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Customer Reviews 349 Reviews

4.77 out of 5 stars

by A. Bestit (10/20/2016):

Unlike other room and reverb plugins this room emulation don't ads a reverberant tail… Read more

295 Reviews
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Ocean Way Studios Plug-In.
Welcome to Ocean Way Studios — the World’s First Dynamic Room Modeling Plug-In.

Developed by Universal Audio and Allen Sides, the Ocean Way Studios plug-in rewrites the book on what’s possible with acoustic space emulation. By combining elements of room, microphone, and

source modeling, Ocean Way Studios moves far beyond standard impulse response players and reverbs — giving you an authentic replication of one of the world’s most famous recording studios.

Now You Can:
  • Record live or mix through Ocean Way Recording’s legendary Studio A and Studio B
  • Use “best of the best” vintage microphones from Allen Sides’ world-renowned collection
  • Choose among Allen Sides’ favorite room positions with eight source types, providing stunningly accurate sound dispersion behaviors
  • Position, blend, and process three mic pairs (Near / Mid / Far) in real time
  • Retain mic bleed, proximity, and other naturally occurring behaviors for realism far beyond other reverb/ambience plug-ins

The Legendary Rooms of Ocean Way

From the opening of Bill Putnam’s United Recording in 1957, to the annexing of neighboring Western Studio in 1961, to their reinvention as Ocean Way Recording under Allen Sides — the famed “Studio A” and “Studio B” at Ocean Way Studios have shaped the sound of countless classic records. From Ray Charles and the Beach Boys, to the Rolling Stones, and Radiohead, music creators have sought out the sound of these beautifully balanced rooms for more than five decades.

Dynamic Room Modeling — an Audio
Processing Breakthrough

Ocean Way Studios reinvents ambience processing with UA’s proprietary Dynamic Room Modeling technology, an exclusive combination of signal processing and advanced measurement techniques. Eclipsing standard convolution reverbs — which can only provide a sonic snapshot — Dynamic Room Modeling opens up the full spectrum of a studio’s ambience possibilities.

Specifically, Dynamic Room Modeling provides the unique dispersion properties of various sources, as recorded through a selection of vintage microphones that can be positioned in each room — in real time — via a simple click-and-drag interface. This technology, with the guidance of Allen Sides, gives the Ocean Way Studios plug-in a shocking level of sonic realism.

An Unrivaled Microphone Collection Under
Your Control

With virtual access to $250,000 of hand-picked, vintage microphones, Ocean Way’s microphone setups and Distance controls are the centerpiece of the plug-in. The setups capture the ideal microphone selections and placements for each room and source type — exactly as used to record some of the biggest acts of all time. Up to three vintage microphones pairs (Near, Mid, Far) are available in each setup, allowing for creative sonic blending. Click-and-drag the microphones to position them in the room, then EQ and filter their sound as desired — complete with mic bleed and proximity effects.

Transform Tones With Reverb
and Re-Mic Modes

Ocean Way Studios offers two modes of operation: Reverb mode, using send/return paths to mix wet and dry signals; or Re-Mic mode, to fully immerse the original source audio within Ocean Way’s rooms. Re-Mic mode is by nature “fully wet,” and can be used to entirely replace your original room and microphone sounds with the fabled sound of
Ocean Way.



Ocean Way Studios Plug-In.
Basics and FAQ.
What’s so unique about the Ocean Way Studios plug-in?

Ocean Way Studios (OWS) is the first ambience/reverb plug-in that focuses on a limited set of studios and exhaustively models multiple room positions, unique sound source dispersion patterns, and the studio’s vintage microphones simultaneously — giving you the comprehensive sound of that studio with incredible accuracy. OWS is the only tool that allows the user to dynamically position up to three mic pairs in the room, in this case with Allen Sides providing preset mic choices and their positions, based on his years of experience at Ocean Way Recording. Finally, OWS is sonically superior to convolution reverbs / IR players in terms of overall model accuracy and dynamic customization of the rooms.

My recordings were already made in a less-than-ideal room. How do I use Ocean Way Studios in this case?

Ocean Way Studios can be used in Reverb or Re-Mic mode. Either mode can be used on average-sounding source material, to make a big improvement on the sound of those recordings. For new recordings, the more “dry” a recording is, the better suited it will be for OWS, as the user will have maximum use of Ocean Way’s sound. However this is only a guideline; OWS is far more forgiving than you might think.

What happens when you move the Near / Mid / Far mic pairs within the plug-in?

