Welcome to Ocean Way Studios — the world's first dynamic room modeling plug‑in.
Developed by Universal Audio and Allen Sides, the Ocean Way Studios plug-in for UAD-2 hardware and Apollo interfaces rewrites the book on what's possible with acoustic space emulation.
By combining elements of room, microphone, and source modeling, Ocean Way Studios moves far beyond standard impulse response players and reverbs — giving you an authentic replication of one of the world's most famous recording studios.
- Record live or mix through Ocean Way Recording's legendary Studio A and Studio B
- Use "best of the best" vintage microphones from Allen Sides' world-renowned collection
- Choose among Allen Sides' favorite room positions with 8 source types, for stunningly accurate sound dispersion behaviors
- Position, blend, and process three mic pairs (Near / Mid / Far) in real time
- Retain mic bleed, proximity, and other naturally occurring behaviors for realism far beyond other reverb/ambience plug-ins
- Re-mic loops and soft synths to bring them to life
Ocean Way Studios
What Is Ocean Way Studios?
Ocean Way Studios is a dynamically adjustable room emulator for adding the ambience of Ocean Way Recording's acclaimed studios A or B to audio signals.
Interior photos of Room A (left) and Room B (right) at Ocean Way Recording
Ocean Way Studios offers two modes of operation. It can be used as a traditional reverb using send/return paths mixed with dry signals, or as a "Re-Mic" processor when full immersion of the original source audio within Ocean Way's studio spaces is desired.
Re-Mic mode is by nature "fully wet" and includes the impulse response's "direct" signal. Re-Mic can be used to entirely replace previous rooms and microphones, or create new complimentary room sounds.
Allen Sides
Ocean Way Studios was collaboratively developed under the creative direction of renowned producer/engineer Allen Sides. As the owner/operator of Ocean Way Recording for more than 30 years (see The History of Ocean Way Recording), his knowledge of how to record various sources within these studios is integral to the high quality results that can be achieved with Ocean Way Studios.
Microphones
Allen Sides is not only known for his audio engineering expertise, but also for his collection of prized microphones. The specific microphones that were used to develop Ocean Way Studios, and their placement positions on a variety of sources, were selected by Mr. Sides himself.
Hybrid Technology
Ocean Way Studios is not a general impulse response (IR) convolution reverb nor a typical algorithmic reverb. Instead, Ocean Way Studios utilizes breakthrough hybrid technologies, combining expertly sampled impulse responses with advanced algorithmic DSP techniques.
Concise Modeling
Ocean Way Studios focuses on a limited set of studio spaces and exhaustively models numerous room positions, microphones, and sound source dispersion patterns — which all combine to provide the ultimate in acoustic realism. Ocean Way Studios is sonically superior in terms of overall model accuracy and dynamic customization.
Presets
The factory presets are of particular importance with the Ocean Way Studios plug-in, because they are designed by Allen Sides and they capture his ideal microphone selections and placement positions for each studio and source. 32 presets are available in the internal factory bank, providing optimum control settings in both Re-Mic and Reverb modes. 10 additional presets that use the guitar cabinets as source can be accessed via the UAD Toolbar.
Choosing presets differs from simply choosing different Studio, Source, and Microphone selections. Because with Ocean Way Studios it's possible to select a variety of microphones and place the microphones in positions that don't sound optimum (just like in the physical realm), the presets provide excellent starting points for customizations and an easy way to quickly return to a great sound.
The factory presets have only one microphone pair enabled to ensure there are no undesirable phase interactions. Of course, more than one microphone pair can be used for sonic variety and/or to enable creative applications. See Phase Considerations for related information.
Note: Switching through presets is not instantaneous and sonic artifacts can occur while the presets are loading. See Load Time for related information.
Operational Overviews
Overviews of important underlying concepts are presented below. For details about how to operate the specific controls, see Ocean Way Studios Controls.
Modes Overview
Ocean Way Studios offers two modes of operation: Re-Mic and Reverb. These modes process signals in fundamentally different ways.
Recorded Sound Components
Whenever a sound source is recorded in a naturally reverberant space, there are three primary sound components (shown below) that are captured by the microphone:
- The direct signal. This is the sound path that travels directly between the source and the microphone, without any reflected sounds from the walls, floor, ceiling, and objects.
- The early reflections. These are the still-distinct individual reflections that are reflected off the walls, floor, ceiling, and objects before reaching the microphone.
- The late field (aka reverb tail or ambience). This is the indistinct "wash" that decays over time, comprised of all reflections in the room. The tail is usually considered the main component of reverb.
The main signal components in an acoustically recorded sound
It's important to note that the recorded direct signal component (#1 on previous page) is different than pre-existing dry (unprocessed) acoustic recordings in a DAW. This is because within a DAW, the dry audio was already recorded - so it already contains the direct signal component (along with all the other components) that was captured by the microphone originally used. This distinction is fundamental to the Re-Mic process.
Re-Mic Processing
Re-Mic mode is a tool for "replacing" the original dry audio signal.
