortion may increase at lower Cal Levels.

Note: When the Manual Cal knob is set to MRL, the Distortion Meter is inac-

tive (there is no distortion display in this mode).

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Manual Calibration Procedure

Manual calibration tools are provided so expert users can calibrate the system to their preferred methods for obtaining desired results. For example, some technicians may prefer adjustments for lowest distortion at a certain frequency; setting bias for maximum sensitivity (instead of overbiasing); or other non-standard techniques.

The calibration procedure described here is the most commonly used technique, and is the (albeit simplified) method recommended by the Ampex Operation and Service Manual.

Important: Manual calibration is not required to use UAD Ampex ATR-102.

Following this procedure will result in the same (or nearly the same) values obtained by simply using the Auto Cal feature.

Tip: When making manual calibration settings, consider disabling Auto Cal

so the manually calibrated values are not accidentally lost if any of the controls that force automatic calibration (Tape Type, Tape Speed, Emphasis EQ, and Head Width) are inadvertently modified.

Preparation • Reduce monitoring system volume to avoid loud sine wave Tones.

• Insert UAD Ampex ATR-102 on the DAW output bus (see note below).

• Set Path Select to Repro mode (Sync mode is not supported for manual cal).

• Set left and right Meter Input/Output switches to the “OUTPUT” position.

• Set left and right Meter Peak/VU switches to the “VU” position.

• Set Tape Speed, Tape Type, Cal Level, and Head Width to desired values.

• If Tape Speed is set to 3.75 IPS, set Cal Level to +3 dB.

• Disable Noise Enable (excessive Hiss may contribute to incorrect results).

• Do not change the above settings throughout the procedure.

• For related information, see the Manual Calibration Notes at the end of this

chapter.

Note: The Manual Calibration Tools are operational only when Path Select

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To manually calibrate UAD Ampex ATR-102:

Repro Level Calibration

Repro EQ Calibration

1. Set the Manual Cal Knob to the “MRL” position. The built-in alignment tape tone will sound and its level can be viewed on the Meters.

2. Set the Tones frequency to 1 kHz.

3. Adjust Reproduce (output) so the Meters display 0 dB.

4. Set the Tones frequency to 10 kHz.

5. Adjust Repro HF (not to be confused with HF EQ) so the Meters display 0 dB.

6. Set the Tones frequency to 100 Hz.

7. Adjust Repro LF so the Meters display 0 dB (or as close as possible).*

*Because the MRL alignment tapes we used have fringing compensation, it may not be possible to increase Repro LF enough to make the meter reach 0 dB at low frequencies. If a flat response is desired, you can switch the Manual Cal knob from MRL mode to the “external” tones then readjust Repro LF for flat response (0 dB) using the external tones instead of the MRL tones.

Note: If Repro HF and/or Repro LF EQs are adjusted by a large amount, it

may be necessary to recalibrate the output level (steps 1–3).

Record Bias Calibration

8. Set the Manual Cal Knob to the tone level position in Table 3 below (the tone level depends on tape speed).

9. Set the Tones frequency to the value in Table 3 below (the frequency de- pends on tape speed).

Table 3. Record Bias Calibration Frequencies and Levels

Tape Speed Tone Frequency Tone Level

3.75 IPS 2.5 kHz –16 dB

7.5 IPS 5 kHz –6 dB

15 IPS 10 kHz +4 dB

30 IPS 20 kHz +4 dB

10. Adjust Bias throughout its range until the Meters reach the maximum level achievable with the Bias control.*

*If the meters reach their maximum “pinned” value, you may temporarily reduce the Reproduce level to lower the meters, so the maximum achievable level can be accurately viewed (the maximum achievable level may be higher than the pinned value of 3 dB).

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11. Increase Bias (clockwise) until the meter level is reduced by –3.5 dB from its maximum (for 3.5 dB of overbias; see Manual Calibration Notes).*

*When calibrating at 3.75 or 7.5 IPS, the tone generator is at a lower level, therefore meter resolution is decreased. To increase meter precision when adjusting bias at the lower tape speeds, consider temporarily increasing the reproduce level.

Record Level Calibration

Record EQ Calibration

12. Set the Tones frequency to 1 kHz.

13. Adjust Record (input) so the Meters display the level in Table 4 below (the level depends on tape speed).

Table 4. Meter Levels for Record and HF EQ Adjustments

Tape Speed Meter Level

3.75 IPS –20 dB

7.5 IPS –10 dB

15 IPS 0 dB

30 IPS 0 dB

14. Set the Tones frequency to the value in Table 5 below (the frequency de- pends on tape speed).

Table 5. Record HF EQ Calibration Frequencies and Levels

Tape Speed Tone Frequency Tone Level

3.75 IPS 5 kHz* –16 dB

7.5 IPS 10 kHz –6 dB

15 IPS 15 kHz +4 dB

30 IPS 20 kHz +4 dB

*Note: 7.5 kHz is specified in Ampex manual.

15. Adjust Record HF EQ (not to be confused with Repro HF) so the

Meters display the level in Table 4 above (the level depends on tape

speed).

Note: If HF EQ is adjusted by a large amount, it may be necessary to reca-

librate the record level (steps 12, 13).

The manual calibration procedure is complete.

For related information, see the Manual Calibration Notes in the next section.

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Manual Calibration Notes

• 0 dB on the output meter represents +4 dBm (and –12 dBFS digital) when

Reproduce is in its calibrated position, which is marked with the “red arrow

sticker.”

• For proper calibration, follow the entire calibration procedure in order.

• This example uses 3.5 dB overbias. The amount of gain reduction in step 12

determines the amount of overbias. In some cases we used more than

3.5 dB of overbias to achieve a ﬂatter response.

• Generally speaking, higher Cal Level values will have higher Distortion

Meter values for a given reading on the Meters. If Bias is set very low, dis-

tortion may increase at lower Cal Levels.

• We recommend leaving the record SHELF EQ control in its default position.

• The Ampex ATR-102 hardware has an additional gain control via a set-

screw (like Repro HF/LF, Bias, etc) which is usually used for manual gain calibrations. This control is not available in the plug-in because it would be redundant – the Reproduce control performs the same function.

• We chose to calibrate our reference machine using MRL fringing-compen-

sated calibration tapes, without later adjusting the Repro LF EQ for unity gain using external test tones. Therefore the calibrated values in the plug-in reﬂect this alignment method. In-depth discussions about fringing compensation and system alignment are beyond the scope of this manual; thorough resources are available from the MRL website at: http://www.mrltapes.com

• Tape Type 111 uses a calibration level of 0 dB. This value is not available

in the plug-in, but it can be emulated by setting the CAL level to +3 dB, then reducing the input level (Record knob) by –3 dB and increasing the output level (Reproduce knob) by +3 dB.

• The plug-in operates at an internal level of –12 dBFS. Therefore a digital sig-

nal with a level of –12 dB below full scale digital (0 dBFS) at the plug-in input will represent 0 dB on the plug-in meters (if the plug-in is calibrated).

• The included artist presets demonstrate how manual calibration can be

used to obtain sonic variations (see “Artist Presets” on page 22).

Tip: For easy recall in future sessions, save unique calibrations as a preset.

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Parameter Dependencies

Available Settings

Some ATR-102 parameter value ranges depend on the value of other parameters. These dependencies are listed in Table 6 below.

Table 6. Ampex ATR-102 parameter dependencies

Tape Speed Head Width Tape 1 Tape 2 Tape 3 Tape 4 Emphasis EQ

30 IPS 1” 250 456 468 GP9 AES

30 IPS 1/2” 250 456 900 GP9 AES

30 IPS 1/4” 250 456 900 GP9 AES

15 IPS 1” 250 456 468 GP9 NAB

15 IPS 1” 250 456 468 GP9 CCIR

15 IPS 1/2” 250 456 900 GP9 NAB

15 IPS 1/2” 250 456 900 GP9 CCIR

15 IPS 1/4” 250 456 900 GP9 NAB

15 IPS 1/4” 250 456 900 GP9 CCIR

7.5 IPS 1/4” 250 456 35-90 111 NAB

7.5 IPS 1/4” 250 456 35-90 111 CCIR

3.75 IPS 1/4” 250 456 35-90 111 NAB

3.75 IPS 1/4” 250 456 35-90 111 CCIR

Ampex ATR-102 Latency

The Ampex ATR-102 uses an internal upsampling technique. This upsampling results in a larger latency than most other UAD plug-ins. See “UAD Delay Compensation” in the UAD System Manual for more information.

