UAD Powered Plug-Ins Manual v5.2 - Just Music

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Precision Maximizer Screenshot Figure 109. The Precision Maximizer plug-in window Precision Maximizer Controls Control knobs for the Precision Maximizer behave the same way as all UAD plug-ins. Input, Shape, Mix, and Output values can be modified with text entry. See “Text Entry” on page 81 for more information. Input Meter The stereo peak Input Meter displays the signal level at the input of the processor, after the Input control. 0dB represents digital full scale (0dBFS). Precision Maximizer can utilize input signals up to +6dB at the input before input clipping occurs. The displayed range is from –40dB to +6dB. Input The Input Level knob controls the signal level that is input to the plug-in. Increasing the input will generally result in more processing (depending on the settings of the other parameters). By increasing the Input knob, input levels higher than 0dBFS (up to +6dBFS) within the plug-in can be processed. This can increase the distortion characteristic at the output, particularly when the Limit function (“Limit” on page 300) is engaged. The available range is ±12dB. A good starting point for sonic experimentation is to set the input level so the input peaks occur around 0dB, then adjust the other controls to taste. UAD Powered Plug-Ins Manual - 298 - Chapter 34: Precision Maximizer
Shape The Shape knob is the primary saturation control for the Maximizer effect. It contours the harmonic content and apparent dynamic range of the processor by changing the small-signal gain of the saturator. The available range is 0–100%. At lower settings, apparent loudness is not as dramatic but harmonic processing still occurs, producing a richer sound with minimal reduction of dynamic range. As Shape is increased, the sound becomes more saturated with “sonically pleasing” distortion and perceived loudness, punch, and clarity. Shape values between 0-50% will make the effect more subtle, but a richer sound is still obtained. Lower Shape values accentuate louder peaks, which can sound great on percussive instruments. Solo instruments can also benefit from lower Shape values by taming the peaks while maintaining dynamic range. As Shape is increased beyond 50%, presence, excitement, and harmonic coloration can be dramatic, yet still highly musical and without the dynamic squashing of typical limiters. The most natural warmth and tube-like distortion is obtained with Shape at 50%. This setting generates the lowest amount of higher order harmonics and most closely emulates characteristic tube qualities. Bands Precision Maximizer can operate in one-band or three-band mode. In one-band mode, all frequencies are processed equally. In threeband mode, the frequency spectrum is split into three separate bands before maximizing is applied. One-band mode is the normal setting for general usage. In this mode, more dramatic results can often be obtained because more saturation effect is possible before the output is clipped. At higher levels of distortion, the phase of the harmonics are also better retained in this mode, which usually produces a more desirable sound quality. Higher levels of perceived loudness may be obtained in three-band mode, especially if the frequency spectrum of the source material is not balanced. In this mode, certain settings can produce higher output levels than input levels (and potential clipping), so it may be necessary to compensate by reducing the input/output levels, and/or engaging the Limit control. UAD Powered Plug-Ins Manual - 299 - Chapter 34: Precision Maximizer
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UAD POWERED PLUG-INS USER MANUAL VE
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Universal Audio, Inc. End-User Lice
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TABLE OF CONTENTS Demo Mode . . . .
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TABLE OF CONTENTS Chapter 12. LA-3A
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TABLE OF CONTENTS Chapter 21. Preci
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TABLE OF CONTENTS Resonance (Equali
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TABLE OF CONTENTS Chapter 40. Littl
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The UAD-2 also introduces version 5
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The UAD System The UAD Powered Plug
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When the content of and function of
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CHAPTER 2 UAD Installation Overview
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For detailed technical information
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• a) Select the “Install the so
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PCI/PCI-X: UAD-1 only PCI Express (
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Note: The following procedure requi
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•If you already have a my.uaudio.