When Ocean Way Studios is in Re-Mic mode, the original dry signal is not mixed back in with the wet processed signal. Instead, the dry signal is processed to sound as if it were recorded inside the studio space itself, by emulating the direct signal component. This processed source signal thus inherits the sonic characteristics of the studio acoustics, source dispersion patterns, and microphones with more accuracy and realism than is possible with reverb processing.
The concept is similar to that of guitar "re-amping" whereby previously recorded guitar tracks are routed out of the DAW, into a guitar amplifier, then re-recorded using a microphone to replace the original guitar track with a new track that inherits the sonic characteristics of the amp. This technique is also used in studios to great effect by "re-micing" any pre-existing audio to inherit the sonic characteristics of the recording room.
In the same way, with Ocean Way Studios, any track or bus can be routed into the plug-in to "re-record" the original source so it inherits the sonic characteristics of the Ocean Way studio acoustics, source dispersion patterns, and microphones.
Reverb Processing
In artificial reverb processors, the direct signal component is not actually part of the processed signal. Instead, the original dry signal is simply mixed back in with the reverb ambience (the wet signal). Although great results can be obtained with this method, it is only an approximation of what really happens in the physical realm.
When Ocean Way Studios is in Reverb mode, the plug-in behaves like most artificial reverb processors. The direct signal component is not in the processed signal. Instead, the original dry signal is mixed back in with the wet reverb ambience.
For additional details about Reverb and Re-Mic modes, see Using Ocean Way Studios.
Microphones Overview
In addition to the studio room acoustics, the microphones used in the development of Ocean Way Studios are a significant contributor to the tonality and fidelity of the plug-in.
Microphone Selections
Ocean Way Studios contains 11 different microphone pairs. Additionally, some of these microphone pairs are available with cardioid and omnidirectional polar frequency response patterns. The microphones that are available, along with their descriptions, are listed in the table below.
Available microphones in Ocean Way Studios
|
Microphone* |
Description |
|---|---|
|
C12 |
Allen's incredibly clear and present C12s, these large diaphragm tube condenser mics use a dual backplate design providing great off-axis frequency response. |
|
C12A |
The next-generation, multi-pattern tube condenser mic provides excellent close mic response and consistent low frequency response at further distances. |
|
M50 |
Noted for its far distance placement consistency, the response of this medium diaphragm omnidirectional mic becomes more cardioid above 800 Hz. Allen Sides' favorite microphone. |
|
KM54 |
The studio standard KM54 is a nickel capsule, medium diaphragm, pressure gradient cardioid condenser tube mic, providing maximum on-axis sensitivity. |
|
MKH20 |
The secret weapon omni MKH20 provides rise in directionality at high frequencies. OWR B Far Strings, Horns and Vocal Group has Allen placing the MHK20s at the walls. Distance is unavailable when this mic is used for the OWR B Far selection. |
|
U67 |
A multi-pattern dual diaphragm tube condenser mic with a distinct sonic signature. This "best of the best" set was picked by Allen from his collection. |
|
U47 |
One of the most recognizable mics in recording, this multi-pattern tube condenser is prized for its amazing realism and clarity. |
|
KU3A |
Only about a hundred of these amazing cardioid ribbon mics were ever made, providing an "impressionistic" sound useful within a multi-pair setup. |
|
44 |
The iconic American figure-8 ribbon velocity mic used for broadcast, studio, and live sound is noted for its strong off-axis rejection and smooth tone. |
|
SM57 |
No mic locker is complete without this cardioid pattern, high rejection dynamic studio workhorse, which features a familiar bass roll-off and mid-range presence. |
|
4006 |
A razor-flat small diaphragm omni reference grade mic found in OWR B's loft as a permanent installation. Distance is unavailable when this mic is used for Far selection. |
*Microphone names are all trademarks of their respective owners, which are in no way associated or affiliated with Universal Audio or Ocean Way Recording. These microphone names, descriptions and images are provided for the sole purpose of identifying the specific microphones studied during Universal Audio's sound model development and to describe certain microphone sound qualities and performance characteristics. Ocean Way Studios is a trademark used under license by Ocean Way Recording Inc.
Polar Patterns
All microphone selections are denoted with O, C, or 8 after their name. Microphones with "O" after the name indicates the polar frequency response pattern of the mic is omnidirectional. Microphones with "C" after the name indicates the polar pattern of the mic is cardioid. Microphones with "8" after the name indicates the mic has a "figure 8" polar pattern.
In simplistic terms, omni microphones are equally sensitive to sound pressure levels from all directions, while cardioid microphones are more sensitive to sound from the front of the mic and less sensitive from the rear of the mic. Figure 8 microphones are equally sensitive at the front and rear of the mic, but less sensitive at the sides.
Near/Mid/Far
Up to three microphones pairs (Near, Mid, Far) are available. Each microphone pair can be active simultaneously for creative sonic blending.