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Original Ampex ATR-102 Mastering Recorder Brochure

CHAPTER 3

API 500 Series EQ Collection

Introduction

The 550A and 560 modular EQs are some of the most popular and enduring mixing and tracking processors ever made. The 500 series modules from API are true industry standards, found in professional multi-channel consoles to Lunchbox racks in the humblest of project studios. Designed by the now legendary Saul Walker in the late 60s, the combination of Walker's 2520 op amp and his Proportional Q circuitry gave the 550 and 560 an uncomplicated way to generate acoustically superior equalization.

Universal Audio now offers the UAD-2 platform true best-in-class emulations of these two audio production staples. With UA’s industry-leading circuit modeling that captures the filter shapes, band interactions, and unique filter amplifier clipping behaviors providing full “suspension of disbelief,” these plugins fulfill sonic requirements that previously only the API hardware could provide.

Based on vintage units provided by Ross Hogarth and Capitol Studios, both plug-ins provide era-specific features and behaviors, and a remarkable model of API’s custom 2520 and output transformer — the results are fantastic lowfrequency transparency and tight imaging, which is that legendary API “punch in your gut” sound. Like with the hardware, the EQs are extremely fast to set, reliable and uniform, and deliver that one-of-a-kind API high headroom precision.

If you want the sound of classic American music, you need the API EQs.

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API 500 Series EQ Collection Screenshots

Figure 5. The API 550A EQ (left) and API 560 EQ (right) plug-in windows

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Operational Overview

API 500 Series Collection

The API 500 Series EQ Collection includes the UAD API 550A and UAD API 560 plug-ins, which are officially licensed from and endorsed by Automated Processes Inc. Both plug-ins meticulously model the entire electronic path, including custom API 2520 op-amps, transformers, band interactions, and internal clipped filter nonlinearities.

API 550A The API 550A provides reciprocal equalization at 15 points in five steps of

boost or cut to a maximum of ±12 dB of gain at each point. The fifteen fixed equalization points are divided into three overlapping band ranges. The high and low frequency bands are individually selectable to function as either peaking or shelving filters. A bandpass filter may be inserted independently of all other selected equalization settings.

API 560 The 10 precision EQ bands make the 560 ideal for signal sweetening and

mix tuning. The boost and cut characteristics are identical, allowing previous actions to be undone if desired.

Proportional Q The 550A and 560 filters feature API’s “Proportional Q” which continuously

narrows the bandwidth of the filter as band gain is increased, providing (as stated by API) “an uncomplicated way to generate acoustically superior equalization.”

Artist Presets The API 500 Series EQ Collection includes artist presets from prominent API

users. The artist presets are in the internal factory bank and are accessed via the host application’s preset menu. The artist presets are also copied to disk by the UAD installer so they can be used within Apollo’s Console application. The presets can be loaded using the Settings menu in the UAD Toolbar (see “Using UAD Powered Plug-Ins” in Chapter 7 of the UAD System Manual).

API 500 Series Latency

These plug-ins use an internal upsampling technique to achieve sonic design goals. The upsampling results in a slightly larger latency than most other UAD plug-ins. See Chapter 9 “Delay Compensation” in the UAD System Manual for more information.

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API 550A Controls

Band Controls The three EQ bands (HF/MF/LF) are controlled by

dual-concentric switches. The inner knob controls the band frequency and the outer knob controls the band gain. Available values for these controls are listed in

Table 7 below.

Table 7. API 550A Frequency and Gain Values

Band Frequency Values Gain Values

High Frequency

(HF)

Mid Frequency

(MF)

Low Frequency

(LF)

Frequency

5, 7, 10, 12.5, 15

(kHz)

0.4, 0.8, 1.5, 3, 5

(kHz)

50, 100, 200, 300, 400

(Hz)

Default values are in bold.

2 4 6 9

(±dB)

Frequency determines the center frequency of the band when the filter is in peak mode and the cutoff frequency when the filter is in shelf mode. The frequency for the band can be set using any of these four methods:

1. Drag the inner concentric knob to the desired value, or

2. Hover over the inner concentric knob then use the mouse scroll wheel, or

3. Click directly on the frequency value label to switch to that value, or

4. Click on the band label (HF/MF/LF) or units label (kHz/Hz) to cycle

through available values.

Gain

The gain for the band can be set using any of these three methods:

1. Drag the outer concentric knob handle to the desired value, or

2. Click the “+” or “–” text labels to increment/decrement values, or

3. Hover over the outer concentric knob then use the mouse scroll wheel, or

4. Click directly on the gain value label to switch to that value (this method

works only when Controls Mode is set to “Circular” in the UAD Control Panel Conﬁguration panel).

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Bandpass Filter This switch (“FLTR”) applies a 50 Hz – 15 kHz bandpass filter to

the entire signal. The bandpass filter is completely independent from the from the three main band filters.

Bell/Shelf Switches

The HF and LF bands are normally in bell mode. When the Bell/Shelf button is engaged for the band (in the darker “down” position), the band is switched to shelving mode.

LF Shelf

When the LF Shelf button is engaged, the low frequency band is switched to shelving mode.

HF Shelf

When the HF Shelf button is engaged, the high frequency band is switched to shelving mode.

Output This control provides –24 dB to +12 dB of clean uncolored gain

at the output of the plug-in.

Tip: Click the “0” text label to return Output to the 0 dB position.

EQ In The EQ In switch enables the three band filters and the bandpass filter.

All filters are active when the switch is engaged and the “IN” LED is illuminated.

When disengaged, the filters are bypassed but other hardware circuitry is still modeled.

Power The plug-in is active when the POWER switch is engaged and its

associated LED is illuminated. When this switch is off, all plug-in processing is disabled and UAD DSP usage is reduced (unless UAD-2 LoadLock is enabled).

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API 560 Controls

Note: Like the original 560 hardware, the signal is boosted by approxi-

mately 1 – 1.5 dB even when all gain sliders are set to 0 dB.

Gain Sliders Each of the 10 sliders controls the gain for one fre-

quency band. Each band can be adjusted to boost or cut the frequency by up to ±12 dB. The available band frequencies are listed in Table 8 below.

Table 8. API 560 Frequencies

16 kHz

8 kHz 4 kHz 2 kHz

1 kHz 500 Hz 250 Hz 125 Hz

63 Hz

31 Hz

Tip: To return a slider to the 0 dB position, click the

slider’s frequency text label. To reset all sliders to 0 dB, click the “0” text label above the sliders.

Output This control provides -24 dB to +12 dB of clean uncolored gain

at the output of the plug-in.

Tip: Click the “0” text label to return Output to the 0 dB position.

EQ In The EQ In switch enables the filter sliders. The EQ bands are

active when the switch is engaged and the associated “IN” LED is illuminated.

When disengaged, the EQ bands are bypassed but other hardware circuitry is still modeled.

Power The plug-in is active when the POWER switch is engaged and its

associated LED is illuminated. When this switch is off, all plug-in processing is disabled.

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Historical Background

API (Automated Processes Inc.) was formed in 1968 with Saul Walker and Lou Lindauer. API is perhaps most noted for their modular approach to equipment manufacturing and for their now legendary 2520 amplifier. To this day, the extraordinary headroom made possible with the 2520 offers consistent analog performance even when using radical EQ curves. API quickly became the leading audio broadcast console manufacturer for radio and television networks and high profile stations. Soon after, recording studios both large and small began using API. The API brand and the company’s commitment to excellent audio design endures to this day.

The 550A became API’s standard channel module EQ when the company began manufacturing consoles in 1971. As the industry rapidly embraced the sonic quality of the 550A, it quickly found it's way into many custom console designs by Frank DeMedio and other leading engineers. Many of these consoles are still in use today. Forty years later, the 550A remains the standard against which other EQs are measured, and it has played a major role in the recording industry for decades. With virtually all existing units spoken for, popular demand for this EQ resulted in API finally resuming production in

2004.

