Going head-to-head with TC Works' PowerCore system (reviewed in the April 2002 EM), Mackie has introduced the UAD-1 Powered Plug-Ins bundle, another option for getting more signal-processing power into your computer. The system, developed by Universal Audio, is based on the UAD-1 PCI card that, according to Mackie, features a single “groundbreaking super-DSP chip” for running extremely sophisticated plug-in algorithms. Eighteen stock plug-ins ship with the bundle, including Universal Audio's LA2A and 1176LN vintage compressors. Not surprisingly, Kind of Loud's much-admired RealVerb Pro is also included. (UA is Kind of Loud's parent company; see the sidebar “Solid Stock Plug-ins” for a complete list of plug-ins.).
PARKING THE CARDThe installation instructions advise you to first install the Powered Plug-Ins software and then the UAD-1. The installer CD-ROM that I received had version 1.1 software, which I knew to be outdated; I therefore got online and downloaded the current software, version 2.2.2. At just under 23 MB, that is time-consuming to do over a standard phone line.
Nonetheless, it's worthwhile to download the latest software, because it includes bug fixes and two new plug-ins (the Pultec EQP-1A program equalizer and the Nigel guitar-effects processor). The UAD-1 system requires a VST-compatible host and runs on either a Mac or a PC (MAS support was announced just as I was finishing this review).
I installed and reviewed the system using an AMD Athlon XP 1.6 GHz computer running Windows 2000 and packing 262 MB of RAM. The host application was Cubase VST/32, version 5.1. With the UAD-1 software installed and the UAD-1 properly seated in a PCI slot, Windows' New Hardware Wizard found and installed all the necessary drivers with no hitches.The system's plug-ins are placed in your VST Plug-ins folder, in a subfolder called Powered Plug-ins. You access the plug-ins from your host application, and they start up and function just like standard VST plug-ins.
A program called UAD-1 DSP Performance Meter — a floating meter bar that can run in the background — lets you keep an eye on the card's DSP load (see Fig. The meter shows usage as a percentage of the card's CPU and memory. (The UAD-1 has 4 MB of onboard RAM that is used for delay lines.) I positioned the UAD-1 meter next to Cubase's VST Performance meter for easy monitoring of both systems at a glance. PLUG-IN LOWDOWNThe plug-ins come in two flavors: either single, dedicated processors or multi-effects.
The single-processor plug-ins provide one specific effect (such as reverb or compression); the multi-effects are a group of complementary effects modules (such as amp simulator, gate, and compressor). There are two main multi-effects plug-ins: the CS-1 channel strip and the Nigel guitar-effects processor. All of the effects contained in these two groups are also available individually. The 1176LN, LA2A, Pultec, and RealVerb Pro are not included in either of the multi-effects plug-ins and only run alone. Most of the plug-ins have presets that sound decent and offer a good starting point for creating your own effects.The CS-1 has a cool vintage look that is reminiscent of an old Neve console.
It has almost all the processing capability you need for a channel in a single plug-in. In order, there are five bands of parametric EQ, a compressor (EX-1), a delay-modulation section (DM-1), and a room simulator (RS-1) that UA calls a “reflection engine.” If you don't need all of the CS-1's processing modules, you can defeat them to conserve CPU power or you can simply use the component plug-ins separately, which is also handy for inserting the plug-ins in a different order. The EX-1 plug-in is available in stereo or mono (the EX-1M), and the DM-1 plug-in comes in short and long (the DM-1L) delay versions. The EX-1 and DM-1 plug-ins are useful and they sound good.
I found the RS-1 a bit harder to fit into my mixes because it is more of a room-ambience effect than an actual reverb, but there are certainly times when such an effect fits the bill.Nigel was first introduced in version 2.1 of the UAD-1 bundle. It contains six effects modules: gate and compression (GateComp), modulation filter (ModFilter), phaser (Phasor), an amp simulator (Preflex), tremolo (TremFade), and modulation delay and echo (which are combined with the Tremolo module to form the TremModeEcho plug-in).
