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

More documents

Recommendations

Info

CHAPTER 39 Moog Multimode Filter Overview If UA were able to conceive a product with Moog, what would it be? The answer is revealed in the new UAD Moog Multimode Filter, which delivers the first truly analog-sounding VCF (voltage controlled filter) emulation made for mixing, performing, creating, or destroying. The Moog Multimode Filter is a ‘digital-only’ tabletop filter set that combines the best of Bob Moog’s classic designs with select features from his final Voyager instrument. UA modeled the analog behavior of the historical 4-pole ladder filter conceived by the world’s most recognizable electronic instrument maker right down to the self-oscillation, saturation and non-linearities of its analog counterpart. As the name suggests, the heart of the Moog Multimode Filter is the switchable Lowpass, Highpass and Bandpass filter that allows Moog’s signature self-oscillation and extreme resonance in any of the three modes, bringing a new level of sophistication to Moog filter designs of the past. The UAD Moog Filter algorithm uses a special filter structure that was created especially to eliminate “digital” artifacts for time-varying filters. An expensive DSP technique was used to calculate the response of the nonlinear feedback loop surrounding the saturation and filter elements. Warning: Like most resonant filters, UAD Moog Filter has the potential to create unpredictable sonic results that can result in unexpected jumps in output amplitude. Depending on the source material, input levels, and parameter values, the filter output can suddenly get extremely loud, with the potential to damage speakers and/or hearing. This condition is particularly susceptible when the simultaneous conditions of high gain, low filter cutoff, and high resonance values are applied, and/or when the LFO sweeps into these conditions. Use caution and/or low monitoring levels when dialing in extreme parameter values to avoid speaker and/or hearing damage! Note: UAD Moog Filter does not support sample rates above 96kHz on UAD-1 cards. UAD Powered Plug-Ins Manual - 352 - Chapter 39: Moog Multimode Filter
Moog Filter Screenshot Figure 130. The UAD Moog Filter plug-in window Moog Filter Controls The Moog Filter is true stereo, with separate filters for the left and right channels. The dual filters share the same controls. The only time the left and right filters diverge is when Filter Spacing or LFO Offset are not zero. Drive Gain (SE only) Drive controls the amount of saturation gain before the filter. Drive is where much of the sonic “juice” in the UAD Moog Filter originates. Drive can change the signal from clean to slightly overdriven to extremely distorted, particularly when used in conjunction with the Boost switch (see “Boost” on page 358). The non-linear modeling of Drive characteristics is extremely DSP-intensive. For this reason, Drive is not available on the SE version of UAD Moog Filter. In UAD Moog Filter SE, the parameter is named Gain instead of Drive, and is a straight (non-modeled) input gain control. The range of Drive/Gain is 0 to +40dB of gain. Drive/Gain affects both the wet and dry signals (the control is heard when Mix is zero and/or when Bypass is engaged). This gain range closely mimics the external input section of the Minimoog. UAD Powered Plug-Ins Manual - 353 - Chapter 39: Moog Multimode Filter
Page 1 and 2:
UAD POWERED PLUG-INS USER MANUAL VE
Page 3 and 4:
Universal Audio, Inc. End-User Lice
Page 5 and 6:
TABLE OF CONTENTS Demo Mode . . . .
Page 7 and 8:
TABLE OF CONTENTS Chapter 12. LA-3A
Page 9 and 10:
TABLE OF CONTENTS Chapter 21. Preci
Page 11 and 12:
TABLE OF CONTENTS Resonance (Equali
Page 13 and 14:
TABLE OF CONTENTS Chapter 40. Littl
Page 15 and 16:
The UAD-2 also introduces version 5
Page 17 and 18:
The UAD System The UAD Powered Plug
Page 19 and 20:
When the content of and function of
Page 21 and 22:
CHAPTER 2 UAD Installation Overview
Page 23 and 24:
For detailed technical information
Page 25 and 26:
• a) Select the “Install the so
Page 27 and 28:
PCI/PCI-X: UAD-1 only PCI Express (
Page 29 and 30:
Note: The following procedure requi
Page 31 and 32:
•If you already have a my.uaudio.
Page 33 and 34:
Learn More Software Removal After i
Page 35 and 36:
Note: Multiple UAD hardware types c
Page 37 and 38:
The UAD Software The UAD Powered Pl
Page 39 and 40:
The DAW Environment The digital aud
Page 41 and 42:
I/O Drivers The audio interface is
Page 43 and 44:
Bundled Plug-Ins UAD plug-ins that
Page 45 and 46:
My Systems The UAD cards and plug-i
Page 47 and 48:
2. Launch the UAD Meter & Control P
Page 49 and 50:
Buying Plug-Ins To obtain optional
Page 51 and 52:
CHAPTER 5 Using Multiple UAD Cards
Page 53 and 54:
Important: If insufficient power is
Page 55 and 56:
CHAPTER 6 UAD Meter & Control Panel
Page 57 and 58:
UAD Meter Elements Refer to Figure
Page 59 and 60:
Click the Menu button Figure 8. Acc
Page 61 and 62:
UAD-2 The displayed latency is the
Page 63 and 64:
Status Column The Status column ref
Page 65 and 66:
For example, you could run low-DSP
Page 67 and 68:
With the Limit DSP Load feature, th
Page 69 and 70:
AMD-8131 Compatible Mode is only re
Page 71 and 72:
Use Host Mode When Use Host Mode is
Page 73 and 74:
Pro Tools Configuration Window Figu
Page 75 and 76:
Logic Pro Figure 16. Launching a UA
Page 77 and 78:
Settings Menu The Settings menu pro
Page 79 and 80:
Increased Host Loading using LiveTr
Page 81 and 82:
Text Entry Parameter values can be
Page 83 and 84:
Multi-DSP UAD-2 systems use signifi
Page 85 and 86:
CHAPTER 8 Tempo Sync Overview The t
Page 87 and 88:
Range Limits Some parameters in Tem
Page 89 and 90:
Roland RE-201 Sync When the RE-201i
Page 91 and 92:
Table 6. Host Application plug-in d
Page 93 and 94:
The UAD Delay Compensator acts as a
Page 95 and 96:
UAD Track Advance Overview The prev
Page 97 and 98:
Solution: Put a TrackAdv plug-in on
Page 99 and 100:
Upsampled Compensation Examples Gro
Page 101 and 102:
Live Processing The previous discus
Page 103 and 104:
In this chapter you will find instr
Page 105 and 106:
Note: Do not bend sharp angles into
Page 107 and 108:
UAD-Xpander Pre-Flight Check 1. Ens
Page 109 and 110:
3. Turn off the power switch on the
Page 111 and 112:
CHAPTER 11 LA-2A and 1176LN Overvie
Page 113 and 114:
+10 0 Compression region 10 dB of c
Page 115 and 116:
LA-2A Controls Figure 30. The LA-2A
Page 117 and 118:
1176LN Controls Figure 32. The 1176
Page 119 and 120:
1176SE “Special Edition” Figure
Page 121 and 122:
LA-3A Controls Background Comp/Lim
Page 123 and 124:
Fairchild Screenshot Figure 35. The
Page 125 and 126:
Fairchild Modes Dual Left/Right Lat
Page 127 and 128:
Meter Select Switch This switch det
Page 129 and 130:
DC Bias DC Bias controls the ratio
Page 131 and 132:
Precision Multiband Interface The P
Page 133 and 134:
EQ Display Selection A band can als
Page 135 and 136:
COMPRESS When a band is set to Comp
Page 137 and 138:
EQ Display In the EQ Display, the e
Page 139 and 140:
Frequency Controls Frequency Values
Page 141 and 142:
The band is soloed when its Solo bu
Page 143 and 144:
Power Switch The Power Switch deter
Page 145 and 146:
Precision Limiter Screenshot Figure
Page 147 and 148:
Sliding Meter Scale With the K-Syst
Page 149 and 150:
Meter The Meter switch specifies th
Page 151 and 152:
CHAPTER 16 Precision Buss Compresso
Page 153 and 154:
When Ratio is changed, the Threshol
Page 155 and 156:
Toggling the Fade switch causes an