The API 500 Series EQ Collection Original Hardware

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CHAPTER 4

API Vision Console Channel Strip

Introduction

The API Vision Console Channel Strip plug-in for the UAD platform is based on API’s flagship console found in studios and sound stages across the globe. The plug-in includes five indispensable modern production API modules available in the Vision console: The custom 2520 op-amp based 212L Preamp, 215L Sweep Filters, 550L EQ, 225L Compressor/Limiter, and the 235L Gate/Expander.

The tone of the 212L mic preamp has its roots in the classic API 2488 series all-discrete recording consoles, best known for the famed “LA” sound. The API 212L incorporates the API 2520 op-amp and the same circuit as the legendary API console input modules dating from the 1970s. This mic preamp articulates high frequencies with great detail, while delivering the big sounding, warm bottom end that API is famous for.

With identical features as the modern API 550B EQ, the API 550L (L for “long” frame) is a continuation of the 550A EQs that have played a major role in the history of record making, but with an additional filter band and several new frequencies. The 550L artfully blends the past with the present, and is only available in modern API consoles. Making use of API's “Proportional Q” innovation, the 550L intuitively widens the filter bandwidth at minimal settings and narrows it at higher settings without the need for additional bandwidth controls.

Ideal for almost any application, the widely versatile API 225L Compressor's auto-output level remains at unity regardless of the threshold or ratio settings. This feature allows for real-time adjustments without the need for changing the output level. Both New (“feed-forward”) and Old (“feed-back”) methods are selectable via the front panel, providing two choices of gain reduction. Soft provides a more subtle compression resulting in a natural sound, while Hard results in a sharp knee type with a severe limiting effect.

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The 235L Noise Gate/Expander is one of the fastest noise gates available. The API 235L can reduce noise in any type of program without losing any part of the source. Its extreme flexibility and superb sound make it ideal for all recording or mixing studio applications. The Expander function uses a 1:2 ratio, allowing the signal to “sneak up” to the full signal level without any loss of “under threshold” vocal or percussion nuances. Setting the threshold in the Gate function to the desired level, then switching to the Expander mode is the perfect workflow.

The API 215L is a unique passive, sweepable cut filter, designed specifically to contour the sound in a way that preserves the natural tone of the signal. The 215L is a low pass filter with a slope of 6 dB per octave, and a high pass filter with a slope of 12 dB per octave. The filters are isolated from each other with the same discrete transistor buffer used in the famous 550 series equalizers.

API Vision Console Channel Strip Screenshot

Figure 6. The API Vision Console Channel Strip plug-in window

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Operational Overview

Modular Design Like the original hardware, the API Vision Console Channel Strip plug-in has

a modular design. Each module controls a different signal processing function, and associated controls are grouped within each module. The following modules are contained in the API Vision Console Channel Strip plug-in:

• 212L Microphone Preampliﬁer

• 215L High/Low Sweep Filters

• 235L Gate/Expander

• 225L Compressor/Limiter

• 550L Four-Band Equalizer

Signal Flow A simplified view of the default signal flow routing within the plug-in is illus-

trated in the diagram below. The audio path is shown with solid lines, and the side chain control keys for the dynamics modules are shown with dotted lines.

Figure 7. Simplified default signal flow within the API Vision Console Channel Strip

The signal flow can be re-routed via options in the plug-in. The 550L EQ can be placed before the dynamics modules via the PREDYN (pre-dynamics) button, and the 215L and/or 550L modules can be moved out of the audio path and into the dynamics side chain path via the SC (side chain) buttons in those modules.

Note that the side chains for the dynamics modules are in series by default (as in diagram above). However, when the 215L and/or 550L are moved into the side chain (via the SC buttons), the side chain inputs for the dynamics modules are in parallel, as shown in the diagram below.

Figure 8. Simplified signal flow illustrating parallel side chain inputs with 215L SC enabled

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Displayed Values

Knob settings, when compared to the graphical user interface silkscreen numbers, may not match the actual parameter values. For example, in the 215L Sweep Filters module, the highest value shown in the plug-in window is 20 kHz. However, the actual value when the knob is at maximum is 40 kHz.

This behavior is identical to the original hardware, which is modeled exactly. When the plug-in is viewed in parameter list mode (controls and/or automation views), the actual parameter values are displayed.

Artist Presets The API Vision Console Channel Strip includes artist presets from prominent

API users. The artist presets are in the internal factory bank and are accessed via the host application’s preset menu. The artist presets are also placed by the UAD installer so they can be used within Apollo’s Console application. The presets can be loaded using the Settings menu in the UAD Toolbar (see “Using UAD Powered Plug-Ins” in Chapter 7 of the UAD System Manual).

This plug-in includes additional artist presets that are not available in the internal factory bank. These additional presets can also be accessed using the Settings menu in the UAD Toolbar.

Unison™ Integration

The API Vision Console Channel Strip features Unison mic preamp technology integration with the mic preamp hardware in Universal Audio’s Apollo audio interfaces. With Unison, Apollo’s ultra-transparent mic preamps inherit all the unique sonic and input characteristics of the API Vision 212L hardware preamp module.

Realistic Tandem Control

Unison facilitates seamless interactive control of API Vision Console Channel Strip plug-in settings using Apollo’s digitally-controlled panel hardware and/or the plug-in interface. All equivalent preamp controls (gain, pad, polarity) are mirrored and bi-directional. The preamp controls respond to adjustments with precisely the same interplay behavior as the API Vision Console Channel Strip hardware, including gain levels and clipping points.

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Hardware Input Impedance

All Apollo mic preamps feature input impedance switching in analog hardware that can be physically switched by Unison plug-ins for physical, microphone-to-preamp resistive interaction. This impedance switching enables Apollo’s preamps to physically match the emulated unit’s input impedance, which can significantly impact the sound of a microphone. Because the electrical loading occurs on input, prior to A/D conversion, the realism is faithful to the original target hardware preamp.

Tactile Gain Staging

Apollo’s front panel preamp knob can independently adjust the gain and level parameters available within the Unison plug-in via Gain Stage Mode. The gain stage being adjusted can be remotely switched via Apollo, so the gain levels and their associated colorations can be tuned from the hardware knob for precise physical tactile control, all without using the Unison plug-in’s software interface.

Note: Unison is active only when the plug-ins are inserted in the unique

PREAMP insert within Apollo’s Console application. For complete Unison details, see the Apollo Software Manual.

API Vision Console Channel Strip Latency

These plug-ins use an internal upsampling technique to achieve sonic design goals. The upsampling results in a slightly larger latency (55 samples; 88 samples at 176.4 and 192 kHz) than most other UAD plug-ins. See Chapter 9 “Delay Compensation” in the UAD System Manual for more information.

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API Vision Console Channel Strip Controls

212L Microphone Preampliﬁer

212L Gain

This knob adjusts the amount of gain applied to the input signal. The available range is 30 dB to 65 dB. The default value is 40.5 dB.

212L Pad

When enabled, the input signal level is attenuated (lowered) by 20 dB. The pad is engaged when the red indicator is lit.

Pad can be used to reduce signal levels when undesirable overload distortion is present at low preamp gain levels.

Note: The 212L Pad is available for both the mic and

line inputs.

212L Meter

The Meter indicates the signal level at the output of the 212L preamp module.

212L Phase

The Phase (ø) button inverts the polarity of the signal. The polarity is inverted when the green indicator is lit. Leave the button off (unlit) for normal polarity.

Unison Impedance

When API Vision Console Channel Strip is used in a PREAMP insert within the Apollo Console application, the hardware input impedance of the Apollo mic preamp is switched to 1.5k Ω (the value of the 212L hardware module) for physical, microphone-to-preamp resistive interaction.

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215L High/Low Sweep Filters

The 215L offers two sweepable cut filters, one each for low and high frequencies. The original hardware is transformer coupled and uses a passive filter circuit design for smooth tone.

215L Lo-Pass

The Lo-Pass (high cut) filter has a continuous range of 643 Hz to 40.8 kHz. The slope of this filter is 6 dB per octave. The default value is 40 kHz.

