Plug-In Power

The Trident A-Range Classic Console EQ

Posted by Dave Crane on November 24, 2009 3:16:11 AM PST

For those who don’t already know, the Trident A-Range console was developed in the early 1970s by a team of audio engineers led by Malcom Toft, the chief engineer at Trident Studio in London. These engineers wanted a console that sounded the way they thought it should, right down to the fixed frequencies in the EQ section. Almost 40 years later, working in partnership with Trident Audio Developments, UA scrutinized and painstakingly reproduced the EQ section from one of these extremely rare desks.

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The EMT 250 Classic Electronic Reverberator Plug-In

Posted by Dave Crane on September 23, 2009 4:15:11 AM PDT

 This month we are taking an up-close and personal look at the EMT 250 Electronic Reverberator Powered Plug-In for the UAD-2. Since its release in July, 2009, it has received praise from all over the audio engineering industry. Industry veterans who know the original hardware are in awe as they hear the same coveted and unique reverb sounds they have grown to know and love. Engineers who have never used the hardware marvel at how easily the EMT 250 sits in a mix.

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Digging Into the FATSO™ Jr/Sr Analog Tape Simulator and Compressor

Posted by Dave Crane on August 26, 2009 4:16:11 AM PDT

Some people don’t really know the best way to use the FATSO. It is a pretty deep plug-in, especially the FATSO Sr., which adds Dave Derr's own custom mods to turn the original FATSO into an unbelievable tonal-shaping powerhouse. The FATSO Sr. offers a “Tranny” saturation control, sidechain filtering and deeper compression parameters including Threshold, Attack and Release.

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The SPL Transient Designer: So Many Solutions, So Few Knobs

Posted by Mason Hicks on July 22, 2009 4:15:11 AM PDT

When Universal Audio partnered with Germany’s Sound Performance Lab (SPL) to produce this plug-in, we knew people would appreciate the way its Differential Envelope Technology can shape the dynamic response of a sound. Don’t let the simple control scheme fool you; this thing is well known as a secret weapon mix tool for world-class engineers like Joe Chicarelli, Ross Hogarth, Michael Brauer, and many others.

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The Precision Mastering Series

Posted by Dave Crane on June 24, 2009 4:15:11 AM PDT

This month, we’re spotlighting Universal Audio’s Precision Mastering Series plug-ins. Introduced a few years back, these four powerful plug-ins remain very popular, combining UA’s spirit of innovation with our knowledge of vintage analog gear. The Precision Mastering Series consists of the Precision Limiter, the Precision Multiband compressor, the Precision EQ, and the Precision Maximizer.

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The UAD 4K Plug-Ins

Posted by Dave Crane on May 27, 2009 4:14:11 AM PDT

This month we’re talking about the much-celebrated UAD 4K plug-ins: the UAD 4K Buss Compressor and the UAD 4K Channel Strip. And we’re also taking some time to tout the manual that is installed with the UAD software. The UAD manual is a PDF document that is loaded with a wealth of information about not only what a control does and why it does it, but also helpful hints and the history of the unit that we modeled.

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The Cooper Time Cube

Posted by Dave Crane on April 22, 2009 4:16:11 AM PDT

The CTC was noted for its uncanny ability to always sit perfectly in the mix and was used on many hit records, such as “Tell Me Something Good” by Rufus and “Low Rider” by War, for its spectacular short delay and doubling effects. Since its early discontinuation, the CTC has grown a very strong cult following and finds a home in such prestigious studios as Blackbird and Sunset Sound.

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The Helios Type 69 EQ and Compression

Posted by Dave Crane on March 25, 2009 4:17:11 AM PDT

This month, we’re revisiting a couple of old favorites: the Helios Type 69 EQ and UA’s own LA-3A compressor. Entire albums have been mixed with just a Helios console and a couple of compressors, typically one optical (like the LA-3A or LA-2A), and one FET (like an 1176LN). The optical compressors were typically used for vocals, guitars, and bass.

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The Little IBP That Could

Posted by Dave Crane on December 24, 2008 3:16:11 AM PST

In 2001, Jonathan Little of Little Labs released the IBP, or (In-Between-Phase) alignment tool, and the process of mic’ing has never been the same (in a good way). As a well respected studio tech in the LA studio scene, Jonathan Little had been dealing with phase issues the way everyone else did: you listen, and flip the phase switch. Ninety percent of the time, that did not fix it, so you had to go move the mics around.

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