As when moving physical microphones, the room gets “bigger” and less direct-sounding the farther the mics are from the source. Conversely, the room gets tighter and more direct-sounding the closer the mics are to the source. This proximity gain behavior is captured in the plug-in. So be aware the signal can get notably louder particularly with Near mics, which can be positioned as close as 0.5 feet.

What does the “Distance Delay” feature do?

Distance Delay allows time alignment of mic selections. By clicking the Distance encoders, OWS will instantly align any or all of its three mic pairs — similar to how you can bring a far room mic “closer” by slipping its DAW track ahead in the time domain. This provides the tonality of the mic being placed in its current location, but aligned with any other tracks in the song. This feature is also handy when using OWS with Apollo to minimize recording latency.

Depending on my source, sometimes the mics I select are too quiet or too loud, or the balance does not seem perfectly centered.

By nature, physical rooms are frequency-dependent, which can affect loudness and balance, which is furthered by the placement of the recording source and microphones in the room. The studios in Ocean Way are beautifully designed and tuned, but are naturally subject to the same principles. Gain and Balance controls are available for this very reason, and should provide more than enough practical (and creative) flexibility to give you the sound you’re after.

What are the differences between Re-Mic and Reverb Modes, and when should I use them?

In Re-Mic mode, the dry signal path is eliminated and the audio is processed as if it was recorded inside Ocean Way Recording. Re-Mic is then by nature “fully wet,” and includes the modeled direct path. It is therefore recommended mainly as a mixing tool — to entirely replace your previous room and microphones, or create new complimentary room sounds for your original sources. Predelay, Dry/Wet blend and Wet Solo are unavailable as parameters under Re-Mic Mode.

Reverb Mode is recommended for either live recording with Apollo interfaces, or as a mix processor when used as a send/return auxiliary effect. Under Reverb Mode,the plug-in behaves like most reverb plug-ins; the modeled direct signal component is not included, thus avoiding “stacking” or phasing with your unprocessed dry signal. In this case, the user sends signal from any channel in their session and may make adjustments to any parameter. Due to inherent nature of the Ocean Way Studios design, changes to the microphone Distance and Gain settings are less audible in Reverb mode than Re-Mic mode.

I’m still confused on the technical differences between Re-Mic and Reverb modes.

Whenever a sound source is recorded in a naturally reverberant space, there are three primary sound components that are captured by the microphone:

  • The direct signal. This is the sound path that travels directly between the source and the microphone, without any reflected sounds from the walls, floor, ceiling, and objects.
  • The early reflections. These are the still-distinct individual reflections that are reflected off the walls, floor, ceiling, and objects before reaching the microphone.
  • The late field (aka reverb tail or ambience). This is the indistinct “wash” that decays over time, comprised of all reflections in the room. The tail is usually considered the main component of reverb.

If using OWS as a “Reverb” or as a Reverb insert, the user inherently wants to hear the original dry signal along with the Early Reflections and Reverb effects. The difficulty with the Direct component is that it would “stack” with the dry signal and likely cause phase problems. Fortunately, OWS has the ability to break the components of sound into discrete packages, allowing the user to independently disable “Direct,” which makes it practical to use OWS as a reverb or as a reverb insert. Using Reverb mode automatically defeats the “Direct” reverb component.

Use Re-Mic Mode when you want to fully replace your existing audio, utilizing all the sound components of Ocean Way. In this case, the original dry signal is not present and therefore has no chance of causing phase issues. If the user of Re-Mic mode is creating new audio to go alongside the original unprocessed sources, extra caution should be taken in checking for phase issues.

See the UAD Plug-In Manual for more information.




1 of 3
  • Joey Waronker

    (Atoms for Peace, Beck, Other Lives)

    The Ocean Way Studios plug-in sounds so good and has the right amount of flexibility. The workflow mimics the actual choices at the studio very nicely…it sounds authentic and rich — like those rooms with those mics.

    Chris Dugan

    (Green Day, Iggy Pop, U2)

    "Amazing quality. Hearing drums through mics in a room [with the Ocean Way Studios plug-in]... it is like I'm transported to Ocean Way! The true sound of both Studio A or Studio B applied to anything I want.”

    Andrew Scheps

    (Adele, Red Hot Chili Peppers, The Duke Spirit)

    "On first glance I assumed [the UAD Ocean Way Studios plug-in] was a reverb, but it's WAY more than that. I've been down the rabbit hole with it since I installed it and I'm not ready to come out yet."