GateComp provides very basic dynamics control, but it gets the job done with a minimum of CPU power. The ModFilter, Phasor, TremFade, and TremModeEcho are wonderful for creating anything from thick and twisted effects to subtle flanges and echoes. You can do a lot with these four plug-ins, although I wish there were a way to sync the effects to a sequence's tempo. (Mackie reports that that feature is in the works.) Preflex sounds really good, from big and distorted effects to smooth and warm tones. There are a variety of amp and cabinet types to work with, and the cabinets even include different mic positions.Bill Putnam's 1176LN solid-state limiting amplifier was first conceived in 1966. It went through several modifications over the years to improve its sound.
The 1176LN (the LN stands for Low Noise) plug-in is based on the culmination of those modifications. It faithfully reproduces the sound of the original hardware units, imparting a distinctly high-end, solid-state flavor to tracks. The LA2A plug-in is modeled after the Teletronix LA-2A Leveling Amplifier, first built in the mid-1960s, and it looks, acts, and sounds like the original. I was not disappointed by Mackie's UAD-1 version. It provides the ultimate in clean, clear dynamics processing with a minimum of controls.The Pultec EQP-1A program equalizer has long been praised for its ability to dramatically boost or attenuate specific frequencies without sounding harsh. The Pultec plug-in looks like the original hardware unit and sounds equally as sweet, even adding a subtle analog flavor to tracks in its passive state.The UAD-1 main reverb offering is RealVerb Pro. With the exception of the 5.1 parameters, it's practically identical to the much-revered RealVerb 5.1 TDM version.
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All the same great parameters for customizing reverbs are available, including the ability to choose an environment's composition (such as wood, glass windows, grass, fiberglass, or a combination of two different materials), precise control over the listener's position within the space, and morphing between presets. The fact that RealVerb Pro is part of the bundle is almost worth the price of the entire package alone. HANDLING THE POWERKeep in mind that only plug-ins written specifically for the Powered Plug-Ins format work with the UAD-1 — you can't run a normal VST plug-in using the UAD-1's processing power. The system doesn't actually give you more native processing power because the UAD-1's DSP isn't dynamically shared with your computer's DSP power. However, any channel's inserts can have a mix of Powered Plug-Ins and traditional VST plug-ins, so adding a UAD-1 card to your computer will net much more processing power overall. Moreover, the system's plug-ins are all useful and sound terrific.
Some digital audio sequencers don't automatically compensate for the delay caused by the Powered Plug-Ins effects processing. In those cases, you'll need to use the included DelayComp plug-in to manually adjust the tracks that are playing early in relation to the processed tracks.To use DelayComp, first determine what the maximum number of Powered Plug-ins being used by any track in the project is, then subtract from that maximum number the existing number of Powered Plug-ins that any other audio track on the project has. Next, use that difference as the DelayComp setting. For example, if the maximum number of Powered Plug-ins being used on any track is three and another track has only one Powered Plug-in, you would assign a value of 2 (3 - 1) to DelayComp for the latter track.
By the same token, if a track in the same project has no Powered Plug-ins, it would require a setting of 3 (3 - 0) to equal the maximum number of plug-ins being used.Remembering to compensate for processing delays is an annoying speed bump in the road of one's creative flow. But without the DelayComp plug-in, the system would be unusable with some digital audio sequencers. For example, Cubase VST/32 automatically compensates for the delay on its audio tracks but not its virtual-instrument tracks. Logic Audio and Cubase SX reportedly automatically compensate for Powered Plug-Ins delay on audio and virtual-instrument tracks. However, I tried opening a Cubase VST/32 session in Cubase SX and there was still processing delay on the virtual instruments. Keeping up with delay adjustments while you insert Powered Plug-Ins on audio and virtual-instrument tracks at the same time can get tricky. Thankfully, because delay values are given as the number of Powered Plug-Ins used, DelayComp is easy to understand.
