Universal Audio UAD-Xpander externes DSP System : Virtual Inside - News, Reviews, Talk über Audio Hardware & Software VST, VSTi, DX, DirectX, AudioUnits, ASIO, DAW

Für Laptop-Musiker gibt es jetzt das DSP-System UAD-Xpander, die UAD-1 Karte als externe PCI-Express-Variante für einen ExpressCard 34-Anschluss, welcher 2,5 GB/s überträgt und an den meisten neuen Laptops sowie dem MacBook Pro zu finden sein sollte. Alternativ gibt es auch PCMCIA ExpressCard/34 2xeSATA-II Karten für ältere Notebooks auf dem Markt.

Der UAD-Xpander läuft auf Mac OS X, Windows XP/X64 und Vista. Die Rechenleistung entspricht der UAD-1 und UAD-1e PCI/PCIe Serie für Desktop Systeme und ist kompatibel für alle erhältlichen Plugins. Es werden wie gewohnt Samplerraten von 44,1kHz bis 192kHz unterstützt.

Es werden drei Versionen zu haben sein, Xpress, Xpert und Xtreme, wobei lediglich die Xtreme-Version alle Plugins ohne Einschränkung beinhaltet. Xpress und Expert enthalten lediglich den Pulteq-1A-EQ, 1176SE-Kompressor, RealVerb Pro, Amp-Simulator Nigel und den Channel-Strip CS-1. Der Xpress-Version liegt ein Gutschein im Wert von 500$ bei und Xpert-Kunden werden mit 1000$ beglückt. Damit kann sich auf der Herstellerseite ein Plugin für den entsprechenden Gegenwert ausgesucht werden.

Generell enthaltene Plugins:

1176SE Limiting Amplifier Emulation

The 1176SE is derived from the 1176LN. Its algorithm has been revised in order to provide sonic characteristics similar to the 1176LN but with significantly less DSP usage. It is provided to allow “1176LN-like sound” when DSP resources are limited.

The 1176SE behavior is practically identical to the 1176LN. Its sound is nearly identical too, but certain compromises had to be made in order to squeeze the extra DSP performance that the 1176SE provides. At typical settings the sonic difference is negligible. At extreme (cranked) settings, nobody with “golden ears” will say it sounds exactly like the 1176LN, but it still sounds great and is very usable in most situations.

Pultec EQP-1A EQ Emulation

The Pultec EQP-1A Program Equalizer plug-in is a faithful electronic reproduction of the classic hardware equalizer. The Pultec EQ has long been a choice of recording and mastering engineers for its ability to bring out individual frequency ranges without significantly altering other frequencies. In addition, the Pultec is one of those magical pieces of gear that makes audio sound better - just by passing through it. The sophisticated modeling technology used in the Pultec EQP-1A plug-in captures both of these key characteristics.

RealVerb PRO

What if you could put your sound right in the perfectly designed room? Based on our own unique set of algorithms, the world-class RealVerb Pro plug-in lets you design the room just as you hear it. Get beyond the barriers of simply big and small, dark or bright. RealVerb Pro gives you our trademark, distortion-free, smoothing diffusion control and ultra-long reverb tail. Driven by the processing power of the UAD, RealVerb Pro can run eight instances simultaneously, with ease. RealVerb Pro is the most flexible and natural sounding reverb plug-in in the industry.

CS-1 Channel Strip

The CS-1 Channel Strip provides all the tools you need for recording and mixing in one simple plug-in (using only one insert!) With a unique smoothing algorithm for all controls and DSP conserving bypass switches built-in, The CS-1 packs a whopping punch into a small package. Included in the CS-1 are the EX-1 EQ/Compressor, the DM-1 Delay Modulator, and the unique RS-1 Reflection Engine. Of course, if you don’t need all that power, you can use each module within the CS-1 separately. Use as much or as little as desired for your particular needs.

Nigel

Nigel offers the latest generation of guitar processing technology integrated into a complete multi-effects plug-in solution. Utilizing Universal Audio’s exclusive component modeling technology and intuitive design, Nigel delivers a complete pallet of guitar tones along with most every effect a guitar player might need, all with minimal latency and no load on your host computer’s CPU. In addition, Nigel’s Preflex™ advanced guitar amp modeling technology goes well beyond the usual pre-amp/amp/cabinet emulators. In addition to delivering a wide range of highly playable classic amp tones from the “Clean & Warm” California tube sound to more metal soaked “British” tones, a bevy of original timbres simply not possible on any other guitar system can be realized. Preflex also offers variable morphing between any two amp presets, truly bringing creative guitar voicing to the next level.