215L Hi-Pass

The Ho-Pass (low cut) filter has a continuous range of 12 Hz to 596 Hz. The slope of this filter is 12 dB per octave. The default value is 12 Hz.

215L SC (Dynamics Side Chain)

This button enables the side chain function for the 215L Sweep Filters. When the 215L side chain is active, signal output from the 215L module is removed from the audio path, and is instead routed to control the 235L and 225L dynamics modules in parallel as shown in the diagram below.

Figure 9. Signal flow with 215L Sweep Filters SC enabled

To listen to the side chain key, simply disengage SC to hear the equalized signal.

Note: The 215L module must be enabled for the 215L side chain to function.

215L On

This button enables the 215L module. The module is active when the button’s green indicator is lit.

Note: UAD DSP load is reduced when this module is inactive (unless DSP

LoadLock is enabled).

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235L Gate/Expander

The 235L Gate/Expander module operates in either gate or expansion mode. Two attack speeds and a continuously variable release time are available in both modes.

235L Threshold

Threshold defines the input level at which expansion or gating occurs. The available range is from +25 dB to -45 dB. The default value is 0 dB.

Signals below the threshold level are processed by the module. Signals above the threshold are unaffected. Rotate this control clockwise to increase the gate/expand effect.

235L Depth

Depth controls the difference in gain between the gated/expanded and nongated/expanded signal. Higher values increase the attenuation of signals below the threshold. When set to zero, no gating or expansion occurs. The available range is 0 dB to -80 dB. The default value is -80dB.

Scaled Control

Although the Depth control has a full range of -80 dB, the scale is expanded in the first half of rotation so 0 to -9 dB is available for fine tuning of subtle, undetectable gating. The second half of rotation is from -10 to -80 dB for more drastic noise reduction.

235L Attack

This two-position switch determines how quickly the onset of gating/expansion occurs when the signal exceeds the threshold. Normal (25 milliseconds) and Fast (100 microseconds) settings are available. The default setting is Normal.

235L Release/Hold Knob

The function of Release/Hold knob (R/H) depends on the setting of the Release/Hold switch (Rel/Hld). With both switch settings, the available range of the knob is 50 milliseconds to 3 seconds. The default value is 0.5 seconds.

Note: Hold mode is only available when the 235L module is set to Gate

mode with the Gate/Expander switch.

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Release

When the input signal drops below the threshold level and the Release/Hold switch is set to Release, this knob sets the amount of time it takes for signals to decay to the Depth level.

Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks.

Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results.

Hold

When the input signal drops below the threshold level and the Release/Hold switch is set to Hold, this knob sets the amount of time that signals are held at normal levels before signals return to the Depth level.

Note: When set to Hold, the release time is fixed at 100 milliseconds.

235L Release/Hold Switch

This two-position switch (REL/HLD) determines the behavior of the Release/Hold knob when the 235L module is set to Gate mode with the Gate/Expander switch. The default value is Release.

Note: This switch is locked in the Release position when the module is in

Gate mode (Hold mode is unavailable in Expander mode).

235L Gate/Expander Switch

This switch (GTE/EXP) toggles the module between Gate and Expander modes. The default value is Expander.

GTE

When set to Gate mode, signals below the threshold are attenuated by the Depth amount.

EXP

When set to Expander mode, the gate applies downwards expansion at a fixed 1:2 ratio, with the amount of gain reduction determined by the Depth control.

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Expansion allows the signal to “sneak up” to the full signal level without any loss of “under threshold” nuances.

235L Meter

This meter displays, in dB, the amount of gain attenuation (downward expansion) occurring in the 235L module.

235L On

This button enables the 235L module. The module is active when the button’s green indicator is lit.

Note: UAD DSP load is reduced when this module is inactive (unless DSP

LoadLock is enabled).

225L Compressor/ Limiter

The 225L Compressor/Limiter offers a continuously variable ratio between 1:1 (no compression) and infinity:1 (limiting). Three attack speeds and continuously variable release times are available. A hard/soft knee setting and a unique new/old setting are also available in the module.

225L Threshold

Threshold defines the input level at which compression begins. The available range is +10 dB to -20 dB. The default value is 0 dB.

Signals that exceed the threshold are processed by the Ratio value. Signals below the threshold are unaffected. Rotate this control clockwise to increase the compression effect.

Note: The 225L compressor automatically increases makeup gain to com-

pensate for levels that are reduced during compression. However, just like the original hardware, the plug-in’s compensated makeup gain levels are not perfectly linear.

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225L Ratio

Ratio defines the amount of gain reduction applied to signals above the threshold. For example, a value of 2 (expressed as a 2:1 ratio) reduces the signal level above the threshold by half, with an input signal level of 20 dB being reduced to 10 dB.

A value of 1 yields no gain reduction. When the control is at maximum (∞), the ratio is effectively infinity to one, yielding the limiting effect. The available range is 1:1 to infinity. The default value is 4:1.

225L Attack

This three-position switch defines the attack time of the compressor. Available values are Fast (2 milliseconds), Medium (18 milliseconds), and Slow (75 milliseconds). The default value is Medium.

225L Release

Release sets the amount of time it takes for processing to cease once the input signal drops below the threshold level. The available control range is 50 milliseconds to 3 seconds.

Note: Actual release times are program dependent.

Slower release times can smooth the transition that occurs when the signal dips below the threshold, which is especially useful for material with frequent peaks. However, if the release is too long, compression for sections of audio with loud signals may extend to sections of audio with lower signals.

Fast release times are typically only suitable for certain types of percussion and other instruments with very fast decays. Using fast settings on other sources may produce undesirable results.

225L Knee

The knee (onset) characteristic of the compressor/limiter can be set to Soft (SFT) or Hard (HRD) with this two-position switch. The default value is Hard.

Soft provides a more subtle compression resulting in a very natural, less compressed sound. Hard results in a more typical, sharp knee type compression that has a more severe limiting effect.

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225L Type

The Type control switches the 225L compressor’s control side chain signal to use either a feed-back (OLD) or feed-forward (NEW) design, providing two types of gain reduction. The default value is Old.

Compressors typically have a side chain control signal based on either feedback or feed-forward designs. NEW feed-forward gain reduction is typical of newer VCA type compressors that rely on RMS detectors for the side chain circuit. The OLD feed-back method is what most classic compressors use for the side chain circuit.

Note: Unlike the original hardware, side chain processing via the 215L and

550L modules can be performed with this switch in the OLD position (the hardware cannot use side chain filtering with feedback compression).

225L Meter

This meter displays, in dB, the amount of gain attenuation occurring in the 225L module.

225L On

This button enables the 225L module. The module is active when the button’s green indicator is lit.

Note: UAD DSP load is reduced when this module is inactive (unless DSP

LoadLock is enabled).

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550L Four-Band Equalizer

The 550L EQ is divided into four frequency bands: High Frequency (HF), High Midrange Frequency (HMF), Low Midrange Frequency (LMF), and Low Frequency (LF).

The 550L features API’s “Proportional Q” which continuously narrows the bandwidth of the filter as band gain is increased, providing (as stated by API) “an uncomplicated way to generate acoustically superior equalization.” The boost and cut characteristics are identical, allowing previous actions to be undone if desired.

Band Controls

The four EQ bands (HF/HMF/LMF/LF) are controlled by dual-concentric switches. The inner knob controls the band frequency (values in blue text) and the outer knob controls the band gain (values in white text). Available values for these controls are listed in the table below.

Table 9. API 550L Frequency and Gain Values

Band Frequency Values Gain Values

High Frequency

(HF)

Low Mid Freq

(LMF)

High Mid Freq

(HMF)

Low Frequency

(LF)

Default values indicated in bold text above.

