User manual UNIVERSAL AUDIO UAD1SP

[. . . ] UAD-1 POWERED PLUG-INS USER MANUAL VERSION 3. 4 Manual Version 040113 330 Encinal Street Santa Cruz, CA 95060-2101 voice: 831-466-3737 fax: 831-466-3775 Email Inquiries info@uaudio. com World Wide Web www. uaudio. com www. poweredplugins. com Notice This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Powered Plug-Ins. The information contained in this manual is subject to change without notice. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. [. . . ] However, the EX-1 provides an auto-makeup gain function to automatically compensate for reduced levels. Adjust the Output level control if more gain is desired. Threshold Knob Meter Pop-up Menu Determines whether the VU Meter monitors the Input Level, Output Level, Gain Reduction, or Meter Off. Click the menu above the meter display to select a different metering function. Enables or disables the Compressor. You can use this switch to compare the compressor settings to that of the original signal or bypass the entire compressor section to reduce UAD-1 DSP load. Adjusts the relative output of the plugin. Enable/Bypass Switch Compressor Output Knob EX-1M Overview The EX-1M is a monophonic version of EX-1 that enables independent left and right EQ settings in master effects chains and allows Logic Audio users to conserve UAD-1 DSP resources. EX-1M requires half the processing power compared to that of EX-1 when used on a mono audio track within Logic Audio. Therefore, EX-1M should be used on monophonic audio tracks within Logic whenever possible to conserve UAD-1 resources. UAD-1 Powered Plug-Ins Manual - 84 - CS-1 Channel Strip DM-1 Delay Modulator Figure 36. The DM-1 Delay Modulator plugin window The DM-1 Delay Modulator provides stereo effects for delay, chorus, and flange. DM-1 Controls L-Delay Knob Sets the delay time between the original signal and the delayed signal for the left channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec. When the Mode is set to one of the chorus or flange settings, the maximum delay is 125 msec. Sets the delay time between the original signal and the delayed signal for the right channel. When the Mode is set to one of the delay settings, the maximum delay is 300 msec. When the Mode is set to one of the chorus or flange settings, the maximum delay is 125 msec. In the Flanger modes, the L and R delay controls have a slightly different functions than in the chorus modes. The high peak of the flanger is controlled by the settings of the L and R delay controls. The low Peak of the flanger is determined by the setting of the Depth control. When delay times longer than 300ms are desired, use the DM-1L plugin instead. DM-1L has a maximum time of 2400ms per channel. R-Delay Knob UAD-1 Powered Plug-Ins Manual - 85 - CS-1 Channel Strip Mode Pop-up Menu Determines the DM-1 effect mode. The available modes are: Chorus, Chorus180, QuadChorus, Flanger1, Flanger2, Dual Delay, and Ping Pong Delay. In addition to reconfiguring the DM-1's settings, the Mode also determines the available parameter ranges for L/R Delay and Depth. In Chorus mode, both oscillators (or modulating signals) are in phase. In Chorus 180 mode, both oscillators (the modulating signals) are180 degrees out of phase. [. . . ] Gain reduction was controlled by applying the audio voltage to a luminescent driver amplifier, with a second matched photoconductive cell used to control the metering section. With its 0 to 40 dB of gain limiting, a balanced stereo interconnection, flat frequency response of 0. 1 dB from 30-15, 000Hz and a low noise level (better than 70 dB below plus 10 dBm output), the LA-2A quickly became a studio standard. Originally patented by Jim Lawrence, it was produced by Teletronix in Pasadena, California, which became a division of Babcock Electronics Corporation. In 1967 Babcock's broadcast division was acquired by the legendary Bill Putnam's company, Studio Electronics Corporation shortly before he changed the company's name to UREI®. [. . . ]