To be sure that you're always prepared to deal with delay times, I suggest creating a mixer template with DelayComp inserted on every channel.All of the Powered Plug-Ins' parameters can be automated just the way standard VST — plug-in parameters can be. Mackie says that the plug-ins have a smoothing algorithm that makes digital zippering noise during automation obsolete, and indeed, I didn't hear any zippering. PLUG-IN HAVENBetween the computer's 2 GHz Athlon processor and the UAD-1 card, I was never in serious need of processing power. In a 16-bit, 44.1 kHz session I was able to run half a dozen LA2As, a couple of Pultecs, and two RealVerb Pros. (Of course, the number of plug-ins you can run will be lower for sessions with higher sample rates.) Some plug-ins, such as the Nigel and the 1176LN, did eat up a lot more processing power than others. My solution, especially with the Nigel, was to bounce the effect to disk to free up the UAD-1's processing power.
Either way, the ability to run your reverbs and so many other cool plug-ins on the UAD-1 leaves your computer's CPU available for running still more native effects plug-ins and virtual instruments. Mackie also says that multiple UAD-1 cards, installed in the same computer, will soon be able to share processing power dynamically. The fact that only those plug-ins written specifically for the Powered Plug-Ins format work with the UAD-1 card may present a problem for some users. Whether third-party plug-in developers will write versions of their plug-ins for this new format remains to be seen.
Regardless, the included plug-ins are more than adequate, and combined with an arsenal of native plug-ins, you should have plenty of effects to work with.My wish list includes Powered Plug-Ins that sync to your sequencer's tempo and some UAD-1-compatible virtual instruments. Otherwise, I have very few gripes about the bundle: it works well and comes with some great-sounding effects. Even the manual (PDF only) is well written. If you need more DSP power to augment your native processing power and have also been considering the Kind of Loud plug-ins, check out the UAD-1 Powered Plug-Ins bundle.Visit Erik Hawkins 's fledgling indie label at to hear music made with today's hottest studio gizmos. Also check out his new virtual-studio recording book, Studio-in-a-Box (ArtistPro/Hal Leonard).
Minimum System Requirements UAD-1 Powered Plug-InsMAC: G3/233; 128 MB RAM; OS 9.0; compatible VST or MAS host applicationPC: Pentium II/400; 128 MB RAM; Windows 98/2000/ME/XP; compatible VST host application SOLID STOCK PLUG-INSThe following plug-ins ship with version 2.2.2. Some of the plug-ins are single effects, while others are collections.
Each of the components of the multi-effects plug-ins can also be used as single effects.
Universal Audio UAD-2 Powered Plug-InsUniversal Audio UAD-2 Powered Plug-Ins Full Cracked The industry’s most respected collection of audio plug-insThe UAD-2 library now features over 90 plug-ins, co-developed with thebiggest brands in audio — including Studer, Ampex, Lexicon, Neve, Manley,Roland, SSL and more.The Authentic Sound of Analog.The UAD-2 Powered Plug-Ins platform offers the world’s most authentic analog hardwareemulations and award-winning audio plug-ins for Mac and PC. Powered by our popularDSP Accelerator hardware, UAD-2 plug-ins deliver rich, analog sound quality that wouldbe difficult or impossible to achieve with native recording systems.From rare compressors and equalizers, to vintage reverb processors and tape machines,UAD-2 Powered Plug-Ins inject three-dimensional “out-of-the-box” analog sound toyour in-the-box mixes.
When I recently wiped the system disk of my primary music computer to replace Windows XP Pro with Windows 7 Ultimate 64-bit, I installed only the applications that I knew I'd be using regularly. Similarly, I didn't bother adding any plug-ins or accessories that I didn't find essential to my own projects. That meant I could pull out some PCIe cards, keep some USB and FireWire devices unplugged, and forgo much of the hassle (and cost) of upgrading everything for Win7 64-bit compatibility.