20, 15, 12.5, 10, 7, 5,

2.5 (kHz)

12.5, 10, 8, 5, 3, 1.5

(kHz), 800 (Hz)

1000, 700, 500, 240,

180, 150, 75 (Hz)

400, 300, 200, 100,

50, 40, 30 (Hz)

2 4 6 9

(±dB)

Frequency

Frequency determines the center frequency of the band when the band is in peak mode (all bands) and the cutoff frequency when the band is in shelf mode (available with HF/LF bands only). The frequency for the band can be set using any of these four methods:

• Drag the inner concentric knob to the desired value

• Hover over the inner concentric knob then use the mouse scroll wheel

• Click directly on the frequency value label to switch to that value

• Click on the band label (HF/HMF/LMF/LF) to cycle through available values (shift+click to cycle in reverse)

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Gain

The gain for the band can be set using any of these four methods:

• Drag the outer concentric knob handle to the desired value

• Click the “+” or “-” text labels to increment/decrement values

• Hover over the outer concentric knob then use the mouse scroll wheel

• Click directly on the gain value label to switch to that value (this method works only when Controls Mode is set to “Circular” in the Conﬁguration panel of the UAD Meter & Control Panel application)

Peak/Shelf Switches

The HF and LF bands are in shelf mode by default (switches in “down” position). When the Peak/Shelf switch is engaged for the band (in “up” position), the band is changed to peak mode. The default value is Shelf.

550L Pre-Dynamics

The Pre-Dynamics button (“PREDYN”) re-routes the 550L signal. By default, the audio signal is routed into the 550L module after dynamics processing. When PREDYN is enabled (when the green indicator is lit), this routing is swapped, and the EQ module precedes the dynamics processors instead.

When550L PREDYN is active, the dynamics side chain is always tapped after the 550L module, regardless of the state of the 215L module’s SC function.

Note: PREDYN has no effect when the 550L’s SC button is active.

The effect of the PREDYN button is shown in the diagrams below.

Figure 10. PREDYN routes the 550L before the dynamics modules

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Figure 11. The 550L always precedes the side chain tap when PREDYN is active

550L SC (Dynamics Side Chain)

This control enables the side chain function for the 550L EQ. When the 550L side chain is active, signal output from the 550L module is removed from the audio path, and is instead routed to control the 235L and 225L dynamics modules. The default value is Off.

Figure 12. Signal flow with 550L SC enabled

Note: Both the 550L and 215L modules can both be routed simultaneously

to the dynamics side chain. In this case, the 215L precedes the 550L in the side chain path, as shown below.

Figure 13. Signal flow with SC enabled in both 215L and 550L modules

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550L EQ

This button enables the 550L module. The module is active when the button’s green indicator is lit.

Note: UAD DSP load is reduced when this module is inactive (unless DSP

LoadLock is enabled).

Global Module Output Meter

The vertical LED-style metering provides a visual indication of relative signal peak levels at the output of the plugin.

SC Link (Side Chain Link)

When the plug-in is used on a stereo signal, this button links the side chains of the left and right channels of the 225L and 235L dynamics modules so both channels are compressed by the same amounts. SC Link is active when the button’s green indicator is lit. The default value is enabled.

Linking the side chains prevents signals which appear on only one channel from shifting the stereo image of the output. For example, any large transient on either channel will cause both channels to compress, and the amount of compression will be similar to the amount of compression for a transient which appears on both channels at the same time.

Note: The SC Link button cannot be engaged when the

plug-in is used in a monophonic configuration.

Output

This control provides –24 dB to +12 dB of clean uncolored gain at the output of the plug-in. The default value is 0 dB.

Tip: Click the “0” text label to return Output to the 0 dB

position.

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Power

The plug-in is active when the POWER switch is engaged and its associated LED is lit. When this button is off, all plug-in processing is disabled and UAD DSP usage is reduced (unless DSP LoadLock is enabled).

Historical Background

The API Vision Console

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CHAPTER 5

Cambridge EQ

Overview

The UAD Cambridge EQ plug-in is a mastering-quality, no-compromise equalizer that enables powerful tonal shaping of any audio source. Its algorithm was modeled from various high-end analog filters, providing a sonically rich foundation for timbral manipulation. Special attention was given to the handling of higher frequencies, resulting in a much smoother and more satisfying high-end response than is found in most digital filters.

Cambridge EQ is highly flexible, offering a broad spectrum of options facilitating surgical precision and delivering superior aural results in every application. This may be the most satisfying, full-featured equalizer in your arsenal of creative tools.

Cambridge EQ Screenshot

Figure 14. The UAD Cambridge EQ plug-in window

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Cambridge EQ Controls

Each feature of the Cambridge EQ interface is detailed below.

Response Curve Display

The Response Curve Display plots the frequency response of the current Cambridge EQ settings. It provides instant visual feedback of how audio is being processed by the equalizer.

Figure 15. Cambridge EQ Response Curve display

The entire audio spectrum from 20 Hz to 20 kHz is displayed along the horizontal axis. Gain and attenuation of frequencies (up to ±40 dB) are displayed along the vertical axis. The vertical resolution of this display can be modified with the Zoom buttons.

Response Curve Color

The color of the response curve depends on the value of the A/B Selector control. When A is active, the curve is yellow. When B is active, the curve is green (see “A/B Selector Button” on page 72). When Cambridge EQ is disabled, the response curve is grey.

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Zoom Buttons The vertical scale of the Curve Display can be increased or reduced with the

Zoom buttons. This function allows the resolution of the Curve Display to be changed for enhanced visual feedback when very small or very large amounts of boost or cut are applied. Four vertical ranges can be selected with the Zoom buttons: ±5, ±10, ±20, and ±40 dB.

Figure 16. Vertical resolution of the Response Curve can be changed with the Zoom buttons

Curve Control Bats

There are five control “bats” on the curve display. Each bat is color coded and corresponds to each of the five EQ bands. The position of the bat on the curve display reflects the frequency and gain of its corresponding band, even if the band is disabled.

Figure 17. The Curve Control Bats can be used to control EQ band frequency, gain, and Q

The gain and frequency of an EQ band can be modified simultaneously by dragging its bat with the mouse. If a band is disabled when its bat is touched for the first time, the band is enabled.

Note: To modify the Q of a band with its bat, hold down the Control key while

dragging vertically.

When a band is enabled, the EQ curve usually touches the bat. However, because the EQ curve always displays the actual frequency response of Cambridge EQ, if two bands are close together in frequency and/or at extreme gain values, the bat may not touch the curve itself.

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Master Level Knob

This control adjusts the signal output level of Cambridge EQ. This may be necessary if the signal is dramatically boosted or reduced by the EQ settings. The available range is ±20 dB.

A/B Selector Button

EQ Enable Button

The A/B Selector switches between two separate sets of Cambridge EQ plug-in values. This feature enables easy switching between two completely independent EQ curves which can be useful for comparison purposes or for automating radical timbre changes. Both the A and B curves reside within a single Cambridge EQ preset.

Click the A/B Selector button to switch between the two curves. When A is displayed, the button and the EQ response curve is yellow. When B is displayed, the button and the curve is green.

Note: To reset the A or B curve to a null (flat) response, control-click the A/B

Selector button. The active curve will be nulled.

Note: To copy one curve to another, shift-click the button. The active curve will

be copied to the inactive curve.

This button enables or disables the Cambridge EQ altogether. You can use this switch to compare the processed settings to that of the original signal, or to bypass the plugin to reduce UAD DSP load (load is not reduced if UAD-2 DSP LoadLock is enabled).

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Low Cut / High Cut Filters

The Low Cut and High Cut filters are offered in addition to the five parametric/shelf bands. A wide range of filter types is provided to facilitate tonal creativity. Many filters that are available are represented.

Three controls are offered: Cut Type, Enable, and Frequency. Each control is detailed below.

Cut Type Menu The Cut Type menu determines the sound of the low

and high cut filters. To view the Cut Type menu, click and hold the green cut type button.

Four types of responses are provided: Coincident Pole, Bessel, Butterworth, and Elliptic. The numbers represent the filter order, i.e. Bessel 4 is a fourth-order filter. Each offers a different sound. To select a new cut response, drag to the desired response and release.

Cut Enable Button

The responses are more gentle on filters with lower numbers, and get steeper and more aggressive as the numbers increase. The coincident-pole filters are first-order filters cascaded in series and offer gentle

slopes. Bessel filters are popular because of their smooth phase characteristic with decent rejection. Butterworth filters offer even stronger rejection. The Elliptic setting is about as “brick wall” as you can get. Generally speaking, more phase shifting occurs as the response gets steeper.

