MIXING WITH UAD PLUGINS MANUAL
MIXING WITH UAD PLUGINS UPGRADE
MIXING WITH UAD PLUGINS FULL
MIXING WITH UAD PLUGINS PRO
MIXING WITH UAD PLUGINS MAC

Don't forget that if we talk about plugins then it means we mix on the comp. And how many hi end units can we afford to have? 1? maybe 2 (at least me:) So I think that if we have 1 or 2 great outboard compressors then we can use it for most critical stuff (vocals, drums, bass) and the synths, guitars and other stuff can be run through UAD-1. The only units that beat it's sound are the hi end units. I think UAD-1's compressors sound much better than most compressor costing oround $1,000 and it beats the hell out of waves. But I think that UAD-1 can be a real life saver. I do not believe it is possible to create world class mix without good outboard gear. So my conclusion is that plugins are too cool to argue with, more so if they are hardware DSP based (like UAD), and that you can't get all of the hardware they emulate, but the real boxes are a step apart and when possible I like to mix the two and have the best of both worlds.

MIXING WITH UAD PLUGINS PRO

:D :eek:ДЄnyway, I found that there is a substantial difference between thwe real thing and the DSP emulation: surely the UA plugins sound incredibly cool, but (I was discussing this on the Computing forum with another cat) I did a test recently to really evaluate them I was working on a Pro Tools session and instantiated a Real Verb Pro reverb plugin, and it sounded ten times better then the native plugins from Waves etc, then I hooked up an Eventide Eclipse (digitally via ADAT) and BOOM, the sound of a dedicated hardware reverb box is still (IMO) unreplaceable by a plugin: denser, richer, just 3D same thing for a couple of tube compressors I had on hand.

MIXING WITH UAD PLUGINS UPGRADE

There is no upgrade future for it if you remain on a PC however. I'm not trying to talk you out of what you're using as Logic is a great program as well.

MIXING WITH UAD PLUGINS FULL

It will also have full delay compensation for plugins in the upcoming (but still vaporware) Nuendo 2.0. The UAD-1 has tons of users in the Steinberg camp so its been tested very well there. If you do make the switch you'll be surprised how much easier the Steinberg programs are to use. If you've finally got the learning curve of Logic figured out and things are running smooth you can also take the 'if it ain't broke don't fix it attitude' or break down and buy a mac.

MIXING WITH UAD PLUGINS MAC

They have a special upgrade price to lure away all the ticked off Logic users that have been abandoned by the mac only change over. If I were in your shoes I would make the switch now to Cubase SX or Nuendo since it sounds like you have a very fine PC setup to run it. I would consider the purchase of the UAD-1 as money well spent. Join me next time for DAW MeterвЂ™s Demystified.New updates of Logic will be Mac only.

MIXING WITH UAD PLUGINS MANUAL

I guess the moral of the story here is if you want to know the exact sweet spot for a particular plugin the manual is your friend although with 32-bit Floating Point DAWs this is becoming less of an issue! Though when in doubtвЂ¦around -18dBFS (RMS) is a safe bet. UAD Neve 33609 (-14, -18, or -22dBFS sweet spot depending on which вЂheadroomвЂ™ setting you use).UAD Ampex ATR-102 Tape Machine (-12dBFS sweet spot).UAD Studer A800 Tape Machine (-12dBFS sweet spot).UAD Teletronix LA2A (-12dBFS sweet spot).Universal Audio (UAD) plugins are also generally calibrated at -18dBFS but a quick flip through their manual reveals some are not. They also suggest that working in this sweet spot range may take some getting used too but will most likely yield the better results. In their manual for the V-Series Compressor (which is based on the venerable Neve 2254 Compressor) Waves advise that the sweet spot range is actually somewhere between -22 to -17dBFS. You seeвЂ¦-18dBFS (RMS) can get you a lot of mileage. Slate DigitalвЂ™s Virtual Console Collection and Virtual Tape Machine plugins are also aligned to -18dBFS (RMS). However some plugins have been calibrated with slightly different sweet spots depending on the actual gear they were modeled on.ДЇor example, WavesвЂ™ SSL Channel is aligned to -18dBFS (RMS) as is their CLA-2A, CLA-76, and Kramer Pie Compressor plugins. The sweet spot for most plugins is around -18dBFS (RMS). The truth is while around -18dBFS (RMS) generally works as the sweet spot when recording and mixing ITB there a some exceptions. Once you know the sweet spot for one you would automatically know the sweet spot for the rest. In a simple world all analog gear (think recording consoles, compressors, EQs, etc) would be calibrated to operate at the same level they would all have the same sweet spot вЂ“ 0dBVU or approximately -18dBFS. You see now you know that approximately -18dBFS (RMS) is the Magic Number when working ITB and have had it tattooed on your neck, back and forearm, I have a little confession to make: the reality is a little more complicated! HereвЂ™s why. Before we continue I feel the overwhelming need to let you in on a secret.

Mixing with uad plugins