But one product that I did make sure to install was my UAD-2 QUAD DSP Accelerator Card along with all of its plug-ins. As you've read in these pages, the UAD platform is popular with the Tape Op staff. JB and LC wrote reviews of the PCIe and laptop versions of the UAD-2 in previous issues (Tape Op #67, #73), and a couple years ago, Tape Op contributor Neil Mclellan and I wrote about our favorite plug-ins for the UAD-1 platform (#63).
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Now that Neil has a UAD-2 DUO, I asked him to tell us which plug-ins he's currently relying on. I also asked senior contributor Dana Gumbiner, who recently added a UAD-2 SOLO/Laptop to his toolbox, to give us his comments. Dana's comments are first.AHSo a while back, Andy asked me to pick a few favorites from the latest batch of Universal Audio's Powered Plug-In platform. This has to be one of the more challenging tasks given to me from the Tape Op High Command, simply because it's hard to pick just a few -they're all pretty awesome!The UAD plug-ins all run with UA's PCIe accelerator cards (which are available in scaled processor strengths) or with a neat ExpressCard-based laptop solution.
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I opted for the laptop card for a degree of portability, and I was also curious to see what kind of mixes I could build on my rapidly aging Intel Core 2 Duo MacBook Pro (running 10.6). VST, AU, and RTAS formats are all supported by the UAD, and my primary DAWs for testing were Logic 9 (Tape Op #74), Ableton Live 8.1 (#72), and Pro Tools LE 7.4 and 8 (#72).I quickly found that, while I could instantiate a fairly generous allotment of the UAD plug-ins, I longed for more horsepower! These plug-ins sound huge, but the DSP price of that rich sound has an equally significant footprint. I need a UAD-2 DUO or QUAD card in my studio Mac Pro tower, stat! Regardless, it's great to have the ability to run out the door with mix options in my bag and the SOLO/Laptop card works like a champ. Plus, it can be used with third-party PCIe-to-ExpressCard adapters, allowing the super-convenient switch between desktop and laptop, if needed.On to the plug-ins themselves -here are just a few of my favorites.The Neve 1073 and 1081 Equalizer emulations are stellar and sound crisp and smooth, even at the extreme edges. They can't be beat for a little top-end hype -especially nice on drum overheads or snare.The UAD Precision series, particularly the Multiband Compressor/Expander/Gate, are rock-solid bus tools that destroy similar competitors.
Efficient, clear controls and amazing fidelity -I could see these being a mastering engineer's secret weapons.The Little Labs IBP ('In-Between Phase') is modeled after the popular fix-it or fuck-with-it tool, and having the software version has made me wonder how I got by without it all these years.The Roland RE-201 sounds pretty damn close to my real Space Echo, even when pushing the input and rolling the repeat-rate quickly to create the dreaded 'Bela Lugosi's Dead' feedback effects.And finally, the Fairchild 670. I've only had a chance to truly mess with the hardware once or twice, in Eric Valentine's BareFoot Recording. He always referred to it as the 'Goddamn forty-thousand dollar compressor!'
-and it has been supremely satisfying to have a small army of goddamn $40,000 compressors in my laptop.I also really like the way UA has implemented their Control Panel software; it's clear, simple, and makes for easy authorization, updates, and latency reporting. An Info pane under the Configuration tab offers great tool-tip-style pointers straight out of the manual, too.All of UA's emulations follow the 'photo-realism' school of GUI design, which is to say that they look like what they are built to sound like.