    Ryan Hewitt

    (Red Hot Chili Peppers, The Avett Brothers)

    It’s great to finally be able to add a real room vibe to sounds that otherwise didn't have one. The Ocean Way plug-in helps bring a mix together with depth and space.

    Paul White

    Sound on Sound

    "In concept, what this plug-in does is fairly straightforward, but the degrees of sonic realism it adds to a recording is surprising."

  • John Paterno

    (Los Lobos, Bonnie Raitt)

    "The [UAD] Ocean Way Studios plug-in allows me to get the tone of two great Bill Putnam rooms, with the ability to customize via the mic choices and distance options. It the next best thing to actually being there."

    Eric Persing


    "Stunning! As someone who has done many sessions at the legendary Ocean Way Studios in Hollywood, and is a huge fan of the sound of those rooms, this [plug-in] is really a dream come true. It's a joy to use and a pleasure to hear."

    Richard Chycki

    (Rush, Aerosmith, Dream Theater)

    Every session I've done at Ocean Way has been an unparalleled experience with amazing results. The plug-in offers an incredible opportunity to realistically add those sonics to any musical project with stunning realism.

    Andrew Dawson

    (Kanye West, Jay-Z, Fun.)

    The Ocean Way Studios plug-in lets me mix with a new sense of space, adding a whole new level of depth to my mixes.

    Jeff Juliano

    (John Mayer, Shinedown, Train)

    "The Ocean Way Studios plug-in instantly adds incredible depth, size, width and vibe to your music. It's like owning a re-amp box for one of the best sounding studios in the world"

  • Paul David Hager

    (The Goo Goo Dolls, Avril Lavigne)

    “The [UAD] Ocean Way Studios plug-in is as good as going to Ocean Way and using Studio A or B but without driving in all the Hollywood traffic. A perfect way to add a great sounding room to a track that might be a little lackluster in the room dept.”

User Ratings

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Average Rating (349 Reviews)
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    Ad space to your mix
    by A. Bestit(Thursday 20 October, 2016)

    Unlike other room and reverb plugins this room emulation don't ads a reverberant tail to your instruments. A touch of this in your instruments will ad a lot of space in your mix. Incredible in drums, acoustic guitars and other acoustic instruments but, also amazing in vocals. You will love it! Read More

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    MIght Use DSP However, We Used To Bounce In The Old Days
    by J. Chase(Wednesday 12 October, 2016)

    Now you simply create the ambience and or sound you need, and record to one of the near endless tracks we are graced with these days. The Ocean Way Plugin did a very nice job of helping to add a more believable timbre to a cheesy string patch in a track I'm mixing at the moment.… Read More

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    It's almost like cheating.
    by . (Friday 23 September, 2016)

    The way that this plugin makes in-the-box sounds not sound like they are sampled midi performances makes me feel wrong...but like with most sins I am hesitant to care because it makes me feel so good. I've gotten so much use out of this plugin at this point that I feel almost like it's… Read More

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    by R. Freeman(Saturday 17 September, 2016)

    The Ocean Way rooms sound lovely, and there is enough flexibility (mic types, positions, EQ) to get whatever you need in the way of authentic ambience. My only gripe is that there is no level meter so you can't see what's going in or coming out. Maybe an idea for the next version? Read More

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    Ocean Way creates space
    by B. Ward(Thursday 18 August, 2016)

    The Ocean Way Studio plugin is very unique. It allows you to put your tracks into a very good sounding space. For DAW and ITB productions this is extremely useful. The selection of microphones and placement choices is mind blowing. You can take a flat sounding software instrument track… Read More


  • Tony Platt

    Legendary engineer/producer Tony Platt has tracked and mixed some of the most legendary albums ever recorded by Bob Marley, AC/DC, and more. Read More

    Buddy Miller

    Grammy-award winning producer, player, and artist Buddy Miller details his workflow with Apollo and UAD-2 plug-ins. Read More

    The Black Keys

    The Black Keys' Dan Auerbach and Patrick Carney detail their recording process and how UAD Powered Plug-Ins are essential to their careful balance of raunch and refinement. Read More

  • Joe Zook Mixes OneRepublic and Serena Ryder

    WIth multiple platinum-selling records under his belt, Zook is one of the industry's most sought-after mix engineers. Read More

    Mick Guzauski On Mixing Daft Punk

    The Grammy-winner is one of the most skilled and accomplished mixing engineers the industry has ever seen. Read More