Beispiele für optionale Plugins:

Roland Dimension D (UVP $149)

The Dimension D is a one of a kind studio gem that adheres to the principle of doing one thing, and doing it extremely well. Its one and only function: some of the best sounding stereo chorus ever made. However the Dimension D is more than a chorus, it is really a unique sound enhancer for adding spatial and stereo widening effects. This classic 1979 Roland device has been heard on countless records, from luminaries such as Peter Gabriel, Talking Heads and INXS. Universal Audio went to great lengths to preserve this Bucket Brigade chorus with all its unique design elements and sonic characteristics. With only four pushbutton ‘dimension’ settings, the Dimension D is the ultimate in functional simplicity.

Boss CE-1 (UVP $99)

Even for the mix engineer, stomp boxes can provide “secret weapon effects” not found any other way. In 1976, BOSS originated the chorus effect pedal, and nobody has come close to matching the CE-1’s captivating chorus sound since. Its unmistakable warm analog stereo chorus and vibrato have been heard on countless tracks–particularly on guitars, bass and electric keys. Universal Audio has been commissioned by Roland to accurately model the CE-1, and the results are nothing short of spectacular.

The CE-1 provides a choice of either chorus or true pitch shifting vibrato. The vibrato/chorus “stomp switch” allows for chorus or vibrato effects, while the normal/effect stomp switch bypasses the effect. One knob is dedicated to the chorus intensity, while two knobs allow manipulation of the vibrato depth and rate. When used with stereo tracks, the CE-1 may be used in “classic mode” (L=direct, R=delay) which behaves exactly as the original pedal or “dual mode” which acts as two CE-1’s patched using their mono outputs (direct+delay). In this mode, the LFOs are 90 degrees out of phase (quadrature) for maximum L-R spread.

Roland RE-201 Space Echo (UVP $249)

In 1973, Roland created the Space Echo system that utilized multiple play heads to create warm, highly adjustable echo effects, which added wonderful tape character and chaos to performances and recordings. The Space Echo can be heard on numerous recordings, from 70’s space rock like Pink Floyd and David Bowie, to countless Reggae and Dub albums, to more recent bands like Portishead and Radiohead. Universal Audio has been entrusted by Roland to re-create the highly beloved RE-201 unit, considered the best of the Space Echo line. Our team spent over a year developing our RE-201 Space Echo, which truly captures the physical behavior of this complex device “warts and all”, down to the distortion, wow and flutter, pitch shifting, and warmth that tape based delays are famous for; but our plug-in goes even further, capturing the complex self-oscillation that makes the Space Echo more than an effect, but a unique instrument unto itself.

UA’s RE-201 Space Echo faithfully retains all the controls and features of the original, such as the Mode Selector for various head combinations, Repeat Rate for fine timing control, and Intensity which sets repeat count and allows the unit to achieve self-oscillation. The all-important Echo/Normal “Dub” switch is retained for muting, as well as the simple tone controls. Last but certainly not least, the atmospheric shimmer of the Space Echo’s spring reverb is faithfully captured, putting this fantastic plug-in on par with the original unit as a tool of infinite creativity.

Our emulation also adds substantial “digital only” features like host Tempo Sync, Output Volume, Echo and Reverb Pan. Finally, a Tape Select is present allowing the user to select between three distinct grades of tape loop quality, new, used and old—plus the clever “Splice” switch allowing the user to trigger the chaos-inducing tape splice at will.

Neve 1073 EQ (UVP $249)

Originally designed by Neve in 1970, the Neve 1073 channel module is derived from revered Neve consoles such as the 8014. The 1073 is famous for adding otherwise unattainable sheen and clarity to music tracks. Modeling the 3-band EQ and high-pass filter with painstaking detail and thoroughness, Universal Audio’s Neve 1073 EQ delivers the same sonic experience of its analog cousin with exacting detail. At no extra charge, the 1073 EQ includes a DSP optimized 1073SE EQ for high instance counts.

