Universal Audio UAD Plug-Ins User Manual ver.7.4.2

UAD P

Manual version 140114

OWERED

LUG

-I

OFTWARE

ERSION

ANUAL

7.4.2

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

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FATSO Functional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

FATSO Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

115

UAD Powered Plug-Ins Manual - 4 - Table of Contents

TABLE OF CONTENTS

Channel Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

FATSO Sr. Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Chapter 11. EMT 140 Plate Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

EMT 140 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

EMT 140 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Reverb Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Stereo Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

EQ Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131

Modulation Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132

Blend Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

Chapter 12. EMT 250 Electronic Reverberator . . . . . . . . . . . . . . . . . . . . . . . . 135

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135

EMT 250 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Functional Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136

Program Mode Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

Chapter 13. EP-34 Classic Tape Echo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

EP-34 Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

EP-34 Tape Echo Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

EP-34 Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

EP-34 Hardware History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Chapter 14. Fairchild Tube Limiter Collection. . . . . . . . . . . . . . . . . . . . . . . . . 155

The Gold Standard in Vintage Tube Limiters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155

Fairchild Tube Limiter Collection Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Fairchild Plug-In Family. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

Fairchild 670 Operational Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159

Fairchild 670 Modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161

Fairchild Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Historical Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

Chapter 15. Harrison 32C EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Harrison 32C EQ Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Harrison 32C EQ and Harrison 32C SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

Harrison 32C SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

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

TABLE OF CONTENTS

Harrison 32C Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

Chapter 16. Helios Type 69 Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Helios Type 69 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Helios Type 69 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Helios 69 Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

Chapter 17. LA-3A Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

LA-3A Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

LA-3A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Chapter 18. Lexicon 224 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Classic Digital Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Lexicon 224 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188

Primary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

Hidden Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Program Descriptions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Chapter 19. Little Labs IBP . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Little Labs IBP Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Little Labs IBP Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

Little Labs IBP Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207

Chapter 20. Little Labs VOG . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Bass Resonance Processor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Little Labs VOG Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Little Labs VOG Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Chapter 21. Manley Massive Passive EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213

Massive Passive Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Unusual EQ Conventions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214

Massive Passive Mastering EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Standard vs. Mastering Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Massive Passive Band Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216

Channel Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Other Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

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Massive Passive Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Notes from Manley Laboratories . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

Additional Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Chapter 22. Moog Multimode Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Moog Filter Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Moog Filter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Moog Filter SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Moog Filter Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

Chapter 23. MXR Flanger/Doubler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

Classic Electronic Flanging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

MXR Flanger/Doubler Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

MXR Flanger/Doubler Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

MXR Flanger/Doubler Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

Chapter 24. Neve 1073 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Neve 1073 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Neve 1073 and 1073SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Neve 1073SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

Neve 1073 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247

Chapter 25. Neve 1081 Equalizer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Neve 1081 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

Neve 1081 and 1081SE Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

Neve 1081SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Neve 1081 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

Chapter 26. Neve 31102 Console EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Neve 31102 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255

Neve 31102 and 31102SE Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Neve 31102SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Neve 31102 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Chapter 27. Neve 33609 Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261

Neve 33609 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

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Operation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Neve 33609 and 33609SE Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Other Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265

Neve 33609SE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Neve 33609 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270

Chapter 28. Neve 88RS Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

Neve 88RS Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273

Neve 88RS Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

Gate/Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

Limiter/Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Cut Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

Chapter 29. Ocean Way Studios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Dynamic Room Modeling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Ocean Way Studios Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

What Is Ocean Way Studios? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

Operational Overviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Modes Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291

Microphones Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

Using Ocean Way Studios . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297

Ocean Way Studios Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

Display Panels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306

Microphones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307

Master Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313

The History of Ocean Way Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

Chapter 30. Precision Buss Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

Precision Buss Compressor Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Precision Buss Compressor Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320

Chapter 31. Precision De-Esser . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

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Precision De-Esser Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Precision De-Esser Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Operating Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

Chapter 32. Precision Enhancer Hz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Precision Enhancer Hz Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

Precision Enhancer Hz Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330

Precision Enhancer Hz Usage Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Chapter 33. Precision Enhancer kHz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Precision Enhancer kHz Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Precision Enhancer kHz Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Chapter 34. Precision Equalizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Precision Equalizer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338

