You can hear the openness and character of the neve. What makes this plugin unique is its control over the preamp and the ability to work with the tonal character. The modeling of the EQ is remarkably faithful to its analog counterpart. With all of the fantastic features added to it, it offers a broad palette of sound and character that separates this plugin from the rest.
It is designed to emulate the sound of classic preamps from the 1950s and 1960s. The plugin has a two-channel design and can be used as a standalone preamp or as an insert in a mixing console. It is also equipped with a variable impedance circuit, which allows you to adjust the input impedance to match the output of different sources, such as microphones and guitars.
This plugin accurately represents the good old Telefunken, so you can scratch both smoother highs and a rounder low-end from the list because it copies the 40hz-15khz broadcasting bandwidth filter from the original gear. Regardless, you need to know that it has a function that enables a linear response, in case you find its 40hz-15khz broadcasting bandwidth filter too limiting.
Audiority has achieved a preamp on this release that you can quickly adapt to any sound source and have a pleasant reaction that works regardless. This plugin can calculate the 12AX7 tube models in real-time for input and output to prevent phase issues while preserving characteristic non-linearities.
The plugin sounds incredibly close to the original hardware and reacts to signal in the same way, adding harmonic distortion and even rescuing any given sound source, regardless. IK Multimedia wanted to make this right and recreated to detail the preamp behavior, saturation, and preamp/EQ interaction that preceded the reputation of this remarkable piece of gear.
This plugin is a direct evolution of the analog piece. Right off the bat, it differentiates from the original hardware giving you variable-slope high-pass and low-pass filters. It also has other cool traits from the digital domain, like the possibility of linking input and output gain.
This metal solid plugin version is not only about the Grindstein but took it to a different level, featuring a noise gate, an EQ, and an amp simulator with impulse response.
Channev includes models for the Pre-72 mic pre, D-03 de-esser, an EQ-87 equalizer, C-64 on compression, and the T-01 tape saturation. Processing on this plugin follows the same order as mentioned.
This plugin is most helpful on guitar, female vocals, bass (especially DI), or synthesizers, and you can add it to your mastering chain to add some tube warmth.
The plugin aims to replicate the warm and rich sound of the original preamp and includes various controls such as gain, bass, treble, and output level. It also includes a variety of presets that can be used as starting points for you and allows you to save their custom settings.
The Arturia Pre V76 requires an operating system such as Windows 8+ or macOS 10.13+, along with a CPU with an Intel Core i3/i5/i7/Xeon/AMD Quad-Core, 4 GB RAM, a display with 1024 x 768 resolution and 32-bit color, and 2 GB of free hard disk space. The plugin is available in multiple formats such as VST, VST3, AU, and AAX, and it is compatible with a wide range of DAWs like Ableton Live, Logic Pro, Pro Tools, FL Studio, etc.
The Arturia Pre V76 preamp plugin is a comprehensive recording, mixing, and mastering tool. It includes a variety of controls and features that you can use and adjust to shape your sounds to your liking.
Amber3 VST/AAX/AU plugin suite offers an accurate reproduction of an original, pure Class A optical compressor, a redesigned iconic EQ, and preamp by a celebrated US company. In designing Amber3, we aimed at achieving total sound purity and depth, achieved through the use of Class-A discrete solid-state circuitry, as well as a thoughtful mixture of active and passive filter cells, absence of any DC-blocking capacitors on the signal path, and more. We then squeezed all the sampled units into a high-performance channel-strip for your own earvana.
Thanks to the continuous evolution of our core technology, we are excited to offer you a fresh and updated version of our acclaimed Amber plugin, which is now a complete plugin suite for the modern producer:
Online, there's a wealth of reviews and technical information about UAD's Apollo x8p, but it was the list of plugins that initially caught my eye: suddenly I was back in the '80s at Master Rock Studios in Kilburn where a brief career as tea boy and cleaner introduced me to the world of high end gadgets.
The measure of any piece of equipment for me has to fill two criteria in this order: sounds great; easy to use. Anything else is down to aesthetics. Unboxing the x8p was easy: unit, power supply, mains cable, and a small card which simply says visit www.uaudio.com/register. So I created my account, connected to my MacBook Pro via thunderbolt 3, turned it on, and proceeded to download the UAD software.