Independent Controls
Each microphone pair has its own set of controls that can be independently adjusted. The individual microphone controls are Selection, Distance, High Cut Filter, Low Cut Filter, Polarity Invert, Mute, Balance, and Level. For details about how to operate these controls, see Mic Selection.
Generally speaking, the closer a microphone pair is to the source, the less room ambience is captured by the microphones, so a Far microphone pair will tend to have more ambience (more "live") than a Near microphone pair.
Note: Just as in the physical realm, there can be signal phase interactions when using more than one microphone simultaneously. For details, see Phase Considerations.
Mic Positions
The microphone placement positions within the studio rooms are specified by Allen Sides based on his expertise of which microphone positions produce great results for a given studio and source. Although these pre-defined microphone positions cannot be moved from side-to-side, they can be moved closer or farther with the Distance control.
Distance
The distance from the microphone pair to the source can be dynamically adjusted using the Distance control. Just as when recording with microphones in the physical realm, the mic-to-source distance can have a significant impact on the sound that is captured.
The room will sound tighter and more present the closer the mics are to the source; conversely, the room gets "bigger" when the mics are farther away from the source. The Ocean Way Studios modeling includes the proximity gain that occurs in the physical realm; the signal can be notably louder as microphones are positioned closer to the source.
Stereo Separation
The separation between a stereo microphone pair varies depending on the microphone pair selected and its Distance setting. With most settings, the separation increases incrementally as the distance from the source increases.
Fixed Distance Microphones
When Studio is set to OWR B and Source is set to Strings, Horns, or Vocal Group, the 4006 and MKH20 selections for the Far microphone cannot be repositioned with the Distance control.
With the Far MKH20, this is a specialized setup whereby Mr. Sides chose to set the microphones near the walls for the best sound. With the Far 4006, this is because these mics are fixed installations in the studio loft (they cannot be adjusted in the real studio either).
Distance Delay (Aligned) Overview
When recording a sound source with a microphone, there is an inherent delay between the source and the microphone. This delay is the time it takes for the sound waves to physically travel from the source to the mic (see Recorded Sound Components). The farther the distance is from the source to the mic, the longer the delay time.
When a microphone pair in Ocean Way Studios is set to "aligned" by clicking its Distance knob, this inherent mic delay is artificially removed so the sound source "reaches" the mic instantaneously. The setting is useful when the source audio signals need to remain time-aligned, or simply for its own physically-impossible sonic effect.
Removing this inherent delay can be especially useful in these scenarios:
- If a source is recorded with a distant room mic, it will play back later in relation to sources that are close-miced. Typically, this delay can be compensated in the DAW by manually shifting the track forward in time so it aligns with the other instruments. With Ocean Way Studios, removing the microphone delay will align the distant mics automatically.
- When the microphone pair is distant from the source, the additional microphone delay can be problematic for performers tracking in realtime while monitoring through the plug-in. Setting the microphone pairs to aligned reduces realtime latency.
Tip: The most realistic acoustic emulations are recreated when the distance delay is retained (aligned off). This is because the inherent source-to-mic delays provide subtle yet important auditory cues that our brains use to interpret the acoustic space.
Illustration of Distance Delay. When set to aligned, this "extra time" is eliminated
Acoustic Balancing
All rooms have frequency-dependent resonances that impact the loudness and sonic balances within the room. Furthermore, microphone selections and their placement within the room, as well as the audio source itself, all impact the relative levels and timbres that are captured in a recording.
Although the studios at Ocean Way are beautifully designed and tuned, they are naturally subject to the same acoustic principles. Because the plug-in accurately models the ingredient interdependencies, certain combinations of studios, sources, mic selections, and mic placements may cause the level balances to seem too quiet or too loud, or the balance may not be perfectly centered. Microphone Gain and Balance controls are provided to compensate for these imbalances, providing ample practical and creative flexibility to achieve the desired results.
Using Ocean Way Studios
For details about how to operate the specific controls, see Ocean Way Studios Controls.
Best On Dry Sources
Ocean Way Studios does not remove already-recorded ambience from existing audio signals. For optimum ambience control when using the plug-in, the source audio should be as dry as possible. However, Ocean Way Studios is very forgiving, and great results can be obtained even if the original source has existing ambience.
Tip: Using ambience reduction tools prior to processing with Ocean Way Studios can yield improved results with particularly ambient audio.
Which Mode?
When to use Reverb mode
Use Reverb mode to add Ocean Way Studios ambience to existing sources just as you would with other reverb processors and methodologies. See Reverb Processing for an overview of Reverb mode.
The illustration below shows a traditional auxiliary effect bus send/return configuration in a DAW. In this example, Ocean Way Studios is inserted on the effects bus, the plug-in is in Reverb mode, and its Wet Solo control is enabled (100% wet). Individual reverb amounts are set with the send control for each individual channel, and the overall reverb amount is set with the bus return fader.
Tip: This configuration conserves UAD DSP resources when the same effect settings are desired for multiple channels (instead of using the plug-in on individual channels).
