UAD Signature Edition Version 2
Customer Reviews
UAD Signature Edition 2
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j. tummond
Good Stuff
This is a wonderful sounding channel strip. I find I like its sound best when all the modules are engaged. Each one colors the sound ever so slightly. Just having everything working lightly, a bit of filtering, expanding, compression and eq seems to bring it to life. I've had the opportunity to work on an API Legacy a couple of times. Does this sound the same? Not sure, but a large part of the console sound does come from the summing section. Hint hint UA
.
The Cream Rises!
Man, this plug in speaks for itself. It is a versatile piece of kit that I use primarily to track vocals and saxophone with. The compressor on this thing is PERFECT for sax. It tames transients and adds a nice body to the sound of my alto, and works wonders with female vocals as well. The eq section is awesome for adding some air, though for tracking I prefer to add that in post production. This thing absolutely shines on drums, run your programmed kits through this and wonder how you lived before this wonderful creation entered your workflow. This is one of the few desert island plugs I would recommend to anyone starting out on UAD, the pres are punchy and versatile and the strip seals the deal after recording.
A. McCarthy
Could anything possibly compare?
The Teletronix LA-2A Grey, might be the most important plugin in any of my mixes. I use it on Bass, Lead Vocals and Acoustic Guitars. It is also an important part of my Sub Master Bus (transformer only). For lead vocals it is amazing. Applied at the end of your Lead Vocal compression chain, the LA2A Grey could well spell the end of riding vocals. Its ability to transparently reduce the dynamic range of material without it being noticeable is amazing. A breathtaking plugin at worst. It is without question one of my most prized UAD plugins and an essential tool in any serious engineers arsenal.
V. Azevedo
Getting smiles from my customers
I have a online Mix & Master studio here in Brazil and I was working on 3 projects, including a MPB CD Master. Between one version and another, with very few adjusts, I decide to use/demo ATR in the session.
When I sent material to the singer's evaluation, she said "Hey, this version sounds different. I liked it.".
I'm a little afraid of this analog perfection porsuit, but, ATR sounds realy good 4 a lot of styles, subtle & real, as A800.
The point is that we are making music happen.
Comparing with A800, side by side, it sounds far different, at almost all combinations.
So sweet using within a Mix session with A800 and in a Master session with a VariMu Manley.
Well, I didn't bought yet, but I know what will happen at the end of trial.
F. M
Just magical
I've been trialing this plug-in on a couple mixes and love the results. Most recently, I tried mastering a song in Logic Pro X with various mastering plugins such as the Shadow Hills Mastering Compressor, the Precision Multiband and the Precision Limiter. While those are all quite nice, I ended up scrapping all of them in favor of the ATR-102 because it seemed to do everything I needed (working from the "Ain't That Pretty" preset). It's the one that least undid all the work I'd done on the mix (especially in the stereo imaging) yet tightened everything up so musically. I then added the Manly Variable MU ahead of it with the light touch of the Phil Tan Master Mix Buss, increasing the input just a bit for added limiting. Nice.
S. Goodison
An essential.
My first taste of aftermarket compression was the W****s CLA-2A and 76, and I used those bad boys on everything. When I invested in UAD my perceptions changed radically. These weren't just compressors, they were a way of life. My UAD 76 units went on everything in my mixes, and unfortunately my UAD LA2A's felt a little neglected. Until recently when I started making them my go to buss compressors. The grey on drum bus with it's medium speed, or LA-2 on the slower numbers make the whole drum sound for me. The silver's fast timing it great on bass/electric guitars. You can buy now, go an' try - you can pay me next week.
N. Dranov
Low/mid cohesion
Well, I gave some 670 to the master busses of all ten tracks of a post-death/metal project with just a touch of compression (1-1.5 dB) and received a very valuable low/low-mid cohesion in return. It's a very pleasing sounding, useful compressor, I think, also for drum busses.
.
outstanding reverbs!
I learned mixing with berklee online and everybody got super crazy about my reverbs - always! All I ever used was the 224 for halls, chambers and plates, as well as the oceanway plugin for rooms and small halls. This combination is killer! I mean what else do you need?
.
It´s on!