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Learn More Software Removal After i
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Note: Multiple UAD hardware types c
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The UAD Software The UAD Powered Pl
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The DAW Environment The digital aud
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I/O Drivers The audio interface is
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Bundled Plug-Ins UAD plug-ins that
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My Systems The UAD cards and plug-i
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2. Launch the UAD Meter & Control P
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Buying Plug-Ins To obtain optional
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CHAPTER 5 Using Multiple UAD Cards
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Important: If insufficient power is
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CHAPTER 6 UAD Meter & Control Panel
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UAD Meter Elements Refer to Figure
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Click the Menu button Figure 8. Acc
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UAD-2 The displayed latency is the
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Status Column The Status column ref
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For example, you could run low-DSP
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With the Limit DSP Load feature, th
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AMD-8131 Compatible Mode is only re
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Use Host Mode When Use Host Mode is
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Pro Tools Configuration Window Figu
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Logic Pro Figure 16. Launching a UA
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Settings Menu The Settings menu pro
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Increased Host Loading using LiveTr
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Text Entry Parameter values can be
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Multi-DSP UAD-2 systems use signifi
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CHAPTER 8 Tempo Sync Overview The t
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Range Limits Some parameters in Tem
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Roland RE-201 Sync When the RE-201i
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Table 6. Host Application plug-in d
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The UAD Delay Compensator acts as a
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UAD Track Advance Overview The prev
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Solution: Put a TrackAdv plug-in on
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Upsampled Compensation Examples Gro
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Live Processing The previous discus
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In this chapter you will find instr
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Note: Do not bend sharp angles into
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UAD-Xpander Pre-Flight Check 1. Ens
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3. Turn off the power switch on the
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CHAPTER 11 LA-2A and 1176LN Overvie
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+10 0 Compression region 10 dB of c
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LA-2A Controls Figure 30. The LA-2A
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1176LN Controls Figure 32. The 1176
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1176SE “Special Edition” Figure
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LA-3A Controls Background Comp/Lim
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Fairchild Screenshot Figure 35. The
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Fairchild Modes Dual Left/Right Lat
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Meter Select Switch This switch det
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DC Bias DC Bias controls the ratio
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Precision Multiband Interface The P
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EQ Display Selection A band can als
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COMPRESS When a band is set to Comp
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EQ Display In the EQ Display, the e
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Frequency Controls Frequency Values
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The band is soloed when its Solo bu
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Power Switch The Power Switch deter
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Precision Limiter Screenshot Figure
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Sliding Meter Scale With the K-Syst
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Meter The Meter switch specifies th
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CHAPTER 16 Precision Buss Compresso
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When Ratio is changed, the Threshol
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Toggling the Fade switch causes an
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CHAPTER 17 Neve 33609 Compressor Ov
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Technical Article The article “As
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Ratio This control determines the c
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In stereo operation the controls fo
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14dB Typical starting point for mas
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CHAPTER 18 VCA VU Overview The VCA
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Output Gain Output Gain controls th
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Neve 88RS Screenshot Figure 46. The
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Gate/Expander The gate/expander mod
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The available range is -25dB to +15
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An example: When compressing a snar
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Slower release times can smooth the
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HF Freq This parameter determines t
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Cut Enable Cut Frequency This butto
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CHAPTER 20 CS-1 Channel Strip Overv
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Gain (G) Knob Frequency (fc) Knob B
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DM-1 Delay Modulator Figure 53. The
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The RECIR units are expressed as a
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RS-1 Controls Sync Button Shape Pop
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CHAPTER 21 Precision Equalizer Over
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Dual Mode In Dual mode (dual-mono m
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Frequency Knob The Frequency knob d
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CHAPTER 22 Cambridge EQ Overview Th
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Zoom Buttons The vertical scale of
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Low Cut / High Cut Filters The Low
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Gain Knob Q (Bandwidth) Knob This p
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Type III When set to Type III, ther
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Figure 65. Shelf Type A Figure 66.
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Pultec Latency The Pultec and Pulte
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Note: In the documentation supplied
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In the hardware MEQ-5, the audio is
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Dip Response Figure 73. Pultec MEQ-
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CHAPTER 24 Neve 1073 Equalizer Over
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Note: You can also click the midran
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Neve 1073SE Controls The Neve 1073S
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Neve 1081 and 1081SE Controls Overv
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High-Mid Frequency The high-midrang
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Cut Filters The independent low and
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CHAPTER 26 Helios Type 69 Equalizer
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Bass The Bass knob has a dual purpo
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Line The Line switch determines whe
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CHAPTER 27 Harrison 32C EQ Overview
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Four EQ Bands Low Peak Low Frequenc
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Harrison 32C Latency The Harrison 3
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Roland CE-1 Controls The Roland CE-
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Page 249 and 250: Roland Dimension D Controls The Rol
Page 251 and 252: Roland RE-201 Screenshot Figure 86.