For the most part, this is fine, but it would be nice to have dedicated text-entry boxes on every plug-in interface; mousing over knobs isn't always the most accurate method of parameter entry. The manual states that values can be modified with text entry, but I didn't see that option on the vintage emulations like 1176 or Neve EQs, etc. Most DAWs have some alternate plug-in display, so this is a minor gripe, of course. All-in-all, UAD-2 seems like the platform to beat.-Dana Gumbiner, www.stationtostationrecording.comI'd been rocking my UAD-Xpander with my laptop for some years now, so when I upgraded my Mac tower at home last year, it was only natural to upgrade to a UAD-2 DUO for many times the processing power. With the new card, depending on the plug-ins, I can get 2-10x the number of plug-ins going as I could on my UAD-1-based Xpander.My favorite of all the plug-ins is the VCA VU Compressor/Limiter (based on the dbx 160). I love it so much. It's absolutely unbelievable.
I introduced it to Matt Robertson (who has contributed to Tape Op in the past). Matt sold his real dbx 160s because the plug-ins are that good. I map its controls to knobs on my remote keyboard so I can really have at it -just like keeping the real hardware in front me.I'm also amazed with the Little Labs IBP Phase Alignment Tool. I use it to bring multi-mic'ed instruments in focus. I recently did some work with my friend Damian Taylor (Bjo^rk's music director) and aligned all of his drums up with the IBP. In that situation, when you're sitting there making important decisions that will have an extended effect down the line, you need your decisions to be very concrete before you move on.
The IBP is so simple to use; you can just click the button, move the knob, and use your ears. There's not a great deal of looking at waveforms and shifting or moving them.
When you're making those kinds of decisions, you have to use and trust your ears -not the pictures on the screen. I just tweak it gently, and it keeps the production moving forward without any second-guessing, whether I'm aligning something recorded to two mics or I'm going for a chorusing effect.I've been using tons of Pultec Pro. It mimics the sound of the Pultecs literally. I can sit there and feel like I'm in a mastering session with both the midrange and program EQs, and I can do those wonderful things to my stems that only a Pultec can do. You have to mind yourself because 1 db is a lot -just like on the real thing.Please check out the Moog Multimode Filter. It's so musical -one of the most musical effects going. For example, if you have a synth line going that's rising and repeating, and you want to add a delay to it, put this after the delay.
You'll get some absolutely wonderful textures out of it.The Precision Limiter is an amazing bit of kit. I'm using it when I'm working on music for adverts.
It's a brick wall, and it won't let you come up for air; it just slams everything. Whatever they have on the output curve, it just does amazing things without it taking away the energy of the track; it keeps the tension, especially if I need something for the first 20 seconds of a spot without it sounding unnatural.
It gives Waves a run for the money, without a shadow of a doubt.Two plug-ins that I'm really fond of, because the hardware is from my era, are the Roland RE-201 Space Echo and Dimension D Chorus. I've had more real ones than one could shake a stick at. And these are as good as one could imagine them to be. If you listen to a real Dimension, the tail gets tinny, and that's part of its charm. It's not shy -the plug-in is not afraid of the tail.The Neve 88RS Channel Strip is wicked -really proper.
I know the Neve 88 boards really well -inside out. For example, they've got the tail of the built-in channel compression right. If you bring the release down too far, it has a little bit of 'tchitt' -perhaps chatter is a good description of it -just like the real thing. And I love the EQ too. If I had only this plug-in on every channel, I'd be good to go. Similar raves for the Neve 33609 Compressor -I've spent plenty of years with the real thing. On the last Prodigy album, I used this plug-in across whole drum groups as well as the mix bus.
And on the EQ front, I still love the sound of the Neve 1081; the plug-in sounds great, and you really can't go wrong with it.I've also had lots of experience with the real LA-3A, and this nails it. Same with the EMT Plate 140 -it does exactly what it says on the tin. I love the Fairchild 670 Compressor, and the FATSO Jr/Sr Analog Tape Simulator & Compressor is absolutely brilliant. I've used the rack full of real FATSOs in Andy's studio -and I know the FATSO tape emulation is an essential part of his recording chain -but the new controls in the plug-in's Senior mode really take the compression to another level.