Note: UAD DSP usage does increase some as the filters get stronger (unless

UAD-2 DSP LoadLock is enabled).

This button activates the cut filters. The filters are enabled when the “In” button is green. UAD DSP usage is slightly reduced when the cut filters are disabled (unless UAD-2 DSP LoadLock is enabled).

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Cut Frequency Knob

EQ Bands

This knob determines the cutoff frequency for the Cut filters. The available range is from 20 Hz – 5 kHz for the low cut filter, and 20 Hz – 20 kHz for the high cut filter.

All five of the EQ bands can be used in parametric or shelf mode. Each band has identical controls, the only difference is the frequency range values.

The function of the controls is similar in both parametric and shelf modes. The two modes are described separately (see “Parametric EQ” on page 75 and

“Shelf EQ” on page 78).

Figure 18. The EQ Band controls

Enable Button Each band can be individually engaged with the Enable button. The button is

green when the band is enabled. All bands default to disabled. To enable any band, click the Enable button.

You can use these buttons to compare the band settings to that of the original signal, or to bypass the individual band. UAD DSP usage is slightly decreased when a band is disabled (unless UAD-2 DSP LoadLock is enabled).

Frequency Knob This parameter determines the center frequency to be boosted or attenuated

by the Gain setting. The available range for each of the five bands is the same for both parametric and shelf modes. The ranges are shown in Table 10 on

page 75.

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Table 10. Available ranges for the Band Frequency parameter

Low Frequencies (LF) 20-400 Hz

Low-Mid Frequencies (LMF) 30-600 Hz

Mid Frequencies (MF) 100-6 kHz

High-Mid Frequencies (HMF) 900-18 kHz

High Frequencies (HF) 2k-20 kHz

Note: When operating at sample rates less than 44.1 kHz, the maximum fre-

quency will be limited.

Gain Knob This parameter determines the amount by which the frequency setting for the

band is boosted or attenuated. The available range is ±20 dB.

Q (Bandwidth) Knob

Parametric EQ

Parametric Type Selector

The behavior of the Q parameter varies depending on the band mode and the gain. For this reason Q is detailed separately in the parametric and shelf mode sections (see “Parametric Q” on page 75 and “Shelf Q” on page 78).

A band is in parametric mode when shelf mode is disabled (see “Shelf Enable

Button” on page 78). Three types of parametric EQ are available, as deter-

mined by the Parametric Type selector.

The Parametric Type selector changes the response of the band controls to reflect the behavior of various analog equalizers. It is

a global control for all 5 bands, and has no effect on the low and high cut filters. Click the Parametric Type display to rotate between Types I, II, and III.

The filter algorithm is the same in all three parametric types. The difference is in the dependency between the gain and Q parameters. Each parametric type has its own response characteristics.

In Type I mode, the Q remains constant regardless of the gain setting. In Type II mode, the Q increases as gain is boosted, but remains constant as gain is attenuated. In Type III mode, the Q increases as gain is boosted and attenuated. See Figure 19, Figure 20, and Figure 21.

Parametric Q The Q (bandwidth) knob sets the proportion of frequencies surrounding the

center frequency to be affected by the gain control. The Q range is 0.25–16; higher values yield sharper slopes.

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Note that the Q numeric value in relation to its knob position is warped (i.e. not linear) and varies according to the parametric type.

Type I When set to Type I, the bandwidth remains at a fixed Q regardless of the gain

setting for the band; there is no Q/Gain interdependency. In addition, there is a finer resolution of the Q knob in the middle of its range. This makes it easier to achieve subtle bandwidth changes. Note that the Q value and knob positions do not change as the gain is modified. See Figure 19

Figure 19. Parametric Type I response

Type II When set to Type II, there is a Q/Gain dependency on boost. The bandwidth

increases continuously as the gain is boosted, but not when attenuated. The Q knob position determines the maximum Q at full gain.

Filter bandwidth is broader at lower boost settings and narrower at higher boost settings. This can produce a smoother, more natural response when boosting filter gain.

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Note that the Q value increases as gain is boosted but the knob position does not change The Q value is approached as gain increases, and reaches the knob position at maximum gain. See Figure 20.

Figure 20. Parametric Type II response

Type III When set to Type III, there is a Q/Gain dependency on boost and attenua-

tion. The bandwidth increases continuously as the gain is boosted and attenuated. The Q knob position determines the maximum Q at full gain.

Filter bandwidth is broader at lower gain settings and narrower at higher gain settings. This can produce a smoother, more natural response when adjusting filter gain.

Note that the Q value increases as gain is increased but the knob position does not change The Q value is approached as gain increases, and reaches the knob position at maximum gain. See Figure 21.

Figure 21. Parametric Type III response

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Shelf EQ

Shelf Enable Button

Shelf Type Button

Each band can be switched from parametric mode to shelf mode by clicking the shelf enable button. The button is off by default. To enable shelving on any band, click the shelf button.

The button is green when shelving is enabled. Additionally, the control bat associated with the band has a horizontal shelf indicator line in the response curve display (see

Figure 23 on page 79) when shelf mode is active.

When a band is in shelf mode and its Q is above the minimum value, a resonant peak occurs in the filter response. The Shelf Type button affects where this resonant peak occurs in relation to the shelf frequency.

Its purpose is to emulate the response curves of classic highend analog mixing consoles. It’s yet another tool to help you find the exact sound you are looking for.

The Shelf Type button places the resonant peak at (A) the edge of the stopband (Figure 22 on page 79), (B) the edge of the passband (Figure 23), or (C) at the edge of the stopband and the passband (Figure 24).

Shelf Q When a band is in shelf mode, the Q knob sets the resonance of the band.

The range of the Q knob is 0-100% when in shelf mode.

Note: When a band is in shelf mode, the Gain setting will affect the Q of the

band.

When the Q is at its minimum value, there is no resonant peak. The resonance increases and becomes more prominent as the Q is increased. Therefore, for the shelf type to have any effect the Q must be above its minimum value.

Note: In order for this button to have any affect, the band must be in shelving

mode, some gain must be applied, and the Q must be above its minimum value.

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Figure 22. Shelf Type A

Shelf Mode

Indicator Line

Figure 23. Shelf Type B

Figure 24. Shelf Type C

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CHAPTER 6

Cooper Time Cube

Dual Mechanical Delay Line

The original Cooper Time Cube was a Duane H. Cooper and Bill Putnam collaborative design that brought a garden hose-based mechanical delay to the world in 1971 and has achieved cult status as the most unique delay ever made. The Cooper Time Cube is famous for its spectacular short delay and doubling effects and its uncanny ability to always sit perfectly in the mix. However, the CTC had limited practicality as a full-featured delay; only 14, 16 or 30 ms settings were available. Over the years this quirky device has grown a strong following and finds a home in the most prestigious studios in the world, such as Blackbird and Sunset Sound. Top producers and engineers such as Richard Dodd, Vance Powell and Joe Chicarelli still swear by the Cooper Time Cube for its unique character.

The Cooper Time Cube MkII has all the sound of the original delay system design and offers all the necessary features expected from a modern delay device. The distinct sound of the single or double hose Coil is preserved regardless of delay setting, and either sound is available at the flick of a switch. The Cooper time Cube MkII also incorporates other enhanced tone shifting features such as the Color switch that presents the user with the original (A) or “leveled” (B) frequency response, plus tone controls and a 2-Pole High Pass Filter. Lastly, a switch is presented for soloing the Wet signal, and the Send switch disables the signal being sent into the delay processor.

Cooper Time Cube Screenshot

Figure 25. The UAD Cooper Time Cube plug-in window

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Design Overview

The original UREI/Universal Audio Model 920-16 Cooper Time Cube hardware (see “Cooper Time Cube Hardware” on page 85) has two audio channels, A and B. Each channel is transduced to/from a coiled length of plastic tubing which provides the acoustic “sound columns” that define its distinctive sonic character.

The coils for each channel are at fixed but different lengths, which define the available single delay times of 16ms for channel A and 14ms for channel B. The two channels can be cascaded in series via external routing, for a total available delay time of 30ms at reasonable fidelity for its era, which (according to the original product brochure) “brings complete respectability to the heretofore marginally feasible acoustical delay line.”

