The result is a ground-breaking plug-in that enables a unique form of convolution processing. This project has seen UAD's engineers take onboard Ocean Way's rooms, its microphone collections and even how those microphones sound through the studio's mixing consoles - the modified Focusrite ISA 110 console in Studio A, and the custom- modified Putnam Dal-con console in Studio B. Additionally, Bypass Modes, L/R Swap, Sum to Mono and Wet Solo buttons are offered on the right-hand side, though the latter of these is only available in Reverb mode. The Interior tab enables you to see a photo of the studios you're effectively working in. It's as if you'd been able to send a file to Ocean Way and have its engineers broadcast it into the studios, then have them send the recorded result back to you.įurther control for either mode is available within the Master EQ section, which offers two-band shelf controls. As well as the spatial options provided by microphone options, the direct dry signal you recorded is also processed. Its role is in-channel, designed to enable you to take one of your own recordings and effectively re-process it. Its other mode, Re-Mic, is somewhat different. " It's as if the engineers had broadcast your sound into the studios and sent it back to you." It adds the sound of Ocean Way's recording studios as a reverberant space, complete with the stereo microphone position options, so you can optimise its acoustics to taste. The first of the two modes is pretty self explanatory: Reverb mode is designed for use on auxiliary channels. It uses an enhanced version of impulse response technology to model the sounds of the featured spaces, so both modes reflect spatial treatments. The Ocean Way Studios plug-in is designed to work in one of two modes. Mute buttons in each virtual channel strip allow you to de-couple any of the microphone feeds at any time, facilitating easy A-B comparisons as you work on a sound. Of course, there's no obligation to use all three microphone placements at once. This allows for plenty of 'near' for an up-close and personal sound, or a more generous 'far' signal for a bolder, more reverberant treatment. Once you've made microphone choices, you can then choose the distance each of these will be from the recording source, applying Low and High-Pass filtering, Phase Invert and Pan positions for each in turn.Īt the bottom, you can then balance the volume of each of these microphone signals. There's a generous collection of classic mics selectable.
The right-hand side of the GUI then allows you to activate and choose up to three stereo microphone types and positions for near, mid and far recording. Then, next to this, you can choose a Source from a drop-down list, which includes two drum kit positions, Vocals, Guitar Cabs and so on. Here's how it works: you start by choosing one of two of Ocean Way's recording studios to act as the 'shell' for a recording in the top left-hand corner. "You start by choosing one of two of Ocean Way's recording studios to act as the 'shell' for a recording" It also offers you a wide range of controls over the sound produced. Instead, the modelling process has been to capture the sound of Ocean Way's Studios 1 and 2, offering you the opportunity to combine up to three microphone placements around a source within those spaces. Ordinarily, UAD's engineers use technology to produce accurate reproductions of an ever-growing list of the world's most coveted studio hardware. Ocean viewsĪ quick look at the plug-ins GUI and you'll see that there's some very clever technology at work here, which has clearly pushed UAD's modelling remit to its very limit.
#OCEAN WAY STUDIOS PLUGIN REVIEW SOFTWARE#
So, wouldn't it be great if you could bring a little of that sound to your own productions? This was UAD's mission when they set out to produce the Ocean Way Studios plug-in, available now as part of the V7 software release.
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