DAW signal routing in Reverb mode using a traditional effect send/return configuration
When to use Re-Mic Mode
Use Re-Mic mode to "replace" existing audio with new audio that inherits the sonic characteristics of Ocean Way Studios. The original dry signal component is removed and completely immersed with Ocean Way room sound. See Re-Mic Processing for an overview of Re-Mic mode.
The illustration below shows how to configure the Re-mic workflow in a DAW. In this example, all the drums are routed to a submix bus instead of the main outputs. Ocean Way Studios is inserted on the submix bus return, and the plug-in is in Re-Mic mode. Note that the effect sends are not used in this configuration.
In Re-Mic mode, the Dry/Wet (mix) control is automatically fixed at 100% wet so the original dry signal does not stack or "phase" against the modeled direct component signal. Instead of an effect bus return (or mix control), the desired ambience is adjusted with the studio, source, and microphone selections, along with microphone placements and their relative levels.
Note: Because Re-Mic mode includes the direct signal path component in addition to the reverb components, the plug-in output is inherently louder in Re-Mic mode.
DAW signal routing with OWS in Re-Mic mode on a drum submix
Dual-Mode Example
The illustration below shows how to use both Re-Mic and Reverb modes with two instances of the plug-in, combining the workflows of the two previous examples. The illustration combines a drum submix being used for Re-Mic mode, while a send/return routing is being used for guitar and vocals in Reverb mode.
DAW signal routing in a workflow with two Ocean Way Studios plug-in instances. One uses Re-Mic mode for the drum submix, and the other uses Reverb mode for the guitar and vocals.
Phase Considerations
When recording in the physical world, it is possible for phase issues to manifest when more than one microphone is used on a source. The sonic characteristic of "phasing" (more accurately called comb filtering) results when frequencies that are being captured by more than one microphone are emphasized because they are summed (signals in phase) or de-emphasized because they are canceled (signals out of phase).
Phase issues resulting from the use of multiple microphones can usually be diminished by simply adjusting the placement position(s) of the microphone(s), or switching its signal polarity.
Phasing with Ocean Way Studios
Phasing is intrinsic when recording with multiple microphones. Because Ocean Way Studios accurately models the acoustic space and the microphones within the space, it is possible for the plug-in to sound "phasey" due to phase issues if the controls are not properly set, especially in Re-Mic mode (phasing is generally not an issue in Reverb mode).
Whenever more than one microphone pair is simultaneously enabled, careful attention should be paid to the Distance (position) and Polarity Invert parameters to avoid potential phase issues. Just as with moving microphones around and changing signal polarity when recording acoustically, changes to Distance and Polarity Invert can have a dramatic effect on the sound. Note that sometimes phasing can sound just fine, and can be useful for creative purposes.
Ocean Way Studios sounds amazing when set properly. If using more than one microphone and the plug-in doesn't seem to sound right, adjust the Distance and/or Polarity parameters on one (or more) of the microphones to taste until phasing is minimized.
Don't Include Original Dry Signal in Re-Mic Mode
Because Re-Mic mode includes the direct signal component, if the original dry signal is mixed with the processed signal when Ocean Way Studios is in Re-Mic mode, phasing is likely to occur in this configuration (for example, if the plug-in is in Re-Mic mode when used in a traditional effects bus send/return configuration). For illustrations of proper DAW routing in Re-Mic mode, see When to use Re-Mic Mode and Dual-Mode Example.
Important: For the intended design results and to minimize phasing when Ocean Way Studios is in Re-Mic mode, exercise caution to ensure the original dry signal is not mixed with Ocean Way Studio's processed output.
Latency
Due to its unique design requirements, Ocean Way Studios is subject to increased latency versus other UAD plug-ins.
The increased latency may be objectionable when tracking through Ocean Way Studios if the plug-in is in Re-Mic mode and/or on individual inserts in Reverb mode. This impediment also applies with Apollo/Arrow when using the Console application for Realtime UAD Processing. The latency is typically not an issue when used in a typical effect send/return configuration in Reverb mode, nor during mixdown when latency is not a concern.
Therefore, when tracking live performances and the performer is monitoring through Ocean Way Studios, we generally recommend using it in Reverb mode using a typical effect send/return configuration where latency with time-based effects does not affect the monitored performance.
Tip: Latency can be reduced further with Distance Delay.
The latency of Ocean Way Studios depends on the sample rate. The exact latency values are provided in the table below.
Latency in Ocean Way Studios
|
Sample Rate (kHz) |
Latency (samples) |
Latency (time) |
Sample Rate (kHz) |
Latency (samples) |
Latency (time) |
|
44.1 |
192 |
4.3 ms |
96 |
688 |
7.1 ms |
|
48 |
192 |
4.0 ms |
176.4 |
1568 |
8.9 ms |
|
88.1 |
688 |
7.8 ms |
192 |
1568 |
8.2 ms |
Note: As with all UAD plug-ins, the latency of Ocean Way Studios is automatically compensated by the DAW.
Load Time
When certain Ocean Way Studios controls are modified (items in the two left-most columns in Parameter Automation Recommendations, the impulse response engine is updated and/or microphone recalculations are performed by the plug-in.