The UAD Cooper Time Cube plug-in has all the vibe of the original, with modern feature enhancements. It is a true stereo plug-in with two independent delay processors. Each channel has its own set of controls, and there are global controls that affect the plug-in overall.

Cooper Time Cube Controls

Global Controls The global controls affect both channels of the processor simultaneously.

Figure 26. The global controls (Wet Solo and Power, also global controls, are not shown here)

Gain Gain controls the signal input level to the plug-in for both A (left) and B (right)

channels. Gain affects the combined wet and dry signals.

The available range is ±15 dB and the 12 o'clock position is unity gain.

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HP Filter The 12 dB per octave high pass filter is used to reduce low frequencies at the

input to the delays when desired. The high pass filter affects the delayed (wet) signals only. The available frequency range is from 20 Hz to 12 kHz.

Turn the knob clockwise to reduce low frequencies into the delay processors. Full processor bandwidth is obtained with the knob in the fully counter-clockwise position.

Echo A/B These two “windows” display the current delay times of channels A and B.

Displayed values are defined by the Delay parameter (“Delay A/B” on

page 84). Delay values can be entered here directly using the text entry

method.

When Sync mode is off, delay times are expressed in milliseconds. When Sync is on, delay times are expressed as a fractional bar value.

When the beat value is out of range, the value is displayed in parentheses. This occurs in Sync mode when the time of the note value exceeds 2500ms (as defined by the current tempo of the host application).

Sync This switch engages Sync mode for both channels of the plug-in. In Sync

mode, delay times are synchronized to (and therefore dependent upon) the master tempo of the host application. When Sync is toggled, parameter units are converted between milliseconds and beats to the closest matching value.

See “Tempo Sync” in Chapter 8 of the UAD System Manual for detailed information about tempo synchronization.

Send Send determines whether or not signals are sent into the delay processors.

When Send is ON, the input signals are delayed. When OFF, the delay inputs are muted.

Coils When both coiled tubes of the original hardware are cascaded to increase

the available delay time (when both channels are serially connected), the sonics are slightly different than when only one coil is used. The Coils switch toggles between these two sounds available on the hardware, regardless of the Delay value.

Tip: Longer decays are available when Coils value is set to 1.

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Color The Color switch toggles between the original filter emphasis of the hardware

in position A and the “leveled” filter in position B which allows for greater Decay ranges.

Unlike the other parameters, the A and B labels for Color are for reference only. They do not represent the left and right channels.

Note: Color can be subtle, and its affect can vary depending on the value of

Coils and/or Decay.

Treble Treble controls the high frequency response in the delayed portion of the sig-

nals. It does not affect the dry signal. Treble is a cut/boost control; it has no effect when in the 12 o’clock position.

Bass Bass controls the low frequency response in the delayed portion of the sig-

nals. It does not affect the dry signal. Bass is a cut/boost control; it has no effect when in the 12 o’clock position.

Wet Solo The Wet Solo switch puts the Cooper Time Cube into “100% Wet”

mode. When Wet Solo is on (in the “up” position), it mutes the dry unprocessed signal.

Wet Solo is optimal when the plug-in is used on an effect group/bus that is configured for use with channel sends. When the plug-in is used on a channel insert, this control should be deactivated.

Note: Wet Solo is a global (per plug-in instance) control. Its value is saved

within the host project/session file, but not within individual preset files.

Power The Power switch determines whether the plug-in is active. It's useful for com-

paring the processed sound to the original signal.

Meter The VU Meter provides a visual indication of the output level of the plug-in (the

meter is not calibrated). The meter needle drops to minimum when the plug-in is disabled with the Power switch.

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Channel Controls

The channel controls affect each channel of the processor independently. The control functionality is identical for each channel. “A” indicates the left channel and “B” is the right channel.

Figure 27. The channel controls

Delay A/B Delay controls the delay time for each channel of the processor. The selected

value is shown in the Echo display (“Echo A/B” on page 82).

The available delay range for each channel is 5 milliseconds to 2.5 seconds (2500ms). When Sync is active, beat values from 1/64 to 3/1 can be selected.

When the beat value is out of range, the value is displayed in parenthesis. This occurs in Sync mode when the time of the note value exceeds 2500ms (as defined by the current tempo of the host application). See “Temp Sync” in Chapter 8 of the UAD System Manual for detailed information about tempo synchronization.

Tip: Click the knob then use the computer keyboard arrow keys to incre-

ment/decrement beat values in Sync mode.

Decay A/B Decay sets the amount of processed signal fed back into its input (feedback).

At the minimum value, one delayed repeat is heard. Higher values (clockwise) increase the number of repeats and intensity of the processed signal, with “near infinite” repeats available at the maximum setting.

Pan A/B Pan sets the position of the delayed (wet) signal in the stereo field; it does not

affect the unprocessed (dry) signal.

Tip: Click the “PAN” label text to return the control to center.

Note: When the plug-in is used in a mono-in/mono-out (“MIMO”) configu-

ration, the Pan knobs do not function and cannot be adjusted.

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Echo Volume A/B

This control determines the volume of the delayed signal. Rotate the control clockwise for louder echo. Up to +10 dB of gain is available at the maximum setting. Reducing the control to its minimum value will mute the delay.

Tip: Click the “ECHO VOL” label text to mute/unmute the delayed output.

Cooper Time Cube Hardware

Figure 28. The original Cooper Time Cube hardware front panel

Figure 29. The opened acoustic module and the complete system

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CHAPTER 7

CS-1 Channel Strip

Overview

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

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

Figure 30. The CS-1 Channel Strip plug-in window

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EX-1 Equalizer and Compressor

Figure 31. The EX-1 EQ/Compressor plug-in window

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

EX-1 Equalizer Controls

The Equalizer portion of the EX-1 is a five-band 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 the original signal or bypass the entire EQ section to reduce UAD DSP load (unless UAD-2 DSP LoadLock is enabled).

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

nal is dramatically boosted or reduced by the EQ and/or compressor 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 0 dB yields no compression. The range is 0 dB to –60 dB.

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

Meter Pop-up 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 DSP load (unless UAD-2 DSP LoadLock is enabled).

Adjusts the signal output level of the plug-in.

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 DSP resources.

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

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DM-1 Delay Modulator

Figure 32. The DM-1 Delay Modulator plug-in window

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

DM-1 Controls

Sync Button This button puts the plug-in into Tempo Sync mode. See Chapter 8 in the UAD

System Manual for more information.

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

left channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec. 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 slightly different functions than when 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 plug-in 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 degrees out of phase (inverted).

In QuadChorus mode, both oscillators (the modulating signals) are 90 degrees 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 Type 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 the original signal or bypass the entire DM-1 section to reduce UAD DSP load (load is not reduced if UAD-2 DSP LoadLock is enabled).

Output Knob Adjusts the signal output level of the plug-in.

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 than the DM-1. Therefore, we recommend using the DM1L 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 33. The DM-1L includes a Link button

RS-1 Reﬂection Engine

Figure 34. The RS-1 Reflection Engine plug-in window

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

to drastically alter the pattern of reflections. While similar to that of the RealVerb Pro plug-in, the RS-1 does not offer the same breadth of features (such as room hybrids, room materials, morphing, and equalization). 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 device.

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

Sync Button This button puts the plug-in into Tempo Sync mode. See Chapter 8 in the UAD

System Manual for more information.

Shape Pop-up Menu

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

Table 11. 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 and the Size control is moved to its maximum value, the Delay value is decreased, and vice versa. This occurs because the maximum delay time available to the plug-in has been reached — the available delay time is limited and is divided among the Delay and Size values. Therefore, if the value of the Delay or Size setting is increased towards maximum when the other control is already high, its complementary setting may be 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 the original signal or bypass the entire RS-1 section to reduce UAD DSP load (load is not reduced if UAD-2 DSP LoadLock is enabled).

Output Knob Adjusts the relative output of the plug-in.

