UAD Powered Plug-Ins Manual v7.1 - Universal Audio

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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 - 20 - Chapter 2: Ampex ATR-102
Operational Overview Famous Tape Sound Mixdown Tape Deck Multiple Tape Types Multiple Tape Heads Multiple Tape Speeds Multiple Calibration Levels 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. 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. UAD Powered Plug-Ins Manual - 21 - Chapter 2: Ampex ATR-102
Page 1 and 2: UAD PLUG-INS MANUAL SOFTWARE VERSIO
Page 3 and 4: Universal Audio, Inc. End User Lice
Page 5 and 6: TABLE OF CONTENTS Chapter 1. Docume
Page 7 and 8: TABLE OF CONTENTS EMT 140 Controls
Page 9 and 10: TABLE OF CONTENTS Moog Filter Contr
Page 11 and 12: TABLE OF CONTENTS Precision Enhance
Page 13 and 14: TABLE OF CONTENTS Boss CE-1 Screens
Page 15 and 16: CHAPTER 1 Documentation & Support U
Page 17 and 18: Online Documentation Support Websit
Page 19: CHAPTER 2 Ampex ATR-102 Mastering T
Page 23 and 24: Low Level Tuning Manual Calibration
Page 25 and 26: Clip LED The left and right channel
Page 27 and 28: When Link is active, automation dat
Page 29 and 30: Cal Level Cal Level automatically s
Page 31 and 32: Thru Thru is a processor bypass con
Page 33 and 34: After Auto Calibration occurs, the
Page 35 and 36: When Tape Speed is set to 30 IPS, t
Page 37 and 38: Tape Delay Enable These buttons are
Page 39 and 40: Manual Cal Knob The Manual Cal knob
Page 41 and 42: To manually calibrate UAD Ampex ATR
Page 43 and 44: Manual Calibration Notes • 0 dB o
Page 45 and 46: Original Ampex ATR-102 Mastering Re
Page 47 and 48: API 500 Series EQ Collection Screen
Page 49 and 50: API 550A Controls Band Controls The
Page 51 and 52: API 560 Controls Note: Like the ori
Page 53 and 54: CHAPTER 4 Cambridge EQ Overview The
Page 55 and 56: Zoom Buttons The vertical scale of
Page 57 and 58: Low Cut / High Cut Filters The Low
Page 59 and 60: Table 9. Available ranges for the B
Page 61 and 62: Note that the Q value increases as
Page 63 and 64: Figure 14. Shelf Type A Figure 15.
Page 65 and 66: Design Overview The original UREI/U
Page 67 and 68: Color The Color switch toggles betw
Page 69 and 70: Echo Volume A/B This control determ
Page 71 and 72:
EX-1 Equalizer and Compressor Figur
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Ratio Knob Threshold Knob Determine
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Mode Pop-up Menu Determines the DM-
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Link Button This button links the l
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Recirculation allows both positive
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dbx 160 Controls The minimal contro
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CHAPTER 8 DreamVerb Overview DreamV
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The DreamVerb user interface (Figur
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Shelving The simplest (and often mo
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Materials Panel The parameters in t
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Materials Blending Bars The Materia
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Late-Field Relative Timing To highl
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Figure 36. DreamVerb Positioning pa
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Mute Mix Dry Wet This switch mutes
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• The EQ is often most useful for
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FATSO Screenshots Figure 38. The FA
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Transformer design and use is an ar
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Channel Controls Input The Input kn
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Bypass/Tranny This black button is
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Controls Unlinked Unlink the contro
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Attack LED’s Unlit - Compressor I
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CHAPTER 10 EMT 140 Plate Reverb Ove
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Reverb Controls Plate reverb system
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Because this is a shelving EQ, all
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Power Switch This toggle switch ena
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EMT 250 Screenshot Figure 41. The E
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In some program modes, the yellow
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Reverb Reverb program mode offers t
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Important: In Delay mode, lever 3 d
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Positions “I” and “II” are
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Predelay (Lever 4) Lever 4 is used
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CHAPTER 12 EP-34 Classic Tape Echo
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The available delay range is 80 to
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Echo Pan Pan sets the position of t
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The EP-3 is the favored unit by gui
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Fairchild Screenshot Figure 44. 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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Harrison 32C EQ and Harrison 32C SE
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Hi Gain Gain This control determine
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CHAPTER 15 Helios Type 69 Equalizer
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Bass The Bass knob has a dual purpo
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duced if UAD-2 DSP LoadLock is enab
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CHAPTER 16- LA-3A Compressor Overvi
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CHAPTER 17 Lexicon 224 Classic Digi
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Lexicon 224 Screenshot Figure 50. T
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Lexicon 224 Buttons Like the origin
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If Display Hold is set to 1.5 (the
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Bass The Bass slider defines the re
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Higher Diffusion values are frequen
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Mode Enhancement Mode Enhancement m
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Solo When Solo is activated, the Dr
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If the left and right controls have
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P8 Constant Density Plate A P9 Chor
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CHAPTER 18 Little Labs IBP Overview
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Phase Adjust 90°/180° This switch
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Little Labs VOG Screenshot Figure 5
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Like the original hardware, increas
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CHAPTER 20 Manley Massive Passive E
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Unique Shelves No negative feedback
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Shelf/Bell The Shelf/Bell toggle sw
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As Bandwidth is increased in Shelf
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The Channel Gain controls are inten
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When set to Link (up position), mod
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Additional Information The original
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Moog Filter Screenshot Figure 61. T
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Cutoff This parameter defines the c
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LFO Amount The LFO (low frequency o
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Moog Filter SE Overview The UAD Moo
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CHAPTER 22 MXR Flanger/Doubler Clas
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Software-Only Features Stereo Funct
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Manual This continuous control dete
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Sync The speed of the Sweep LFO can
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CHAPTER 23 Neve 1073 Equalizer Over
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The available midrange center frequ
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Neve 1073 Latency The Neve 1073 (bu
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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 25 Neve 31102 Console EQ Ov
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Midrange Band The midrange band is
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EQL The equalizer is engaged when t
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CHAPTER 26 Neve 33609 Compressor Ov
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Modeling The UAD Neve 33609 models
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Compressor Gain This makeup gain co
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Stereo In stereo mode, the left cha
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22 dB Typical starting point for in
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Note: Compensating for Neve 33609 i
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Neve 88RS Screenshot Figure 74. The
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Gate/Expander The gate/expander mod
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The available range is -25 dB to +1
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An example: When compressing a snar
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L/C Release Release sets the amount
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You can use this button to compare
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Cut Filters In addition to the four
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CHAPTER 28 Ocean Way Studios Dynami
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What Is Ocean Way Studios? Ocean Wa
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Operational Overviews Modes Overvie
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Microphones Overview In addition to
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Distance The distance from the micr
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Using Ocean Way Studios For details
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Dual-Mode Example Figure 85 shows h
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The latency of Ocean Way Studios de
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Ocean Way Studios Controls Mode Oce
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Source A variety of audio sources (
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The locations of the source and mic
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Cut Filters Independent High Cut an
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Mono Output When the plug-in has mo
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Master EQ This group of parameters
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Putnam moves to Los Angeles In orde
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of Allen's best long term clients.
