But despite the promise of the card, I really didn’t find it useful within the context of a working studio until recently. Solera is the company’s flagship dynamics tool. I preferred the Cambridge’s user interface over the Oxford’s-it’s just a bit easier to use-and the interactive graphic display at the top of the window is a big improvement over the Oxford’s knob-only interface. I had a project that I’d mixed several years ago in Logic 4. This article appears courtesy of audioMIDI.
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Two members of Digitalfishphones’ collection of freeware audio plug-ins, Blockfish and Dominion, have become my first choice for certain dynamics-shaping applications “in-the-box,” standing up to both If you’re mixing “in-the-box,” you’ll find that the UAD-1 is a very, very useful tool.
In part one of this article, we will focus on the basic installation and configuration of the UAD-2 card, while in part two we will cove some unique considerations for using the UAD system inside the Pro Tools mixer. Does this mean you don’t need hardware anymore?
Using UAD Powered Plug-Ins with Pro Tools, Part 1
All five of these guys make their living as full-time recording engineers and are very picky and discerning. Tape Op is a bi-monthly magazine devoted to the art of record making. First up was the LA-2A shoot out. In this two part article, I will universla my personal experience installing and using UAD powered plug-ins with Pro Tools as well as pass on a few tips, tricks and insights I’ve gathered along the way.
Because of my commitment to mixing in the box for the last few years, I quickly noticed how heavy handed Plug-inss had become with my processing when first using the UAD powered plug-ins. A simple cold reboot solved the problem instantly and everything worked flawlessly after that.
Algorithmically speaking, where the Cambridge was most impressive is in its low and high-pass filters, offering no fewer than 17 different slopes and filter algorithms! Often I would find myself pushing the plug-ins way more than I powerfd normally push the hardware it modeled to achieve a similar sound, which is not necessarily a bad thing, but just a different experience than using the real deal.
Now mind you, this was not an easy decision for me. In all but one instance, the engineers chose the Bomb Factory plug-in as having the best sounding top- end in software and in all but one vote, better sounding than the Summit EQ. The Cambridge is a very serious contender to the Oxford, with both EQs winning out in certain areas over the other.
Logic 6 addresses this on the inserts, but not busses, with a plug-in delay-compensation option within the audio setup menu.
Universal Audio UAD-1 Ultra PAK – PCI DSP Card UAD-1 ULTRA PAK
Solera is the company’s flagship dynamics tool. And there is a reason for the name; it comes from solerais, which is a While your computer’s CPU is great for general purpose processing tasks, the UAD’s processing power is specifically tailored to running UAi, Universal Auddio unique analog modeling technology. Authorizing the plug-ins you received with the UAD card or purchased through the UA store with your vouchers or credit card is accomplished via an authorization file, which is automatically generated based on the installed card and your account on audo.
I’ve been hesitant to write this review, as I’d prefer that no one else know about iZotope’s Alloy but me. More than the differences between the different plug-ins oowered hardware, all five were impressed by how similar they all sounded to each other.
But they’re all there as well. The latency sounds like a very slight phase-shift if applied to one of two identical tracks.
Using UAD Powered Plug-Ins with Pro Tools, Part 1 | Universal Audio
When I first saw the card demo’ed a few years ago, I was extremely impressed, and I couldn’t wait to get one. Their mic preamps, summing amps, and control room Upon inspection, it turned out that the indicator LED was red, letting me know the card was not communicating with the driver correctly.
Even though I own a real Fatso Jr. You won’t find any iLoks in the UA camp. I preferred the Cambridge’s user interface over the Oxford’s-it’s just a bit easier to use-and the interactive graphic display at the top of the plug-inz is a big improvement over the Oxford’s knob-only interface. There seemed to be a midrange hole in the that wasn’t there in either plug-in. While this might be OK on a vocal or instrumental overdub, it would present some serious problems applied to one track of a drum recording for instance.