These IR updates and recalculations are not instantaneous; there is a time lag before the new control values are heard. Additionally, sonic artifacts and/or host CPU increases can occur while these recalculations are performed if audio is currently being processed by the plug-in.
Because there are extensive interdependencies within the plug-in, the specific load time depends on the control(s) being modified, the current sample rate, and the DAW buffer size. The Load Progress LED is a status indicator that flashes during the reload.
Automation Limitations
The load time can be an impediment if the specific controls are modified with automation during a mix.
We recommend against changing specific controls with automation to avoid sonic artifacts and/or host CPU increases. If automation must be used on these controls, only snapshot automation should be used (instead of continuous automation), and only when the signal being processed is not audible (for example, between musical phrases). Parameter automation recommendations are listed in the table below.
Parameter Automation Recommendations
|
Not Recommended |
May Cause Zippering Artifacts* |
Continuous Automation OK |
|---|---|---|
|
Studio: Select Source: Select Microphone: Select |
Microphone: Distance Microphone: Delay Microphone: High Cut Microphone: Low Cut Microphone: Polarity Microphone: Mute Microphone: Gain Microphone: Gain Master: Predelay |
Mode (Re-Mic/Reverb) Master: EQ Low Frequency Master: EQ Low Gain Master: EQ High Frequency Master: EQ high Gain Master: L/R Swap Master: Mono Sum Master: Wet Solo Master: Dry/Wet Mix Master: Output Level Master: Bypass |
| *Snapshot (static) automation between audio passages is recommended if automation is used | ||
Ocean Way Studios Controls
Mode
Ocean Way Studios offers two modes of operation: Re-Mic and Reverb. Click a mode control to activate the mode. The button of the current mode is illuminated.
For details about the differences between these two modes, see Modes Overview.
Re-Mic
In Re-Mic mode, the dry signal path is eliminated and the audio is processed as if it was recorded inside Ocean Way Recording.
Important: For the intended design results and to minimize phasing when Ocean Way Studios is in Re-Mic mode, exercise caution to ensure the original dry signal is not mixed with Ocean Way Studio's processed output.
Reverb
In Reverb mode, the plug-in behaves like most reverb plug-ins; the modeled direct signal component is not included. Due to inherent nature of the Ocean Way Studios design, changes to the microphone Distance and Gain settings are less audible in Reverb mode than Re-Mic mode.
Studio
Ocean Way Studios contains meticulous models of rooms A and B at Ocean Way Recording. Each room has unique sonic characteristics.
Interior photos of Room A (left) and Room B (right) at Ocean Way Recording
OWR A
Ocean Way Recording A is Ocean Way's most spacious studio (45' x 52'), suitable for four-piece bands to full orchestras. With a rich sound, exceptionally clear low end, and super smooth decay, OWR A is a study in classic studio design. Associated artists include John Mayer and Whitney Houston, to classics like Frank Sinatra and Count Basie.
OWR B
Ocean Way Recording B is M.T. "Bill" Putnam's crowning achievement in studio design. This flawless miniature concert hall (35' x 45') makes recordings bigger than life. The separate isolation room (18' x 45') is a second studio ideal for guitars, providing an amazing response for distance micing. Radiohead and Green Day to Ray Charles and Duke Ellington have all made Room B their home.
Studio Menu
The Studio menu selects between the two recording rooms at Ocean Way Recording: OWR A and OWR B. To change the active studio, click the current studio name then select the desired room from the drop menu.
Tip: To change the studio room without altering the current microphone selections, press Shift on the computer keyboard while changing the studio selection.
Studio Defaults
When the studio is changed, the default settings for mic selections and distances are loaded for the near, mid, and far microphones. This menu does not change the mic filter, polarity, mute, balance, or level settings.
Source
A variety of audio sources (dispersion patterns) were modeled for Ocean Way Studios. The Source menu sets the optimum placement of the source within the room, as determined by the expertise of Allen Sides.
Because an audio source's placement within a room determines the dispersion pattern of sound waves throughout the room, the active source can have a significant impact on the sound in the room.
Note: Although the source placements are optimized for the source in the title (drums, strings, etc), any type of audio source can be used with any Source selection. Experimentation is encouraged.
Source Menu
To change the active source, click the current source name then select the desired source from the drop menu. The current source is displayed in the menu and as an icon in the Position display panel.
The modeled sources (dispersion patterns) that are available in Ocean Way Studios are shown at right. "Cab" is short for electric guitar amplifier speaker cabinet. The letter is a brand name indicator.
Note: Cab O is available as a source only when Room B is active.
When the source is changed, the default source settings for mic selections and distances are loaded for the Near, Mid, and Far microphones. This menu does not change the microphone's Filter, Polarity, Mute, Balance, or Level settings.
Display Panels
The Display Panels show helpful information about the current state of the plug-in. The four available panels are shown below. Click the buttons beneath the Display Panels to choose one. The button of the currently active panel is illuminated.
