Best Uad Plugins

With the huge selection of UAD plug-ins it can be hard to decide which ones to consider buying. So I've put together my 6 goto plug-ins, of course your choice might be completely different, if so then leave your favourites in the comments.

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Sep 12, 2019 The 10 Best Reverb Plugins In The World Updated For 2019 90. The EMT250 from UAD is the best of his category, whatever the way you classify it. As well the UAD EMT140. Pingback: The 10 Best Reverb Plugins In The World « Computer Music Guide. Mike on November 13. Discover the Phenomenal Sound of UAD-2 Powered Plug-Ins. There are two things that make UAD-2 Powered Plug-Ins extremely special. First, the crew at Universal Audio went directly to the companies whose gear they modeled to license their technology and enlist the very people who made the hardware in the first place.

I've decided to choose 2 I use for tracking, 2 I use on tracks during mix and 2 I use on the mix buss or when I'm mastering.

UAD Plug-ins For Tracking

Neve 1073 Preamp & EQ Plug-In Collection

We ran a test and shoot out with this plug-in and it has an amazing sound, even better it works in Unison mode, so for those with Apollo hardware you can use this baby to track through a Neve 1073. The preamp section alone can do magic things with everything from warm smooth sounds to pushing it hard to add some edge - try tracking through this, it's a dream.

Marshall Plexi Super Lead 1959

I'm not a huge fan of guitar VIs, many of them leave me disappointed - not so with the UAD plug-ins. It's hard to choose, but this Marshall Plexi is just amazing, it's British, vintage and has been produced in conjunction with Marshall and rock guru Tony Platt - what more do you want? James reviewed it here

UAD Plug-ins For Track Mixing

dbx速 160 Compressor / Limiter Plug-In

I reach for this all the time for bass, kicks, vocals and guitar and thankfully for me it's idiot proof. I also own the hardware version of this baby and I use both.. need I say more? Here's a hardware and software comparison

Maag EQ4速 EQ Plug-In

Perhaps the smoothest and most musical EQ on the market, the AIR band is simply magical for adding sheen to vocals and shine to acoustic guitars. But it's not limited there, the entire EQ has such musical and immediate settings that it's a joy to mix with. I also own the hardware, again I use both! It seems a lot of people agree with me as this won our People's Choice Award in 2013. Review here

UAD Plug-ins For Mixing/Mastering

Ampex速 ATR-102 Mastering Tape Recorder Plug-In

We can't all own a vintage tape machine, in fact the service and running costs are enough to put most people off, but this plug-in sits on my mix buss for 99% of mixes. The ATR-102 adds so much character that if you leave it on and then turn it off you find yourself disappointed. Tape with the running costs or the razor blades. Review here

Manley Variable Mu速 Limiter Compressor Plug-In

This is a relative newcomer to my plug-in collection but the minute I tried it on a mix I thought it would become a favourite. It's audio voodoo and simple magic at gluing a mix together in such a subtle way.

So there are 6 of my favourite UAD powered plug-ins, what are yours?

Hey I was just thinking it would be nice to have others ideas for a Favorite series of Plugins for Bass guitar. I use a Precision Bass into an Apollo channel.I had been using a Neve 1073 (Legacy) into a DBX 160x and then a LA2. I've gotten pretty good results.

My band rehearses live through an Apollo 8 with a Black Lion Audio ADA8000. Lately my Bass doesn't seem to cut through as much as I'd like and thought I'd throw it out to you good people to see what you all use for Bass! I have the Softube collection and have gotten good results Mixing with the Bass Amp Room but when playing live through it I really really don't like it. Too thin or distorted.So are there any other Bass Players out there willing to share their Apollo secrets?????TIA.

I have a Warwick 6 string thumb which can be a bit growly - so I back off the volume pot - it sounds great through the Unison 610A on low gain + 1176 AE and sometimes the Moog filter if you want a Bootsy boost - I have a Solo 610 so it goes through that unless I'm using the Solo 610 for something else - I really like the 610A - I also use the 610A + EMT140 + 1176AE for guitar - though sometimes I use the LA2. I'll use the Solo 610 as first preference but the 610A is really close - so it's the next best thing - the other members of the LA2A collection also sound great on bass. I have the Bass Amp room but I don't use it very often now - it doesn't seem to add anything more that the 610A/1176AE/LA2A doesn't already have - it doesn't seem to need much EQ either. I have a Warwick 6 string thumb which can be a bit growly - so I back off the volume pot - it sounds great through the Unison 610A on low gain + 1176 AE and sometimes the Moog filter if you want a Bootsy boost - I have a Solo 610 so it goes through that unless I'm using the Solo 610 for something else - I really like the 610A - I also use the 610A + EMT140 + 1176AE for guitar - though sometimes I use the LA2. I'll use the Solo 610 as first preference but the 610A is really close - so it's the next best thing - the other members of the LA2A collection also sound great on bass. I have the Bass Amp room but I don't use it very often now - it doesn't seem to add anything more that the 610A/1176AE/LA2A doesn't already have - it doesn't seem to need much EQ eitherI was messing with the 610A last night, very nice.

Curious about your comment about it being very close to your Solo 610 though. Are you comparing it with the 610A Unison or just as a plug? I had forgotten about the Moog, Great idea, I use to love it! I finally got some good result with the Bass Amp room yesterday, it seems its very critical to watch the gain structure going into that plugin! If its just a little too hot you'll never get the Amp section to be clean,I found this out when I took the Dry signal out of my Avid 11 Rack and ran it right into the Bass Amp Room, it finally behaved the way I would like it to. You cant get to much High end out of the Amp section but you can blend the Solid state side with the Amp side and get a really nice tone from it.