Very good plugin! I use it on drums, guitars, vocal, bass... I really love to smack my snare with this as parallel compressor! Each time I use it, I like it more. I found myself turning it on and loving the tonal character, even when it isn´t compressing!
The three versions really make sense. You´ll get used to them, the longer you have the plugs in use, but won´t make any mistake in the meantime, as they all sound awesome.
I´m having them almost constantly on my vocals!
M. Altieri
a must to have !!!
I can not compare it with the original, but I can hear how it sounds in my setup, warm and precise.It does what it needs to do a compressor. has its own character and its sound to be, like down the line LA2, LA3 and 1176. least in my opinion!
R. Costa
I love it and it is an essential compressor for my work
The Fairchild Collection sounds really good, I love it and it is an essential compressor for my work.
J. Rostrup
A must have.
When you demo it, try putting in on mixes you've finished, and see how it shines.
D. Hedin
A Classic!
Ah, the Massive Passive...a legend. One of the most intimidating looking plugins of all-time...but one you figure it out, it can work WONDERS in the mastering stage. The curves are so smooth on this thing - the low end heft, a distinctive midrange, and a silky high end. The cool thing about this is you can really push it and it always sounds musical. A must own!
D. Hedin
If you only had one plugin...
You could make an entire record with just this one plugin! First of all, the preamp on this thing...WOW. Slap it on a kick drum, turn up the preamp until it just touches the yellow, and the kick will just slam through the speakers and hit you in the chest. Truly remarkable - they nailed the API sound!
Also, it's the fastest gate I've ever heard in my life, which makes it superior on drums. This plug is a little hefty on CPU, but it's so worth it!
D. Hedin
There's just something about it...
I remember when I was first starting out in production, I could never seem to capture that "sound" and/or that "warble", so to speak, that were on so many of my favorite records. The music was just MOVING in a way I just couldn't describe.
Then one day I demoed the ATR-102 and BAM - that was it! Yes, it is expensive, and yes, I have a ton of different tape emulation plugs. But there's something truly special about this one. TIP: If you set the speed to 7.5ips or slower, the wow/flutter is more affected. It will give you that indie tape sound you might be after.
I gotta say - I have hundreds of plugins and many of them I use every day, but this is one of my top 5 desert island plugs. I seriously can't live without it!
D. Hedin
The Magic Box!
There's something just so special about this LA-2A collection. Two knobs...tone for DAYS! Usually I just set it when tracking through my Apollo to take off 1-2db of GR, just kissing the needle to catch those peaks. Oh man - absolute butter! Can't live without these plugs!
N. Nowottny
F%&king incredible!!
A twist here, a twist there, no harshness and everything starts sounding expensive in a human way. I was looking for a Pultec Style Hardware on ebay, now I'm looking for more dsp power. ;) Like it better than the Massive Passive. Thank you UA!! x ;)
A. Link
So useful for tracking
This is probably the only plugin I really need when tracking vocals. Reverb is nice but not always necessary, but a little LA2A compression with barely any latency is ALWAYS a good thing.
N. Dranov
Competes with other great plugins - and only wins partially
Preamp and gate gets the most use when I use this plug - and that hasn't yet happened a lot. Pre for grit when Unison-recording non-processed (input 1) / processed (aux) guitar or bass and gate for e.g. drums with a lot of bleed. Both are great! Esp. the gate, messed with it and wum! - suddenly no metal in skin mic's. But when it comes to hi/lo passes, comp and eq I seem to choose 'dedicated' plugs, ie. native logic/cambridge, the 1176-/670-/la2a/-collections and bx v2/massive passive/trident. Why? Maybe the API can't match these. Maybe I just like to USE my other great plugs. When I got the API I thought I'd do API-only-mixes, but not yet. 'Till that day - where the API may shine - I guess I turned out not a channel-strip-only kind of guy.
S. Hurtow
Simple & Effective
I just bought this plug-in and within minutes of using it on single tracks and the stereo bus, I realized why the dbx 160 is so popular and still regarded as a great compressor. It is so easy to use and has that fantastic, timeless sound. It is simplicity itself: Threshold, Compression and Output. Then there's that 'tried-and-true, old-school' sonic quality to it that most likely is the reason why it still continues to be widely used and is reviewed so favourably. I really like this plug-in. Looking forward to hearing it in action.