Really, really wicked.The Trident A-Range Classic Console EQ -do I really like it or is it because it has sliders? I'm not sure yet. The actual Trident A-Range modeled was Elliott Smith's, which is still in the New Monkey studio he built.LC The Helios Type 69 EQ -I don't know the sound of the original very well. It sounds like a good EQ; but my time on the real thing is very limited. The Precision De-Esser -it's very simple, it does its thing very nicely, and this is a fucking good thing. I know there are a lot of expensive de-essers out there with all sorts of fiddly controls, but this one just works.Overall, there's so much to choose from, and the UAD-2 takes all the DSP onto the card -it's an amazingly well thought out kit.
I've recommended the UAD platform to all my friends, and once they heard it, there was no looking back. Liam Howlett (The Prodigy) loves it and wonders how he ever did without it. Carl Cox -it totally rocks his world.
He's on the road 280 days a year, making beats out of hotel rooms and intercontinental jets and rocking it in the clubs and venues. His new UAD-2 SOLO/Laptop works everywhere. As Carl told me, 'With all the traveling I do, I needed a system that would not clog up my laptop processing.
I do a lot of mixes on the road, and the availability of world-class plug-ins that don't suck the life out of my system is invaluable.' (Bundles start at $400 street; www.uaudio.com).
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Going head-to-head with TC Works' PowerCore system (reviewed in the April 2002 EM), Mackie has introduced the UAD-1 Powered Plug-Ins bundle, another option for getting more signal-processing power into your computer. The system, developed by Universal Audio, is based on the UAD-1 PCI card that, according to Mackie, features a single “groundbreaking super-DSP chip” for running extremely sophisticated plug-in algorithms. Eighteen stock plug-ins ship with the bundle, including Universal Audio's LA2A and 1176LN vintage compressors.
Not surprisingly, Kind of Loud's much-admired RealVerb Pro is also included. (UA is Kind of Loud's parent company; see the sidebar “Solid Stock Plug-ins” for a complete list of plug-ins.). PARKING THE CARDThe installation instructions advise you to first install the Powered Plug-Ins software and then the UAD-1. The installer CD-ROM that I received had version 1.1 software, which I knew to be outdated; I therefore got online and downloaded the current software, version 2.2.2. At just under 23 MB, that is time-consuming to do over a standard phone line.
Nonetheless, it's worthwhile to download the latest software, because it includes bug fixes and two new plug-ins (the Pultec EQP-1A program equalizer and the Nigel guitar-effects processor). The UAD-1 system requires a VST-compatible host and runs on either a Mac or a PC (MAS support was announced just as I was finishing this review). I installed and reviewed the system using an AMD Athlon XP 1.6 GHz computer running Windows 2000 and packing 262 MB of RAM. The host application was Cubase VST/32, version 5.1.
With the UAD-1 software installed and the UAD-1 properly seated in a PCI slot, Windows' New Hardware Wizard found and installed all the necessary drivers with no hitches.The system's plug-ins are placed in your VST Plug-ins folder, in a subfolder called Powered Plug-ins. You access the plug-ins from your host application, and they start up and function just like standard VST plug-ins. A program called UAD-1 DSP Performance Meter — a floating meter bar that can run in the background — lets you keep an eye on the card's DSP load (see Fig. The meter shows usage as a percentage of the card's CPU and memory. (The UAD-1 has 4 MB of onboard RAM that is used for delay lines.) I positioned the UAD-1 meter next to Cubase's VST Performance meter for easy monitoring of both systems at a glance. PLUG-IN LOWDOWNThe plug-ins come in two flavors: either single, dedicated processors or multi-effects.
The single-processor plug-ins provide one specific effect (such as reverb or compression); the multi-effects are a group of complementary effects modules (such as amp simulator, gate, and compressor). There are two main multi-effects plug-ins: the CS-1 channel strip and the Nigel guitar-effects processor. All of the effects contained in these two groups are also available individually. The 1176LN, LA2A, Pultec, and RealVerb Pro are not included in either of the multi-effects plug-ins and only run alone.