Page 157 and 158:
CHAPTER 17 Neve 33609 Compressor Ov
Page 159 and 160:
Technical Article The article “As
Page 161 and 162:
Ratio This control determines the c
Page 163 and 164:
In stereo operation the controls fo
Page 165 and 166:
14dB Typical starting point for mas
Page 167 and 168:
CHAPTER 18 VCA VU Overview The VCA
Page 169 and 170:
Output Gain Output Gain controls th
Page 171 and 172:
Neve 88RS Screenshot Figure 46. The
Page 173 and 174:
Gate/Expander The gate/expander mod
Page 175 and 176:
The available range is -25dB to +15
Page 177 and 178:
An example: When compressing a snar
Page 179 and 180:
Slower release times can smooth the
Page 181 and 182:
HF Freq This parameter determines t
Page 183 and 184:
Cut Enable Cut Frequency This butto
Page 185 and 186:
CHAPTER 20 CS-1 Channel Strip Overv
Page 187 and 188:
Gain (G) Knob Frequency (fc) Knob B
Page 189 and 190:
DM-1 Delay Modulator Figure 53. The
Page 191 and 192:
The RECIR units are expressed as a
Page 193 and 194:
RS-1 Controls Sync Button Shape Pop
Page 195 and 196:
CHAPTER 21 Precision Equalizer Over
Page 197 and 198:
Dual Mode In Dual mode (dual-mono m
Page 199 and 200:
Frequency Knob The Frequency knob d
Page 201 and 202:
CHAPTER 22 Cambridge EQ Overview Th
Page 203 and 204:
Zoom Buttons The vertical scale of
Page 205 and 206:
Low Cut / High Cut Filters The Low
Page 207 and 208:
Gain Knob Q (Bandwidth) Knob This p
Page 209 and 210:
Type III When set to Type III, ther
Page 211 and 212:
Figure 65. Shelf Type A Figure 66.
Page 213 and 214:
Pultec Latency The Pultec and Pulte
Page 215 and 216:
Note: In the documentation supplied
Page 217 and 218:
In the hardware MEQ-5, the audio is
Page 219 and 220:
Dip Response Figure 73. Pultec MEQ-
Page 221 and 222:
CHAPTER 24 Neve 1073 Equalizer Over
Page 223 and 224:
Note: You can also click the midran
Page 225 and 226:
Neve 1073SE Controls The Neve 1073S
Page 227 and 228:
Neve 1081 and 1081SE Controls Overv
Page 229 and 230:
High-Mid Frequency The high-midrang
Page 231 and 232:
Cut Filters The independent low and
Page 233 and 234:
CHAPTER 26 Helios Type 69 Equalizer
Page 235 and 236:
Bass The Bass knob has a dual purpo
Page 237 and 238:
Line The Line switch determines whe
Page 239 and 240:
CHAPTER 27 Harrison 32C EQ Overview
Page 241 and 242:
Four EQ Bands Low Peak Low Frequenc
Page 243 and 244:
Harrison 32C Latency The Harrison 3
Page 245 and 246:
Roland CE-1 Controls The Roland CE-
Page 247 and 248:
Vibrato Controls These two knobs co
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 and 298:
CHAPTER 34 Precision Maximizer Over
Page 299 and 300:
Shape The Shape knob is the primary
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
Page 349 and 350: Mod Delay LFO Type Table Table 25.
Page 351: Recirculation allows both positive
Page 355 and 356: Cutoff This parameter defines the c
Page 357 and 358: LFO Amount Rate Rate LED LFO Reset
Page 359 and 360: Moog Filter SE Overview The UAD Moo
Page 361 and 362: CHAPTER 40 Little Labs IBP Overview
Page 363 and 364: Phase Adjust 90°/180° This switch
Page 365 and 366: Universal Audio. It wasn't long bef
Page 367 and 368: well as Sinatra's "It Was A Very Go
Page 369 and 370: The basic concept of a compressor/l
Page 371 and 372: Pros Talk UA Both the 1176 and the
Page 373 and 374: Jim Scott Jim Scott shared a Grammy
Page 375 and 376: Thank You We would like to thank yo
Page 377 and 378: INDEX Cambridge EQ Controls 202 Cam
Page 379 and 380: INDEX Helios 69 Latency 237 Helios
Page 381 and 382: INDEX Nigel 212, 323, 324 Nigel Mod
Page 383 and 384: INDEX Sens 339 Sens/Rate/Wah Knob 3
Page 385: INDEX UAD Powered Plug-Ins Manual -
show all

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

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?