Recording - June 2016 - 47
settings without obscuring the music. Both
the Gate and Duck sections have meters to
show how much they're kicking in.
The second section is the Reverb, with
controls for Mix, Room Size, Decay Time,
Diffusion, Predelay, and Swirl (modulation of
the reverb tail). Tone controls include both
High and Low Cut (fixed filters to control hiss
and rumble) and High and Low Damp
(which contour the reverb tail over time). A
graphic display shows how the reverb tail
decays over time; the slightly heavier vertical
line indicates 1 second of decay time.
The Multitap section at the bottom has
controls for Mix, Delay Time, Feedback,
Detune, and the same High and Low Cut
and Damp functions as seen in the
Reverb. This is very handy, since tone
sculpting is sometimes best done at one
stage vs. another, and you don't give up
your EQ tools on one or the other module
when they run in parallel. The delay time
is always synchronized to the tempo of
your DAW, and the graphic display
shows relative levels of 16 taps (plus the
undelayed sound) for both left and right
channels. This lets you set up complex
polyrhythmic ping pong delays with ease,
or use gradually increasing taps to create
reverse-reverb sounds as shown in the
screenshot. One function that's difficult to
explain but relatively easy to hear is that audio sent through the "0" step (undelayed) is
sent through the High and Low Damp processes after the feedback loop, producing
really thick chorused sounds that you wouldn't expect from a delay like this.
UltraSpace is one of those plug-ins that you can start using instantly and spend lots
of enjoyable time learning to perfect. It's full of handy tricks, has a really clean and
clear sound that blends well in a mix, and is vanishingly light on CPU load even on
older computers. If you're the sort of engineer who loves having a Swiss Army
reverb and delay on hand for everything from percussion and vocal processing to a
light touch of magic on the 2-bus, you need to grab the free demo and give
UltraSpace a listen.-MM
http://www.recordingmag.com/newsletter.html
Table of Contents for the Digital Edition of Recording - June 2016
Contents
Recording - June 2016 - Cover1
Recording - June 2016 - Cover2
Recording - June 2016 - 1
Recording - June 2016 - 2
Recording - June 2016 - 3
Recording - June 2016 - 4
Recording - June 2016 - 5
Recording - June 2016 - Contents
Recording - June 2016 - 7
Recording - June 2016 - 8
Recording - June 2016 - 9
Recording - June 2016 - 10
Recording - June 2016 - 11
Recording - June 2016 - 12
Recording - June 2016 - 13
Recording - June 2016 - 14
Recording - June 2016 - 15
Recording - June 2016 - 16
Recording - June 2016 - 17
Recording - June 2016 - 18
Recording - June 2016 - 19
Recording - June 2016 - 20
Recording - June 2016 - 21
Recording - June 2016 - 22
Recording - June 2016 - 23
Recording - June 2016 - 24
Recording - June 2016 - 25
Recording - June 2016 - 26
Recording - June 2016 - 27
Recording - June 2016 - 28
Recording - June 2016 - 29
Recording - June 2016 - 30
Recording - June 2016 - 31
Recording - June 2016 - 32
Recording - June 2016 - 33
Recording - June 2016 - 34
Recording - June 2016 - 35
Recording - June 2016 - 36
Recording - June 2016 - 37
Recording - June 2016 - 38
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Recording - June 2016 - 40
Recording - June 2016 - 41
Recording - June 2016 - 42
Recording - June 2016 - 43
Recording - June 2016 - 44
Recording - June 2016 - 45
Recording - June 2016 - 46
Recording - June 2016 - 47
Recording - June 2016 - 48
Recording - June 2016 - 49
Recording - June 2016 - 50
Recording - June 2016 - 51
Recording - June 2016 - 52
Recording - June 2016 - 53
Recording - June 2016 - 54
Recording - June 2016 - 55
Recording - June 2016 - 56
Recording - June 2016 - 57
Recording - June 2016 - 58
Recording - June 2016 - 59
Recording - June 2016 - 60
Recording - June 2016 - 61
Recording - June 2016 - 62
Recording - June 2016 - 63
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Recording - June 2016 - 65
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Recording - June 2016 - 70
Recording - June 2016 - 71
Recording - June 2016 - 72
Recording - June 2016 - Cover3
Recording - June 2016 - Cover4
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