The Neve 1073/SE EQ is a fixed 12kHz high shelving EQ, a six frequency (7.2k, 4.8k, 3.2k, 1.6k, .7k, .36k) parametric EQ, a four frequency (220, 110, 60 and 35 Hz) low shelving EQ, and a four frequency high pass filter. Other features include a 30 dB range of gain control, plus phase reverse and EQ bypass.

Neve 1081 EQ (UVP $249)

The Neve 1081 channel module was first produced in 1972 by Neve, and was used to provide the mic/line amp and EQ sections in consoles such as the Neve 8048. Vintage 8048 consoles, with 1081 modules, are still in wide use today- at classic facilities such as The Village in Los Angeles- and have been chosen by artists ranging from The Rolling Stones to The Red Hot Chili Peppers.

The Neve 1081 channel module is a four-band EQ with high and low cut filters. The 1081 features two parametric midrange bands, with “Hi-Q” selections for tighter boosts or cuts. Both the high and low shelf filters have selectable frequencies and may be switched to bell filters.

The Neve 1081 EQ is a five frequency (3.3, 4.7, 6.8, 10, 15kHz) high shelf/bell EQ, a ten frequency (1.5, 1.8, 2.2, 2.7, 3.3, 3.9, 4.7, 5.6, 6.8 , 8.2kHz) hi-mid parametric EQ with two Q types, a ten frequency (220, 270, 330, 390, 470, 560, 680, 820, 1000,1200Hz) low-mid parametric EQ with two Q types, a five frequency (33, 56, 100, 180, 330Hz) low shelf/bell EQ plus a five frequency (27, 47, 82, 150, 270Hz) high pass filter and five frequency (18, 12, 8.2, 5.6, 3.9kHz) low pass filter. Other features include a –20 to +10 db input gain control, phase reverse, and EQ bypass.

Universal Audio’s Neve 1081 EQ delivers the same sonic experience as its analog cousin with exacting detail. The 1081 EQ also includes a DSP optimized 1081SE EQ for higher instance counts.

Neve 33609 Compressor (UVP $249)

Derived from the original Neve 2254 compressor, circa 1969, the 33609 stereo bus compressor/limiter utilizes a bridged-diode gain reduction circuit and many custom transformers. The uniquely musical character of this circuit made the 33609 a studio standard since its release. The UAD Neve 33609 is the only Neve-sanctioned software recreation of the Neve 33609 (rev C). Every detail of the original unit is captured, and matches its hardware counterpart with absolute precision. The 33609 plug-in includes a DSP-optimized 33609SE which allows for higher instance counts.

The completely stepped-controlled 33609 is made up of separate compression and limiter sections, each with their own threshold, recovery and bypass controls. Two of the recovery selections for each section are dedicated to a program dependent auto release. The compressor section also offers five ratio selections and 20 dB make-up gain, while the limiter offers a fast or slow attack. The mono/stereo switch couples and decouples the left and right gain reduction elements.

The UAD Powered Plug-In version of the Neve 33609 adds a few control enhancements not found on the hardware: An additional stepped output control with 20db of gain, a link switch allowing ganged left/right control of all parameters, and a headroom switch, which allows the DAW user to take advantage of the full range of 33609 gain coloration.

Cambridge EQ (UVP $149)

When the engineers at UA set out to create the ultimate EQ, they didn’t compromise. The result is the Cambridge, a high-end analog console-style which boasts five bands of switchable parametric or shelving EQ and two comprehensive high and low pass filters. Advanced editing features include graphical frequency response curve with zoom controls for fine adjustment, as well as adjustment of the gain, resonance, and frequency of each band on the graphic display. All of these features allow the Cambridge EQ to handle every EQ’ing chore, from the subtleties of mastering to radical tone shaping.

Fairchild 670 Compressor Emulation (UVP $149)

The two channel Fairchild 670 is the “Holy Grail” of compressors in studio gear esoterica, not only because of its price (around $30,000 on the vintage market), but its extreme rareness and the difficulties in maintaining such a piece. With 14 transformers, 20 vacuum tubes, and a 6 rack-space encompassing girth, the 670 is the heavyweight champion of compression weighing in at 65 pounds. UA’s emulation is modeled after Allen Side’s favorite unit from Ocean Way Studios. UA went to great efforts to capture the unique and sublime sonics of this famous mu-type tube limiter, as well as maintaining all the features of the original. UA adds an auxiliary panel allowing access to rear access controls, common mods, and unique Universal Audio-only additions.