Note: The Display Panels are for informational purposes only. There are no parameter controls within any of the Display Panels, and the Panel selection controls cannot be automated.
The Display Panels
Position
The Position panel shows an overhead representation of the current studio room. The relative positions of the source and active microphone(s) are displayed within the room.
The locations of the source and microphones within the room are determined by the Source and Distance parameters.
Note: Microphones that are muted are not shown in the Position Display Panel.
Master EQ
The Master EQ panel displays the state of the Master EQ settings. When the Master EQ is disabled (or when both Master EQ Gain values are zero), the frequency spectrum is flat.
Interior
The Interior panel displays a photograph of the currently selected studio. This panel is a helpful static background when visual feedback is undesirable.
Information
This panel displays information about the currently selected studio and microphone(s). General information is displayed initially; when the studio or microphones are changed, text in the panel is updated with information about the selection.
Load Progress LED
The Load Progress LED is located between the Studio Menu and the Source Menu.
Load Progress LED
The Load Progress LED flashes when the plug-in is updating the impulse response, which is triggered whenever the Studio, Source, Mic Select, or Mic Filter controls are modified. The new control settings are not heard until the LED stops flashing. Sonic artifacts and/or host CPU increases may occur during IR updating. See Load Time for related information.
Note that studio and source changes take longer than microphone changes, because these changes update all three microphone pairs, while microphone changes update only one microphone pair.
Microphones
The Near, Mid, and Far microphone pairs each have their own set of controls. The control set for each mic is identical. See Microphones Overview for related information.
Mic Selection
The microphones used in the room are selected with this menu. To change the active microphone, click the current microphone name then select the desired mic from the drop menu, or click the microphone image to cycle through the available microphones.
Tip: To maintain the current Distance value for the selection when changing microphones, press Shift on the computer keyboard when making the mic selection.
Not all microphones are available for all sources. For a list of available microphones and their descriptions, see Available microphones in Ocean Way Studios.
Distance
Distance varies the length between the microphone pair and the source. The available ranges and default values for Distance depend on the Studio and Source settings. Some microphones have fixed positions. See Fixed Distance Microphones for details.
Note: The colored rings around the encoders match the color of the microphone pair icons in the Position display panel for visual feedback.
Tip: To return to the default value for the current microphone pair, click the DISTANCE text label.
Note: Because these knobs are continuous "encoders" (they don't have end stops), mouse control is always linear even if controls mode is set to circular or relative circular.
Distance Delay
When a Distance encoder is clicked, the colored ring around the encoder changes to black and "aligned" is displayed as the value. When microphone pairs are aligned, the sonic character of their placement in the room is maintained, but the time delay between the source and the microphone that occurs in the physical realm is eliminated. Click the encoder a second time to return to normal Distance mode.
For additional details about this feature, see Distance Delay (Aligned) Overview. For related information, see Latency.
Cut Filters
Independent High Cut and Low Cut filters can be enabled on each microphone. Click the switch to toggle the filter state. The filter is active when the switch is illuminated. The cutoff frequency and filter slope varies for each of the microphones, as shown in the table below.
|
High Cut Filter (6 dB/Octave) |
Low Cut Filter (12 db/Octave) |
||
|---|---|---|---|
|
Near |
10 kHz |
Near |
50 Hz |
|
Mid |
8 kHz |
Mid |
75 Hz |
|
Far |
6 kHz |
Far |
150 Hz |
Microphone Cut Filter values
Polarity Invert
This switch inverts the polarity ("phase") of the microphone. The signal polarity is inverted when the switch is illuminated.
Polarity is especially useful when more than one microphone pair is enabled. See Phase Considerations for related information.
Mute
Mute turns off the microphone pair so it is no longer heard. Click the switch to toggle the mute state. When mute is active, the switch is illuminated, and the mic placement indicators are hidden from the Position Display.
Tip: To quickly solo any microphone pair, shift-click any Mute switch. When a Mute switch is shift-clicked, that mic is un-muted and the other mics are muted.
Balance
Balance sets the position in the stereo panorama. When the plug-in is used in a mono-in/mono-out configuration, this control is locked in the center position.
Tip: To quickly return to the center position, click the BALANCE text label.
Gain
This fader controls the volume level of the microphone. Gain has a logarithmic taper for a more musical response. The gain range is off to +12 dB. Gain is at unity when set to the zero position.
Tip: To quickly return to the 0 dB (unity) position, click the associated NEAR/MID/FAR text label beneath the fader, or the associated "0" text label at the fader's unity gain position.
Master Controls
Predelay
The amount of time between the dry signal and the onset of the reverb is controlled with this knob. The range is from 0 to 125 milliseconds. Predelay is cumulative with the inherent microphone delays.
Note: Predelay is unavailable in Re-Mic mode.
Bypass
Bypass disables the plug-in. The button glows red when Ocean Way Studios is disabled. Bypass can be used to compare the processed and original signals.
Note: The UAD DSP load is not reduced when bypassed with this switch. To reduce UAD DSP usage when bypassed, use the host's bypass switch instead.