Most of the plug-ins have presets that sound decent and offer a good starting point for creating your own effects.The CS-1 has a cool vintage look that is reminiscent of an old Neve console. It has almost all the processing capability you need for a channel in a single plug-in. In order, there are five bands of parametric EQ, a compressor (EX-1), a delay-modulation section (DM-1), and a room simulator (RS-1) that UA calls a “reflection engine.” If you don't need all of the CS-1's processing modules, you can defeat them to conserve CPU power or you can simply use the component plug-ins separately, which is also handy for inserting the plug-ins in a different order. The EX-1 plug-in is available in stereo or mono (the EX-1M), and the DM-1 plug-in comes in short and long (the DM-1L) delay versions.
The EX-1 and DM-1 plug-ins are useful and they sound good. I found the RS-1 a bit harder to fit into my mixes because it is more of a room-ambience effect than an actual reverb, but there are certainly times when such an effect fits the bill.Nigel was first introduced in version 2.1 of the UAD-1 bundle. It contains six effects modules: gate and compression (GateComp), modulation filter (ModFilter), phaser (Phasor), an amp simulator (Preflex), tremolo (TremFade), and modulation delay and echo (which are combined with the Tremolo module to form the TremModeEcho plug-in). GateComp provides very basic dynamics control, but it gets the job done with a minimum of CPU power. The ModFilter, Phasor, TremFade, and TremModeEcho are wonderful for creating anything from thick and twisted effects to subtle flanges and echoes. You can do a lot with these four plug-ins, although I wish there were a way to sync the effects to a sequence's tempo. (Mackie reports that that feature is in the works.) Preflex sounds really good, from big and distorted effects to smooth and warm tones.
There are a variety of amp and cabinet types to work with, and the cabinets even include different mic positions.Bill Putnam's 1176LN solid-state limiting amplifier was first conceived in 1966. It went through several modifications over the years to improve its sound. The 1176LN (the LN stands for Low Noise) plug-in is based on the culmination of those modifications. It faithfully reproduces the sound of the original hardware units, imparting a distinctly high-end, solid-state flavor to tracks.
The LA2A plug-in is modeled after the Teletronix LA-2A Leveling Amplifier, first built in the mid-1960s, and it looks, acts, and sounds like the original. I was not disappointed by Mackie's UAD-1 version. It provides the ultimate in clean, clear dynamics processing with a minimum of controls.The Pultec EQP-1A program equalizer has long been praised for its ability to dramatically boost or attenuate specific frequencies without sounding harsh. The Pultec plug-in looks like the original hardware unit and sounds equally as sweet, even adding a subtle analog flavor to tracks in its passive state.The UAD-1 main reverb offering is RealVerb Pro. With the exception of the 5.1 parameters, it's practically identical to the much-revered RealVerb 5.1 TDM version.
All the same great parameters for customizing reverbs are available, including the ability to choose an environment's composition (such as wood, glass windows, grass, fiberglass, or a combination of two different materials), precise control over the listener's position within the space, and morphing between presets. The fact that RealVerb Pro is part of the bundle is almost worth the price of the entire package alone. HANDLING THE POWERKeep in mind that only plug-ins written specifically for the Powered Plug-Ins format work with the UAD-1 — you can't run a normal VST plug-in using the UAD-1's processing power. The system doesn't actually give you more native processing power because the UAD-1's DSP isn't dynamically shared with your computer's DSP power.
However, any channel's inserts can have a mix of Powered Plug-Ins and traditional VST plug-ins, so adding a UAD-1 card to your computer will net much more processing power overall. Moreover, the system's plug-ins are all useful and sound terrific. Some digital audio sequencers don't automatically compensate for the delay caused by the Powered Plug-Ins effects processing.