Precision Equalizer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Control Grouping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341

Precision Equalizer Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

Chapter 35. Precision K-Stereo Ambience Recovery . . . . . . . . . . . . . . . . . . . 344

Precision K-Stereo Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345

Blog Article by Bob Katz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Precision K-Stereo Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

Ambience Recovery. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

Ambience Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348

Mid/Side Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Output Gain Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351

Output Level Meters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Power . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

Factory Preset Notes by Bob Katz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Chapter 36. Precision Limiter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Precision Limiter Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Controls Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

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Precision Limiter Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Precision Limiter Meters Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Precision Limiter Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362

Chapter 37. Precision Maximizer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Precision Maximizer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Precision Maximizer Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Operating Tips. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Precision Maximizer Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Chapter 38. Precision Multiband . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Precision Multiband Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Precision Multiband Interface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370

Band Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

Band Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

EQ Display. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376

Frequency Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

Dynamics Meters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379

Global Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

Precision Multiband Latency . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

Chapter 39. Pultec Passive EQ Collection . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Pultec Passive EQ Collection Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Pultec Plug-In Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Pultec EQP-1A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Pultec MEQ-5 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Pultec HLF-3C Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394

Chapter 40. RealVerb Pro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

RealVerb Pro Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Spectral Characteristics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397

Resonance (Equalization) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402

Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403

Positioning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

Levels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

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Morphing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

RealVerb Pro Preset Management . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

RealVerb Pro Preset List. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409

Chapter 41. Boss CE-1 Chorus Ensemble . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Boss CE-1 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410

Boss CE-1 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

Chapter 42. Roland Dimension D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Roland Dimension D Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Roland Dimension D Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415

Chapter 43. Roland RE-201 Space Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

Roland RE-201 Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Roland RE-201 Interface. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Roland RE-201 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417

Chapter 44. SPL Transient Designer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

SPL Transient Designer Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423

SPL Transient Designer Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424

Acknowledgement. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Applications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426

Technology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

Chapter 45. SSL E Channel Strip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

Large Format Mix Module . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434

SSL E Channel Strip Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

SSL E Channel Strip Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435

Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436

Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Compressor/Limiter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437

Gate/Expander . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441

Global . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445

Usage Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 446

Chapter 46. SSL G Bus Compressor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Large Format Console Dynamics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

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SSL G Bus Compressor Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

SSL G Bus Compressor Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449

General Usage Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451

Chapter 47. Studer A800 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Multichannel Tape Recorder. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453

Studer A800 Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Primary Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457

Secondary Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

Studer A800 Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 466

Chapter 48. Teletronix LA-2A Leveler Collection . . . . . . . . . . . . . . . . . . . . . . 467

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467

Teletronix LA-2A Leveler Collection Screenshots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

LA-2A Plug-In Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470

LA-2A Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472

Historical Background. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474

Chapter 49. Trident A-Range EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Trident A-Range EQ Screenshot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 476

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477

Trident A-Range EQ Controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478

Trident A-Range Latency. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 480

Chapter 50. UA 1176 Classic Limiter Collection . . . . . . . . . . . . . . . . . . . . . . . 482

History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 482

UA 1176 Screenshots . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483

1176 Plug-In Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 484

Operational Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 486

1176 Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 488

Chapter 51. UA 610-B Tube Preamp. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 493

Historical to Modern Tube Amplification from Universal Audio . . . . . . . . . . . . . . . . . . . . . . . 493

UA 610-B Screenshot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494

UA 610-B Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 495

Input Level Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 496

Output Level Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

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610 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 499

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/uad

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 Suppor

t Ticket” button to create a help ticket:

• www

.uaudio.com/support/uad

Factory Address Universal Audio, Inc.

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

Main Website • www.uaudio.com

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 T

ypes

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 T

ransformer

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 T

ools

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 T

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.

ape Speed, Tape T

ype (tape formulation),

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 & Secondar

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.

UAD Powered Plug-Ins Manual - 22 - Chapter 2: Ampex ATR-102

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.

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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 T

able 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 T

able 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.

UAD Powered Plug-Ins Manual - 27 - Chapter 2: Ampex ATR-102

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 (T

able 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 T

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

able 1.

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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+ 478 hidden pages