L/R Swap
This switch reverses the left and right channels at the output of the plug-in. L/R Swap is useful for changing the listener perspective from the audience position to the performer position. When the switch is not illuminated (the default), output is from the audience position.
Mono
Ocean Way Studios can be used in a mono-in/mono-out, mono-in/stereo out, or stereo-in/stereo-out configuration. The left/right stereo outputs are summed to mono when the Mono switch is engaged. When the plug-in is used in a mono-in/mono-out configuration, this control is always engaged and the left/right output channels are summed.
Mono Output
When the plug-in has monophonic output (when in a mono-out configuration or set to mono with the Mono switch), the microphone icon(s) in the Position panel shows a single icon for each active microphone, as shown at right. This is a convenient visual reminder that the plug-in output is monophonic.
Stereo Output
When the plug-in has stereo output, the microphone icon(s) in the Position panel shows dual icons representing the matched stereo set for each active microphone pair, as shown at right. Each microphone signal is routed to the left and right plug-in channel outputs respectively.
Tip: The color of the microphone icons matches the color of the ring around each Distance knob for visual feedback.
Dry/Wet
When the plug-in is used in Reverb mode in a track insert (versus effect send/return) configuration, Dry/Wet determines the balance between the original dry signal and the processed signal. The range is from 0% (dry, unprocessed) to 100% (wet, processed signal only).
Dry/Wet is used to set the amount of ambience when the plug-in is used in a track insert (versus aux send/return) configuration.
Note: If Wet Solo is enabled, this control is unavailable.
Wet Solo
Wet Solo puts Ocean Way Studios into 100% wet mode. When Wet Solo is on, it is the equivalent of setting the Dry/Wet knob value to 100%.
Wet Solo defaults to On, which is optimal when using Ocean Way Studios in Reverb mode in the "traditional" reverb configuration (placed on an effect group/bus that is configured for use with channel sends). When Ocean Way Studios is used on a channel insert in Reverb mode, this control should be deactivated so the Dry/Wet mix can be adjusted.
Wet Solo is fixed in the enabled position in Re-Mic mode so the original dry signal cannot be mixed with the modeled direct signal component within the plug-in.
This control uses a logarithmic taper to provide increased resolution when selecting lower values. When the knob is in the 12 o'clock position, the value is approximately 15%.
Note: Wet Solo is a global (per plug-in instance) control.
Master Level
This fader controls the volume level at the output of the plug-in. It has a logarithmic taper for a more musical response. The gain range is from off to +12 dB. Gain is at unity when set to the zero position.
Tip: To quickly return to the 0 dB (unity) position, click the MASTER text label beneath the fader, or the "0" text label at the fader's unity gain position.
Master EQ
This group of parameters contains the controls for Ocean Way Studio's master equalizer. It is a two band (low and high) shelving EQ that uses analog-sounding algorithms for great tonal shaping options. The slope of both filters is 12 dB per octave.
The Master EQ section is independent from the reverb algorithms. A graph of the current curve is displayed in the Master EQ Display Panels.
Tip: To quickly return to the 0 dB position for either of the Master EQ Gain controls, click the GAIN text label above the knob.
Master EQ In/Out
The Master EQ is enabled with this switch. The equalizer is active when the button is illuminated.
Low Shelf Frequency
This parameter specifies the low shelving band transition frequency to be boosted or attenuated by the low shelf Gain setting. The range is from 20 Hz to 2 kHz.
Because this is a shelving EQ, all frequencies below this setting will be effected by the low shelf Gain value.
Low Shelf Gain
This parameter determines the amount by which the transition frequency setting for the low band is boosted or attenuated. The available range is ±12 dB.
High Shelf Frequency
This parameter determines the high shelving band transition frequency to be boosted or attenuated by the high shelf Gain setting. The range is from 200 Hz to 20 kHz.
Because this is a shelving EQ, all frequencies above this setting will be affected by the high shelf Gain value.
High Shelf Gain
This parameter determines the amount by which the frequency setting for the high band is boosted or attenuated. The available range is ±12 dB.
The History of Ocean Way Recording
Ocean Way Recording in Hollywood California is the world's most awarded studio complex. Albums recorded at the studio have sold over 1 billion units. Generations of music icons, from Frank Sinatra, Nat King Cole, Ray Charles to The Rolling Stones, Eric Clapton, and Michael Jackson, all the way to contemporary artists like Green Day, Dr. Dre, Radiohead, Kanye West, and The Red Hot Chili Peppers, all choose Ocean Way for its phenomenal sounding rooms, customized equipment, impeccable electronic maintenance, and access to the music industry's most famous collection of vintage tube microphones.
In 1972, Allen Sides began building custom loudspeakers and leased a garage in Santa Monica, California as a hi-fi demo room. This garage was within steps of the Pacific Ocean and was situated on a street appropriately named - Ocean Way. Since he knew exactly what kinds of sounds were most impressive on his speakers, Sides did limited live to two-track recordings as demo material. During these demos, listeners became as interested in the recordings as the speakers and before long, they were asking Allen to make their recordings. In order to service those clients, Ocean Way Recording was born. Five Grammys and a thousand albums later Allen is still rolling.