In those cases, you'll need to use the included DelayComp plug-in to manually adjust the tracks that are playing early in relation to the processed tracks.To use DelayComp, first determine what the maximum number of Powered Plug-ins being used by any track in the project is, then subtract from that maximum number the existing number of Powered Plug-ins that any other audio track on the project has. Next, use that difference as the DelayComp setting. For example, if the maximum number of Powered Plug-ins being used on any track is three and another track has only one Powered Plug-in, you would assign a value of 2 (3 - 1) to DelayComp for the latter track. By the same token, if a track in the same project has no Powered Plug-ins, it would require a setting of 3 (3 - 0) to equal the maximum number of plug-ins being used.Remembering to compensate for processing delays is an annoying speed bump in the road of one's creative flow. But without the DelayComp plug-in, the system would be unusable with some digital audio sequencers. For example, Cubase VST/32 automatically compensates for the delay on its audio tracks but not its virtual-instrument tracks. Logic Audio and Cubase SX reportedly automatically compensate for Powered Plug-Ins delay on audio and virtual-instrument tracks.
However, I tried opening a Cubase VST/32 session in Cubase SX and there was still processing delay on the virtual instruments. Keeping up with delay adjustments while you insert Powered Plug-Ins on audio and virtual-instrument tracks at the same time can get tricky. Thankfully, because delay values are given as the number of Powered Plug-Ins used, DelayComp is easy to understand. To be sure that you're always prepared to deal with delay times, I suggest creating a mixer template with DelayComp inserted on every channel.All of the Powered Plug-Ins' parameters can be automated just the way standard VST — plug-in parameters can be. Mackie says that the plug-ins have a smoothing algorithm that makes digital zippering noise during automation obsolete, and indeed, I didn't hear any zippering.
PLUG-IN HAVENBetween the computer's 2 GHz Athlon processor and the UAD-1 card, I was never in serious need of processing power. In a 16-bit, 44.1 kHz session I was able to run half a dozen LA2As, a couple of Pultecs, and two RealVerb Pros. (Of course, the number of plug-ins you can run will be lower for sessions with higher sample rates.) Some plug-ins, such as the Nigel and the 1176LN, did eat up a lot more processing power than others. My solution, especially with the Nigel, was to bounce the effect to disk to free up the UAD-1's processing power. Either way, the ability to run your reverbs and so many other cool plug-ins on the UAD-1 leaves your computer's CPU available for running still more native effects plug-ins and virtual instruments.
Mackie also says that multiple UAD-1 cards, installed in the same computer, will soon be able to share processing power dynamically. The fact that only those plug-ins written specifically for the Powered Plug-Ins format work with the UAD-1 card may present a problem for some users. Whether third-party plug-in developers will write versions of their plug-ins for this new format remains to be seen.
Regardless, the included plug-ins are more than adequate, and combined with an arsenal of native plug-ins, you should have plenty of effects to work with.My wish list includes Powered Plug-Ins that sync to your sequencer's tempo and some UAD-1-compatible virtual instruments. Otherwise, I have very few gripes about the bundle: it works well and comes with some great-sounding effects. Even the manual (PDF only) is well written. If you need more DSP power to augment your native processing power and have also been considering the Kind of Loud plug-ins, check out the UAD-1 Powered Plug-Ins bundle.Visit Erik Hawkins 's fledgling indie label at to hear music made with today's hottest studio gizmos.
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Also check out his new virtual-studio recording book, Studio-in-a-Box (ArtistPro/Hal Leonard). Minimum System Requirements UAD-1 Powered Plug-InsMAC: G3/233; 128 MB RAM; OS 9.0; compatible VST or MAS host applicationPC: Pentium II/400; 128 MB RAM; Windows 98/2000/ME/XP; compatible VST host application SOLID STOCK PLUG-INSThe following plug-ins ship with version 2.2.2. Some of the plug-ins are single effects, while others are collections. Each of the components of the multi-effects plug-ins can also be used as single effects.
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