Features & Specs
Ocean Way Studios Plug-In.
Key Features
  • Breakthrough acoustic emulations of Ocean Way Recording’s legendary Studio A and Studio B
  • Dynamic Room Modeling combines room, microphone, and source models for unprecedented realism
  • Incorporates sonic profiles of vintage microphones from Allen Side’s world-renowned collection
  • Includes mic bleed and mic proximity effects for stunning accuracy
  • Choose from eight instrument / vocal source types with unique dispersion patterns
  • Position and blend between three vintage mic pairs (Near / Mid / Far) in real time
  • Use in “Reverb” mode, mixing wet and dry signal; or “Re-Mic” mode, replacing your original room and mic sounds altogether
  • Preset mic selections, placements and creative direction by Ocean Way’s Allen Sides
  • Requires UAD-2 DSP Accelerator Card or Apollo Interface, available from authorized dealers worldwide

See the UAD Instance Chart here


  • Mode Selection: Re-Mic/Reverb (Re-Mic employs complete Impulse Response component, Reverb omits IR direct path component)
  • Studio Selection: OWR A or B
  • Source Selection: Drums 1, Drums 2, Strings, Horns, Piano, Vocal Group, Vocal Solo, Guitar, Cabinet M, Cabinet V, (Cabinet O Studio B only)
  • Near, Mid and Far Channel Parameters
    • Mic Selection: (detailed Mic Selections below)
    • Distance: Continuous rotary encoder adjustable between source and studio walls (dependent on Mic selection)
    • Distance Delay: Off/Aligned, clicking Distance encoder allows time alignment of mic selections
    • High Cut: 6 dB per octave
      • Near: 10 kHz
      • Mid: 8 kHz
      • Far: 6 kHz
    • Low Cut: 12 dB per octave
      • Near: 50 Hz
      • Mid: 75 Hz
      • Far: 150 Hz
    • Polarity Invert: Normal/Invert
    • Mute: Off/Mute, Shift+Clicking Mute will Solo that channel
    • Balance: Continuous 100L to 100R
    • Gain: Continuous ∞ to +12 dB, clicking Channel labels (Near/Mid/Far) or 0 labels will return parameter to 0 dB
  • Master Parameters
    • Master EQ: Out/In
      • EQ Low Frequency: Continuous 20.0 Hz to 2.00 kHz, 12 dB per octave
      • EQ Low Gain: Continuous ±12.0 dB, click Gain label to return to 0 dB
      • EQ High Frequency: Continuous 20.0 Hz to 2.00 kHz, 12 dB per octave
      • EQ High Gain: Continuous ±12.0 dB, click Gain label to return to 0 dB
    • Predelay: 0 to 125 ms (N/A under Re-Mic Mode)
    • L/R Swap: Out/In
    • Mono Sum: Out/In
    • Wet Solo: Out/In (N/A under Re-Mic Mode)
    • Dry/Wet: Continuous 0 to 100% (N/A under Re-Mic Mode)
    • Master Level: Continuous ∞ to +12 dB, clicking channel label (Master) or 0 labels will return parameter to 0 dB
    • Bypass: Out/In, bypasses all DSP processing
  • Microphone Selections*
    • Solo Voice
      • Near: C12 (cardioid or omni), U67 (cardioid or omni), U47 (cardioid or omni)
      • Mid: M50 (omni)
      • Far: MKH 20 (omni), KM54 (cardioid)
    • Guitar and Cabinets
      • Near: C12 (cardioid or omni), SM57 (cardioid), 44 (figure 8)
      • Mid: C12 (cardioid or omni), MKH20 (omni), KM54 (cardioid), KU3A (cardioid)
      • Far: C12 (cardioid or omni), U67 (cardioid or omni), M50 (omni), MKH20 (omni), KM54 (cardioid)
    • All Others
      • Near: C12 (cardioid or omni), C12A (cardioid or omni)
      • Mid: C12 (cardioid or omni), MKH20 (omni), KM54 (cardioid), KU3A (cardioid)
      • Far: C12 (cardioid or omni), U67 (cardioid or omni), M50 (omni), MKH20 (omni), KM54 (cardioid)

*Microphone names are all trademarks of their respective owners, which are in no way associated or affiliated with Universal Audio or Ocean Way Recording. These microphone names, descriptions and images are provided for the sole purpose of identifying the specific microphones studied during Universal Audio’s sound model development and to describe certain microphone sound qualities and performance characteristics. Ocean Way Studios is a trademark used under license by Ocean Way Recording Inc.


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