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CHAPTER 29 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 30 Precision De-Esser Overv
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Note: When Solo is active, changes
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CHAPTER 31 Precision Enhancer Hz Ov
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Mode B (Bass 2) Mode B is primarily
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Precision Enhancer Hz Usage Notes
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Precision Enhancer kHz Screenshot F
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Generally speaking, adjust the Outp
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Precision Equalizer Controls The ea
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Power Switch The Power Switch deter
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Precision Equalizer Latency The Pre
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Operational Overview Ambience Recov
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Ambience Recovery Refer to Figure 9
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Bell Filter The bell filter is full
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Output Gain Controls Refer to Figur
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Factory Preset Notes by Bob Katz Pr
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CHAPTER 35 Precision Limiter Overvi
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Release The Release knob sets the v
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Each of these modes displays the Th
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Figure 100. Precision Limiter meter
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CHAPTER 36 Precision Maximizer Over
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Shape The Shape knob is the primary
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Output The Output knob controls the
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CHAPTER 37 Precision Multiband Over
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Band Controls The Band Controls con
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Note: Relative mode is not availabl
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Attack Attack sets the amount of ti
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Adjusting Gain Adjusting Gain and c
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Dynamics Meters Realtime display of
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Output Level Meter Output Level Kno
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CHAPTER 38 Pultec Passive EQ Collec
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Pultec Plug-In Family The complete
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Artist Presets The Pultec Passive E
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LF Boost This knob determines the a
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EQ Enable This is the EQ enable con
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The HLF-3C interface is very simple
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CHAPTER 39 RealVerb Pro Overview Re
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The RealVerb Pro user interface is
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First material Second material Blen
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tion frequency, the frequency at wh
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3. Adjust the Band-edge controls fo
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3. Drag the Decay Time control for
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Levels The Levels panel adjusts the
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RealVerb Pro Preset Management Fact
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Boss CE-1 Controls The Boss CE-1 ha
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Vibrato Controls These two knobs co
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Roland Dimension D Controls The Rol
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Roland RE-201 Screenshot Figure 123
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The affect of each knob position is
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Note: Echo Volume has no affect whe
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CHAPTER 43 SPL Transient Designer O
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Signal Overload Link Link indicates
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• Shorten the sustain period of a
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channels of the reverb return throu
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Figure 126 on page 407 shows the di
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Figure 130 on page 409 displays the
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SSL E Channel Strip Screenshot Figu
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Dynamics Separate “soft-knee” c
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Gate 1 (G1) In Gate 1 mode, signals
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EQ The UAD SSL E Channel Strip EQ m
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HMF Q The Q (bandwidth) control def
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Pre-Dynamics (PRE DYN) During “no
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The compressor's simple control set
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SSL G Bus Compressor Controls Thres
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Fade Rate Fade Rate determines the
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CHAPTER 46 Studer A800 Multichannel
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+6dB, +7.5dB, or +9dB calibration l
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Ganged Operation Mono/Stereo Operat
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• 250: +3 Calibration (251 nWb/m)
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Equaliser (Emphasis EQ) The Equalis
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• Gang Controls is a static contr
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With the hardware machine, these co
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CHAPTER 47 Teletronix LA-2A Leveler
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LA-2A Plug-In Family The complete L
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Reference Level Plug-ins in the Tel
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Compress/Limit This switch sets the
Page 451 and 452:
The Teletroniz LA-2A Leveler Collec
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Operational Overview Unique Band In
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Low-Mid Band The low-mid EQ offers
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The Trident A-Range Console, featur
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UA 1176 Screenshots Figure 143. The
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UA 1176LN/SE Legacy The 1176 legacy
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Grit A simple 1176 trick is turning
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The behavior of the Attack knob var
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In All Button mode the ratio goes t
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INDEX Numerics 1176 Classic Limiter
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INDEX Filtering 92 Frequency 302 Fr
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INDEX Parametric EQ 59 Parametric T
Page 475:
INDEX Users Forum 17 V Video Docume
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