I really love the Ampeg SVT sound and would love to see something like it for the Apollo! The 610A/1176AE/LA2A combo is very nice also!!Thanks for your input!!

Passive basses are easy, because it's harder for the player to screw up the sound before it even hits the DI. Just make sure the knobs are clockwise and start recording.Figure your own way to do this in the box, but I tend to:Hit the DI first (J48, lately)Patch the Thru to a Suhr splitter if their head doesn't have a tuner out.Send the J48 to a clean preamp. This is the safety/reamp track.The other goes to their head.Send the head's tuner out to a Sansamp for some dirt/drive.Send the head's line out to a 737VT.

610 model would work here too. This is the coloured tone.Take two mics on the cab. 57 and a 47 FET style (AT4047 works fine too).So, here's what you have:1 clean2 coloured3 dirty4 mic 15 mic 2Monitor only the coloured, and a hint of the dirty (high passed), so the bass doesn't dominate the monitor mix. Mute the others for now.

They're spice for the mix.For mix, bus the two mics to one track and don't compress too much. LA3A, 160 work well here.Dirty goes on it's own fader. Take out lows and some low mids. Low pass if it's fizzy (it shouldn't be). 1176 with 4 and 8 in, 10 and 2. 2-4dB GR.Now, main (coloured) track. Pick 1176 at 12 (4+8 buttons), 10 and 2, 4-10dB GR, or 160 smacking it at 4:1 if they're good, 6:1 if they're average.

High pass at 40Hz (that's a Neve 50Hz). Dip at whatever frequency the kick is resonating (50-65, usually).

Dip/cut some 200-250 as needed. Push up some presence in the 800-2k range. Limit 1-3dB.ORSSL on brown with fast attack on the comp can do the sameish thing as the EQ and comp above.

If I'm using the SSL channel I'm going to hit it 10dB on the comp. Limit a bit after.In the mix, use the coloured channel with it and the drums in to get the level. Mute the dirty until guitars are in, then leave the coloured alone and just bring in the dirty until you hear the bass guitar cut through again.Still struggling with the bass in the mix?.BIG BASS MIXING TRICK.Slap an EQ (SSL works well) at the end of your chain and set low shelving on the bass at 250Hz. Pull it down all the way (-15 to -20dB).

I219LM3Key Features of the Driver. I219LM2.

Your bass should sound super weak. Push up the fader in the mix until the bass can be heard (bass guitar, not bass frequencies).

Now start bringing up the shelf until there's good bottom end. Balanced bass.Use this especially with the idiots using active basses that boost low end and treble. Know what else helps there? It has the loud contour option. Use it in reverse.

Kills bottom and top. But brings up mids. Passive basses are easy, because it's harder for the player to screw up the sound before it even hits the DI. Just make sure the knobs are clockwise and start recording.Figure your own way to do this in the box, but I tend to:Hit the DI first (J48, lately)Patch the Thru to a Suhr splitter if their head doesn't have a tuner out.Send the J48 to a clean preamp. This is the safety/reamp track.The other goes to their head.Send the head's tuner out to a Sansamp for some dirt/drive.Send the head's line out to a 737VT.

LA3A, 160 work well here.Dirty goes on it's own fader. Take out lows and some low mids. Low pass if it's fizzy (it shouldn't be). 1176 with 4 and 8 in, 10 and 2. 2-4dB GR.Now, main (coloured) track.

Pick 1176 at 12 (4+8 buttons), 10 and 2, 4-10dB GR, or 160 smacking it at 4:1 if they're good, 6:1 if they're average. High pass at 40Hz (that's a Neve 50Hz). Dip at whatever frequency the kick is resonating (50-65, usually). Dip/cut some 200-250 as needed. Push up some presence in the 800-2k range.

Limit 1-3dB.ORSSL on brown with fast attack on the comp can do the sameish thing as the EQ and comp above. If I'm using the SSL channel I'm going to hit it 10dB on the comp. Limit a bit after.In the mix, use the coloured channel with it and the drums in to get the level. Mute the dirty until guitars are in, then leave the coloured alone and just bring in the dirty until you hear the bass guitar cut through again.Still struggling with the bass in the mix?.BIG BASS MIXING TRICK.Slap an EQ (SSL works well) at the end of your chain and set low shelving on the bass at 250Hz. Pull it down all the way (-15 to -20dB). Your bass should sound super weak.

Push up the fader in the mix until the bass can be heard (bass guitar, not bass frequencies). Now start bringing up the shelf until there's good bottom end. Balanced bass.Use this especially with the idiots using active basses that boost low end and treble.

Know what else helps there? It has the loud contour option.

Use it in reverse. Kills bottom and top. But brings up mids.Wow! Fantastic info here! Totally gonna save this thread! Of course.Couple quick thoughts on in the box setups without an amp.Take a DI and send it to your cleanest pre.

Send the thru to your most coloured pre/Unison emulation 610. Two Apollo channels in use, so far.Now you have safety and coloured.Use two Apollo auxes. 1 to Culture Vulture or dirty guitar sim (saw Apollo comes with Amp Room lite).

Marshall will work.2 to bass amp sim (Amp Room lite).Bam. 4 tracks of bass.1 clean2 coloured3 dirty4 micIn your DAW just select each input and aux out as it's own track. All can be separate for full control. You'll need to triple check phase, though, because of different sample delay since you're sending auxes that may be a few samples off due to processing through the internal mixer.