Page 253 and 254: Table 15. RE-201 Mode Selector Posi
Page 255 and 256: Note: Echo Volume has no affect whe
Page 257 and 258: CHAPTER 31 RealVerb Pro Overview Re
Page 259 and 260: The RealVerb Pro user interface is
Page 261 and 262: First material Second material Blen
Page 263 and 264: tion frequency, the frequency at wh
Page 265 and 266: 3. Adjust the Band-edge controls fo
Page 267 and 268: 3. Drag the Decay Time control for
Page 269 and 270: Levels The Levels panel lets you ad
Page 271 and 272: RealVerb Pro Preset Management Fact
Page 273 and 274: Screenshot Figure 97. The DreamVerb
Page 275 and 276: Bypass switch Band Amplitude contro
Page 277 and 278: Shape Menus DreamVerb lets you spec
Page 279 and 280: Materials Menus DreamVerb lets you
Page 281 and 282: ER End control bat (time & amplitud
Page 283 and 284: Late-Field Start Amplitude & Slope
Page 285 and 286: Distance DreamVerb allows you to co
Page 287 and 288: Windows On Windows systems, the def
Page 289 and 290: • Try different diffusion setting
Page 291 and 292: Plate 140 Controls The Plate 140 in
Page 293 and 294: Low Frequency Knob This parameter s
Page 295 and 296: Hidden Controls Several controls ex
Page 297: CHAPTER 34 Precision Maximizer Over
Page 301 and 302: Output The Output knob controls the
Page 303 and 304: Precision Maximizer Latency The Pre
Page 305 and 306: Precision De-Esser Controls Control
Page 307 and 308: Gain Reduction The Gain Reduction m
Page 309 and 310: Precision Enhancer kHz Screenshot F
Page 311 and 312: Generally speaking, adjust the Outp
Page 313 and 314: SPL Transient Designer Controls Con
Page 315 and 316: Acknowledgement In addition to crea
Page 317 and 318: Guitars Use the Transient Designer
Page 319 and 320: Technology Of course you don‘t ha
Page 321 and 322: The SUSTAIN Control Circuitry The S
Page 323 and 324: CHAPTER 38 Nigel Introducing Nigel
Page 325 and 326: Preflex Plug-in Preflex is the hear
Page 327 and 328: Gate Fast Button The Fast control r
Page 329 and 330: Amp Module The Preflex Amp is where
Page 331 and 332: Pre-EQ Mid Knob Modifies the middle
Page 333 and 334: Amp-A Type Menu Amp-B Type Menu Amp
Page 335 and 336: Cabinet On/Off Button Output Level
Page 337 and 338: LFO Type Menu Determines the LFO (l
Page 339 and 340: Sens/Rate/ Wah Knob The function an
Page 341 and 342: Wah Pedal Mode Similar to Wah mode,
Page 343 and 344: Trem/Fade Module Figure 127. The Tr
Page 345 and 346: Tremolo Mode When Tremolo mode is s
Page 347 and 348: If the LFO Type menu is set to one
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Mod Delay LFO Type Table Table 25.
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Recirculation allows both positive
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Moog Filter Screenshot Figure 130.
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Cutoff This parameter defines the c
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LFO Amount Rate Rate LED LFO Reset
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Moog Filter SE Overview The UAD Moo
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CHAPTER 40 Little Labs IBP Overview
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Phase Adjust 90°/180° This switch
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Universal Audio. It wasn't long bef
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well as Sinatra's "It Was A Very Go
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The basic concept of a compressor/l
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Pros Talk UA Both the 1176 and the
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Jim Scott Jim Scott shared a Grammy
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Thank You We would like to thank yo
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INDEX Cambridge EQ Controls 202 Cam
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INDEX Helios 69 Latency 237 Helios
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INDEX Nigel 212, 323, 324 Nigel Mod
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INDEX Sens 339 Sens/Rate/Wah Knob 3
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INDEX UAD Powered Plug-Ins Manual -
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UAD Powered Plug-Ins Manual v5.2 - Just Music

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