REVIEW

UA UAD Ampex and Lexicon

The original seven algorithms and nine wonderfully
rich programmes (eight reverb plus chorus) of the 224
are accurately emulated. Each loads with the default
Lexicon setting, but for auditioning algorithms using
The number of plugs for the UAD platform continues to rise. GEORGE SHILLING has the same basic settings, you can engage Immediate
tracked on the A800 through an SSL and now needs something to mix to…oh, and a mode. There is a useful library of presets created
stereo reverb might be handy too. by the likes of Chuck Zwicky, Kevin Killen and Eric
Thorngren.

T
he ongoing release schedule of UAD updates and AES emphasis EQ settings are available at the The 224 was a ‘true stereo’ reverb with four
and new plug-ins continues apace and since appropriate speeds. outputs -– stereo reverb imaging of panned inputs
the Studer A800 was introduced there have As well as Hiss and Hum settings there are makes interesting listening. The additional pair of
been a number of new additions. Two of Crosstalk, Wow and Flutter adjustments available, plus outputs provided on the
the more interesting ones are vintage emulations the ability to individually defeat these degradations. hardware for quadraphonic
that also originate in the late 1970s — the Ampex AutoCal settings model realistic amounts of these, as effects can even be selected
ATR-102 2-track tape machine and the Lexicon well as setting ‘optimum’ alignment for speed and on the plug-in for authentic
224 digital reverb (US$349 each) — and both are tape, although I have a gripe with this, as it always surround use (using two
officially sanctioned by the original manufacturers. sets the level about 1dB louder than bypass. Other instantiations; there is no
The 6.0 update also ditched the wrapper for RTAS, details include audio transformer bypass for a cleaner quad version of the plug-
and revamped the way UAD handles Pro Tools signal path, which was apparently a mod done to in). The Overflow LED
automation. This improvement came at the expense some real-world examples. Even the meter ballistics is not simply a matter of
of killing parameter automation in previous sessions, are accurately modelled, adding to the authenticity. level overload, it indicates
so for recalls I would suggest retaining a cloned A full oscillator section with a virtual MRL test mathematical overload of
system drive with V5.9. tape is provided for manual lining up -– strictly for the processing, so it can
obsessive geeks -– the meters are just about big also result from overdoing
enough to set accurately; all line-up trims are provided the Decay controls, and
including bias and EQ, and there’s even a Distortion this has been faithfully
percentage readout. Another bonus is a simple Tape modelled. System Noise and adjustment artefacts of
Delay effects section — there is a Dry/Wet setting but the original unit have also been implemented but can
no feedback control; the delay follows the tape speed be defeated.
but can be set manually in milliseconds up to 1,000. Mode Enhancement was Lexicon’s trick of
There are plenty of ‘celebrity’ engineer presets modulating delays in the reverb tail to thicken the
and some extreme special effects. Mastering engineer sound and prevent ringy reverb tails. The default
Stephen Smith’s settings are optimised for the flattest settings rarely needed adjusting, so this was a hidden
possible response with more extension than the function, but now it is easily available to play with
AutoCal settings. The differences between different for experimentation. Additional fun can be had with
head widths and tape types can naturally be subtle, it by using the setting in conjunction with nudging
but there’s still no mistaking the enhancement, glue the hidden Pitch Shift buttons to enrich the chorusing
and glow that even these ‘flat’ settings can give to effects. Decay Optimization was another clever
music programme; a magical presence is often (but Lexicon trick that reduced diffusion and colouration
not always) apparent. However, as with AutoCal, in response to input level; when there is a gap, the
these seemed to add 2-3dB gain compared to bypass, reverb gets richer, but during the music more clarity is
so for fair comparison they need to be trimmed. On retained. Its adjustment was originally hidden, but can
44.1kHz sessions I didn’t always get the magic tingle now be easily tweaked.
I remember feeling from the AnaMod ATS-1. And the You may be pleasantly surprised by the remarkable
Ampex ATR-102 — myriad options here seem more daunting. But this can warmth and richness of such antique digital
The Ampex ATR-102 certainly enhance a mix, and is an impressive feat of technology. If you’re looking for short, thick drum
stereo tape recorder engineering and design. enhancement, Percussion Plate is a fantastic starting
(introduced in 1976) point. I loved the warm, atmospheric Small Hall B on
has been regarded by Lexicon 224 — The female jazz vocals; the expansive Hall, rich-sounding
many as the finest 224’s rich digital reverb Plate, and characterful Chamber and Room algorithms
sounding mastering was all over the hits of provide great starting points to find something suitable
machine and surviving the 80s and beyond and for all instruments. Being able to automate, say, the
examples are highly this plug-in looks like the Depth/Diffusion for different sections of a song is
prized. Plenty of great original 224 remote that fantastic. The lush sound of the 224 is as impressive
records have been sat atop many a console. as ever. Can I have an AMS RMX-16 next please? n
multitracked on a Studer and mixed to an Ampex, so On closer inspection, some
this makes a great addition to the Studer plug-in for of the buttons have been Ampex ATR-102
those wishing to emulate that chain. ‘re-purposed’ to eliminate PROS Wholesome tape warming effects;
The plug-in window comprises a fabulous graphic the unnecessary preset astonishing attention to detail; bonuses
of the deck plate and meter bridge. Like the Studer management functions and of oscillator and tape delay.
plug-in there is an Open button that reveals the more expose previously ‘buried’
advanced settings. Those who have tried the Studer controls, making this easier CONS AutoCal settings are cheekily louder
than bypass; bypass sometimes better!
will find that even more functionality and detail (and to operate. Furthermore, an
DSP usage) has gone into this plug. The plug-in uses ‘Open’ legending reveals hidden controls but the
internal up-sampling for greater sonic accuracy and authentic functionality of the original hardware is Lexicon 224
this results in a slight increase in latency -– not a maintained, with sliders controlling the parameters, PROS Vibrant, warm reverberation; super-
problem when it is on the mix bus as intended. their resultant value displayed in red LEDs for 1.5 accurate modelled sonics and behaviours;
The window is dominated by animated spools seconds before defaulting back to average decay time. all the convenience of a plug-in.
revolving at appropriate speeds when the DAW is A ‘hidden’ function defeats this and holds the display CONS None
playing or recording. The Ampex features four speeds to the last adjusted setting. Reverb is split into two
(3¾-30ips), three head widths (¼, ½ and the latter- audio bands. The Crossover slider sets the frequency
day 1-inch mod), and there are seven tape types where the Bass and Mid Decay times are split. The Contact
available with a choice of four at any time depending Treble Decay slider sets the roll-off frequency above Universal Audio, US:
on head width and tape speed. Authentic NAB, CCIR which decay is very short. Website: www.uaudio.com

30 resolution November/December 2011