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CHAPTER 8

dbx 160 Compressor/Limiter

Overview

The dbx® 160 Compressor/Limiter is an officially licensed and faithful emulation of the legendary dbx 160 hardware compressor/limiter — still widely considered the best VCA compressor ever made. Originally designed and sold by David Blackmer in 1971, this solid-state design set the standard for performance and affordability. The dbx 160 (commonly referred to as the “VU”) is a highly regarded studio staple, famous for its simple control set and firm, distinct compression characteristics. Unlike later monolithic IC units, the “VU” uses a series of discrete components for gain reduction resulting in unique nonlinearities not found in other VCA compressors — a sonic distinction from later models. The UAD Powered Plug-In version of the dbx 160 captures all of the sonic nuances from our “golden” modeling unit, plus the simple control set of the original hardware, including Threshold, Compression (Ratio) and Output Gain. Just like with the hardware, LED threshold indicators are provided in the plug-in, as well the Input/Output/Gain Change VU meter for which the unit is famous.

dbx 160 Screenshot

Figure 35. The dbx 160 plug-in window

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dbx 160 Controls

The minimal controls on the UAD dbx 160 make it very simple to operate.

Threshold Knob

The Threshold knob defines the level at which the onset of compression occurs. Incoming signals that exceed the Threshold level are compressed. Signals below the Threshold are unaffected.

The available range is from –55 dB to 0 dB. The numbers on the graphical interface indicate volts, as on the original hardware.

As the Threshold control is decreased and more compression occurs, output level is typically reduced. Adjust the Output Gain control to increase the output to compensate if desired.

Below

When the input signal is below the compression threshold value, the Below LED illuminates. No compression is occurring when Below is lit.

Above

The Above LED illuminates when the input signal has exceeded the Threshold value, indicating that compression is occurring. The higher the signal is above the Threshold, the brighter the LED glows.

Compression The Compression parameter determines the ratio for the

compressor. Less compression occurs at lower values. The available range is continuous, from 1.00:1 to Infinity:1.

Note: For compression to occur, signals must exceed the

Threshold value.

At values above approximately 10:1, the compressor behaves more like a peak-limiter. See “The LA-2 captures one of the earliest Teletronix examples.

This exceedingly rare unit preceded the LA-2A by a few years and incredibly, still has the original T4A fully intact. The LA-2 provides the slowest response and a unique “mellowed” sound due to 50 years of luminescent panel aging

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inside the T4 module. Use the LA-2 with legato tempos and your most vowellike sources for a transparency and sublime mood unlike any other compressor.” on page 470 for more information about compressor/limiter theory of

operation.

Output Gain Output Gain controls the signal level that is output from the

plug-in. The available range is ±20 dB.

Generally speaking, adjust the Output control after the desired amount of compression is achieved with the Threshold and Compression controls. Output does not affect the amount of compression.

Meter Buttons The Meter buttons define the mode of the VU Meter.

The buttons do not change the sound of the signal processor. The active button has a darker appearance when compared to the inactive buttons.

VU Meter When set to Input, the VU Meter indicates the

plug-in input level in dB. When set to Output, the VU Meter indicates the plug-in output level in dB. When set to Gain Change, the VU Meter indicates the amount of Gain Reduction in dB.

Power The Power switch determines whether the plug-in is active. Click the

button to toggle the state. When the Power switch is in the Off (lighter) position, plug-in processing is disabled and UAD DSP usage is reduced (load is not reduced if UAD-2 DSP LoadLock is en-

abled).

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CHAPTER 9

DreamVerb

Overview

DreamVerb™, Universal Audio’s unique stereo reverb plug-in, draws on the unparalleled flexibility of RealVerb Pro. Its intuitive and powerful interface lets you create a room from a huge list of different materials and room shapes. These acoustic spaces can be customized further by blending the different room shapes and surfaces with one another, while the density of the air can be changed to simulate different ambient situations.

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

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

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

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

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Screenshot

Figure 36. The DreamVerb plug-in window

Signal Flow

Figure 37 illustrates the signal flow for DreamVerb. The input signal is equal-

ized then delay lines are applied to the early reflection and late field generators. The resulting direct path, early reflection, and late-field reverberation are then independently positioned in the soundfield.

Source

Input

Gain &

Mute

Delay

Direct Path

Early

Reflections

LateField

Reverb

Pan

Pans &

Distance

Wet/Dry

Mix

Gain

Output

Figure 37. DreamVerb signal flow

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Universal Audio UAD Plug-Ins User Manual ver.7.5

Specifications and Main Features

Frequently Asked Questions

User Manual

TABLE OF CONTENTS

Documentation & Support

UAD Documentation Overview

ReadMe The ReadMe contains information that may not be available in other loca-

Operation Manuals

Manual Conventions

Platforms Instructions in this guide that are platform-specific are indicated with a head-

UAD Nomenclature

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

Online Documentation

Support Website • www.uaudio.com/support

Videos Our support website contains many helpful videos that explain how to install

Blog Our online magazine is published regularly and contains lots of useful and in-

Users Forum The unofficial UAD Powered Plug-Ins users forum, for the exchange of tips and

Customer Support

Support Hours Our support specialists are available to assist you via email and telephone

Phone Support Customer Service & Technical Support

Online Support To request online support, please visit our support page, then click the “Sub-

Website • www.uaudio.com

Address Universal Audio, Inc.

Feedback Your feedback on the performance and features of UAD Powered Plug-Ins is

Ampex ATR-102

Mastering Tape Recorder

History Introduced in 1976, the Ampex ATR-102 2-Track Tape Recorder was a

Ampex ATR-102 Screenshots

Operational Overview

Famous Tape Sound

Mixdown Tape Deck

Multiple Tape Types

Multiple Tape Heads

Multiple Tape Speeds

Multiple Calibration Levels

Ancillary Noises Tape recorders have inherent signal noises that are a by-product of the elec-

Modeled Transformer

Tape Delay A popular application of multi-head tape recorders is to employ them for slap-

Automatic Calibration

Low Level Tuning Even though automatic calibration is available, the individual controls that ad-

Manual Calibration Tools

Mono/Stereo Operation

Quick Setup Set up the plug-in by first adjusting Tape Speed, Tape Type (tape formulation),

Artist Presets UAD Ampex ATR-102 includes artist presets from prominent ATR-102 users.

Primary & Secondary Controls

Primary Controls

Meters The two Meters display signal levels of the plug-in for the left and right chan-

Input/Output These switches change the Meter to display levels at the input or output of the

Peak/VU This switch is used to change Meter behavior between Peak or VU modes.

Clip LED The left and right channels each have a Clip LED, just above the Meter.

Reproduce Reproduce adjusts the signal level coming off the virtual tape

Record Record adjusts the signal level into the plug-in and the tape cir-

Open/Close The secondary controls (Figure 4 on page 31) are accessed

Link/Unlink Link mode is a software-only addition that enables controls

Emphasis EQ The Emphasis EQ buttons determine the active Emphasis EQ

Power Power is the plug-in bypass control. When set to OFF, em-

Tape Speed The Tape Speed control determines the speed of the tape trans-

Tape Type Tape Type selects the active tape stock formulation. Seven

Cal Level Cal Level automatically sets tape calibration/fluxivity. The Cal Level

Head Width This control specifies the active tape head model. Head Widths of

Path Select The Path Select buttons specify which of the four possi-

Tape Reels Animation

Secondary Controls

Auto Cal The Ampex ATR-102 has individual calibration controls for ad-

Record EQ The Record EQ controls (HF EQ and Shelf EQ) are applied in

Repro EQ The Repro EQ controls (Repro HF and Repro LF) are post-head

Bias This control adjusts the amount of bias in the record signal.

Noise Enable This is a global enable control for the Hum and Hiss effect.

Hiss Hiss determines the amount of tape hiss in the tape playback signal.

Wow & Flutter Enable

Flutter Determines the amount of Flutter in the signal. Wow & Flutter Enable

Crosstalk Enable These buttons are global enable/disable controls for the

Transformer Enable

Tape Delay These parameters control the built-in Tape Delay, which

Manual Calibration Tools

About MRL Alignment Tapes

Manual Cal Knob The Manual Cal knob performs two functions: it sets the

Tones The Tones buttons set the frequency of the “external” test

Distortion Meter The red numerical display, between the Manual Cal