Putnam moves to Los Angeles
In order to be a proper studio, Sides needed a recording console. This is where the story of Ocean Way truly begins; How Sides ended up purchasing Western Recorders' original tube console and came face to face with M.T. "Bill" Putnam. Putnam was a true renaissance man in the world of sound and music. His combined skills as a record producer, audio engineer, songwriter, singer, electrical engineer, inventor, studio owner and businessman are unparalleled to this day. Putnam owned and operated the largest independent recording facility in the country, Universal Recording in Chicago. But with a large chunk of his business moving west, clients like Frank Sinatra and Bing Crosby urged him to open a Los Angeles facility. Finally in 1957, Bill moved to 6050 Sunset Blvd. in Hollywood and started constructing brand new studios for his newly named studio enterprise, United Recording Corporation. The ultimate result was in 1961, when he purchased the neighboring Western Studio at 6000 Sunset, creating the United/Western Recorders studio complex.
Get this stuff out of here
So how was it that Allen Sides and Bill Putnam come together at this key moment? Sides explains, "I needed a console. I heard that Bill's factory manager Ray Combs needed to clear some space-much of it occupied by all the old tube equipment from United/Western Studios". Allen was a runner at United/Western in the late 60's and knew everyone, but had never met Bill. "I knew Bill was out of town, so I went to Ray and said, `How about I give you $6,000 for all this junk including the trailer in the back with the old Western console in it.' He said, `I'll take it; get this stuff out of here.'"
"One man's junk is another man's treasure; and in this case, I was able to acquire some old Fairchild limiters, UA tube limiters, Macintosh tube amps, and enough equipment to completely fill my garage studio. It was the deal that really put me in business. However, there was a slight problem. I didn't actually have the 6 grand, so I wrote a check, picked up the stuff, and within six hours had sold enough gear to cover my check." When Putnam returned and found that his manager had been snookered into selling all this equipment for $6,000, he wanted to meet him. As Sides explains, "There was no way to ever anticipate what would take place. When I walked into Bill's office, he gave me a long, stern look. That look eventually turned into a smile, and he proceeded to offer me a partnership which involved buying out studios all over the United States. Bill and I just clicked immediately and we became very good friends and business partners in the following years."
By 1976, things were going well at the Ocean Way garage, with sessions around the clock. Bill was a frequent guest and loved listening to the tri-amplified front loaded theater horns in Allen's control room. Unfortunately, trying to keep a low profile while running a commercial studio in a quiet residential neighborhood proved to be much more tricky.
The opportunity of a lifetime
As fate would have it, a lease was about to expire for Studio B in the United building. When Sides approached his friend about leasing the studio, Bill offered him a "sweetheart deal" on the space. Sides quickly redesigned and rebuilt the Studio B control room, and moved all his equipment in. Studio B was an astounding acoustic space and Sides was thrilled. Bill felt that of all the rooms he had designed and built, this was his favorite and he was very pleased that his protégé would carry on the tradition.
Early sessions ranged from Neil Diamond, Chick Corea, Bette Midler, and all the way to Frank Zappa. In 1982 towards the end of his career, Bill also leased Studio A to Allen. Sides made a few control room changes, and Studio A immediately became one of the most popular rooms in town again. One of the first projects was Lionel Ritchie's "Can't Slow Down," which sold 25 million records and Michael Jackson's Thriller. Lionel and Michael became two of Allen's best long term clients. A couple years later, Bill sold United/Western to Allen, at which time United Recorders then became Ocean Way Recording. It was also during this time Sides began buying close to a thousand tube microphones from overseas: The European studios and broadcasters were dumping loads of "antiquated" tube mics for brand new phantom-powered transistor mics. He carefully went through every mic, picking the absolutely best of the best and selling off the rest. This is how, along with mics from previous studio buyouts with Putnam, Ocean Way amassed one of the largest collection of tube mics in the world.
A new era
Now the Hollywood Studio has changed hands again after nearly 30 years. Neighboring Sunset/Gower Soundstage now has purchased the studios and equipment from Allen and entered into a licensing agreement to keep Ocean Way and its staff in place, acquiring the studios to form a "strategic alliance" between their 100-year-old film and TV studios and soundstages and the neighboring music recording studios, creating one unified production complex. Allen Sides continues to consult and work at the studios on all his recording projects.
The original control rooms and recording spaces have always stayed true to Putnam's designs, and those rooms will remain untouched under the new ownership - with top staff and equipment in place. According to Ocean Way's new day-to-day manager Robin Godchild, the studios are still very much available for commercial bookings, and clients can expect to see some improvements and additions in the coming months.
Ocean Way Recording is now captured as a tool developed by Universal Audio and Allen Sides. The Ocean Way Studios plug-in rewrites the book on what's possible with acoustic space emulation.