.. UAD-1 plugins - tips & tricks ..

[lesha]

UAD-1 Feature

Using the 1176 and "All Buttons Mode" for that killer drum kit sound.

Classic program dependent compression:

In Use:

Here’s an example of what you might expect using All-Button mode on drums. Drum kits are great because the kit has such a wide range of frequencies. Remember, the 1176 is program dependent. You can use that feature to utilize the 1176 in a musical, percussive way.

Let’s say you have a medium tempo, 4/4 rock beat (an excellent scenario for using All-Button mode). First the kick causes that great All-Button concussion which is enhanced by the unique All-Button distortion. The other frequencies "suck in" and then comes an exaggerated release and recovery, and the rest of the frequencies return. This is a classic use of All-Button mode.

The basic controls for the 1176 are Input, Output, Attack and Release. The input knob doubles as the threshold control. The Output knob controls make-up gain and, therefore, the final output level. However, cranking up the Input knob also affects post-compression output levels. It’s a balancing act that quickly becomes familiar. To achieve the described application with the drums, you would probably have a lot of Input, slowish Attack, and a quick Release, and of course, all Ratio buttons in!

Excerpt from the UA Webzine-April 2003 edition

Compression Obsession series



LA-2A:

Uses:

For things that need a more gentle approach.

Vocals, synths, strings, bass guitar etc...

One of the best "starting" presets, for the LA2A, is to set the input level so you see about a -2db of gain reduction, on the meter. It's sublime how effective this can be.

Either way, don't use the LA-2A plugin thinking (oh I'm using an LA-2A), its a great compression tool that is modeled after a great sounding hardware compressor. The Waves Renn Comp is also analog modeled but the interface doesn't look as snazzy as the LA-2A. But I still think it sounds amazing even when pushed hard. Try using an LA-2A doing 5-6db followed by a Renn Comp doing 12db on vocal tracks. Sounds great. Dual compression!



FAIRCHILD 670:

Uses:

Can be used on a stereo mix, vocals or instruments. Probably the most complex UAD-1 compressor to learn to use properly. The original was widely used for mastering, that was its purpose in life!



Stereo Mixes: We aren't as likely to require the Lat/Vert processing as the vinyl engineers were, but it does a superb job of smoothing and sweetening on many of our full mix projects, when used conservatively.

For mastering, I typically back off on the bias to about the 2:00 - 3:00 position, and lower the input gain and the threshold considerably. I also most often use Time Constant 5 or 6 (Program Dependent), although that is entirely relative to the sound of the mix.

Ideally, for acoustic mixes, I want to see little or no deflection of the Gain Reduction meters. I just want the Fairchild to add it's famous smoothness to the sound.

If you get a chance, try moving the "balance" screws around, as these do affect phase at low levels, and thus have an effect on the overall sound that is hard to describe, and is subtle but audible. Basically, for some things I like them turned to fully opposite positions for the two channels, and for others, I like them both centered. Mono signals sound better with the two channels set exactly the same (preferably in the middle), but so do some stereo mixes. Again, it's necessary to try both ways.

Perhaps you haven't had time to experiment with it extensively on a full mix, Cryptic, but I urge you to do so. Your time will be rewarded, and you'll realize your money bought you more than a ticket to future releases!

Best regards, everybody,

________________________________________________

Soundsmiths Mastering, Inc.

Stephen V. Smith, President

www.soundsmiths.net

Digital Audio Mastering,

Editing, CD Premastering





Fairchild for extreme compression! : It's a particularly good tool any time you need extreme compression. Use the LA2 for warming, but not generally for sounds that need strong compression. The 1176 has a faster attack and a brighter sound - better for high transient material like vocals and acoustic guitars. The Fairchild does wonderful things to the bass response. The comments about "sucking the bass" might be misleading even if it's true regarding sub frequencies. In general use, it tightens up the bass response in a way similar to analog tape so it's killer on bass, kick drum, dirty guitars. A lot of people like it on higher transient instruments too but I generally favor the 1176 for that.

I've found a cool chain to be Fairchild (flatten) > Pultec (Warm/Broad EQing) > LA2 (Warm/Tighten), Cambridge (Detail EQ'ing).

For $150 it's probably the best deal in the entire industry. If for nothing else, just those times when you need something quick without leaving the box or something 100% recallable. Plus depending on how many cards you have and what sample rate you're working at, you get MULTIPLE fairchilds for the same $150. Hard to imagine owning the UAD and not buying it

Fairchild as an awesome sounding limiter!

It's also an awesome sounding Limiter Set the DC Bias controls so that it is almost 180 degrees counter-clockwise from the "Factory Cal" line mark and you will get more of a limiter response than a compression. This works especially well for full mix or drum sub mixes that need a sweet punch.

Fairchild as a great bass compressor!

Fairchild is great as a bass compressor. I like to set it up with the bias screws set between 2 and 3 o'clock, threshold at 3.5, time at 2, and gain around 14 ~ 12, set this to get a typical gain reduction of 2dB. Put a PultecPro after it for a reduction of 3 at 200 or 300Hz and a boost of 3 at 500Hz, and maybe a little bump at 1.5kHz or 4KHz. I sometimes use a pre-compressor for a little more smoothing before the Fairchild; Voxengo Polysqueeze does this very nicely (e.g., very transparently),

Using the Fairchild 670:

"One of my favorite techniques is running a mix thru the Fairchild with no gain, no gain reduction and setting it almost on the null point. Just that in itself is an amazing little thing. It gives it a punch, a sound that is so pleasing to the ear."

"I set up a tone and I make sure that it is doing absolutely nothing to the signal, then I start from there and add subtle changes. There are a couple of sessions that I used it on recently. For Billy Ray Cyrus, on 9 out of his 13 songs, I didn't use any of the compression on the Fairchild; I just ran the signal thru it. Just that alone was a big plus."

"The main three processors that I use are the Fairchild, the Cambridge and the Pultec Pro. If I have to do some fine-tuning, then I use the Cambridge. There is so much depth to these tools. I think people should spend some time with them and learn them because they are so deep, you can really get a lot of variety from them."

Excerpt from UA Nov 2004 Webzine - Engineer Brian Foraker