Once it was all done, I restarted my mac, opened up Logic, there was a period while it initialised all the 200+ plugins, and I couldn't help but smile as their names, most of which are very familiar, flashed in front of my eyes. It came to a stop, and there was the interface in Logic preferences. How easy was that? I swapped my XLR cables out for a pair of jack to XLRs for my monitors, loaded a recent project which I had to copy across from my MacBook Pro, and hit the space bar on my laptop. Instant audio!
The next plugin on my list was the Teletronix LA2A Silver - another legendary iconic compressor, this time optical in design, which Bill Putnam later refined by updating valves with solid state circuitry to produce the LA-3A.
All these UAD plugins are special, and I've just spent the best part of a day listening to them. It was also good building a compression chain - something I used to see back in the day - to sit that vocal right in front of the band. The 1176 to control the harsh peaks, and the LA-2A to smooth out the rest. Magic!
You could almost imagine yourself physically turning the dials on those old masterpieces; they are hugely impressive, and thoroughly authentic sounding. And this is just my preference, of course; there are other great iconic comp and limiter plugins in the Universal Audio arsenal: Fairchild 670, SSL G-bus, Manley MU, API 2500, and dbx160.
The UAD 480L Lexicon delivers all of this functionality seamlessly, and the creativity you can inspire with this alone - at a fraction of the cost of the original hardware unit - is staggering. I could spend days going through all of the options in the 480L plugin, but the experience is really all about exploring and using your ears; it can enhance any work you've done prior, or inspire you to alter something new in a pretty dramatic way.
Now on to a number of key components that come with the x8p that offer both flexibility as well as a massive range of tonal options. First up, the Console application. In a nutshell, think of your DAW as your audio recorder, and Console as your mixing desk, in which you can prepare your recording and monitoring, with all the power of UAD plugins. And without using any of your computer processing, at near zero latency. Extremely impressive.
UAD-2 refers to the actual computer processing within your Apollo x device. Besides the Apollo x8p I have here, there are other UAD-2 devices in the range which feature additional cores of UAD-2 processing, and these handle the processing of your UAD-2 plugins.
And UNISON is the marriage of digital mic pre and instrument amp plugins with the analogue mic preamp hardware - all of which is controlled from within Console. This accurate emulation is achieved by a component level alteration of the physical mic pres' impedance to match more closely that of the original mic pre hardware. This is a bit of a revelation, as I don't know firstly how they do it; and lastly, anyone else who is using this mix and match technology.
I inserted an old [AKG] C414 into the second channel via the rear panel XLR. I also plugged in a pair of 451s, as I thought I might record my Martin acoustic as well. There are a whole bunch of guitar and bass plugins that come with UAD interfaces, and I was eager to find out how they stacked up.
These UAD guitar modelling plugins, however, are really very good, and quite inspirational; they felt and sounded just like the response of the real amp - right up there with the Kemper Profiler and the Fractal Axe. But this is where UAD-2 onboard processing takes over. Hey, as I'm writing this, I'm aware that as I touch the keys with the fingers of my left hand, there's pain in my finger tips - that's how much I've enjoyed playing again and putting the x8p through its paces!
There are four plugin slots per channel in Console, but if you fancy going hybrid, there's nothing to stop you wheeling out your Crybaby and your Tone-bender and attempting to sound like Ronson! How nostalgic.
If you're losing something in the mix and you want it to sit up without making it louder, UAD's 1073 is your go-to line level legacy plugin, as opposed to a stock EQ provided with your DAW. Hell, it's worth buying the Apollo x8p for the interface and this plugin alone!
It's worth mentioning that I also had a listen to the Apollo's mic pres without plugins, and found them to be incredibly clean and whisper-quiet - until you put signal into the mic, of course. And it suddenly dawned on me that if you added another unit with eight or more preamps, you could box it all up in a 2U rack case, and with a bunch of your preferred mics, pick which room or studio you wanted to record in for that ideal drum sound. 2b1af7f3a8