Make music in Hollywood's most legendary studios.

UAD Capitol Studios is a room modeling and reverb plug-in that lets you place your vocals and instruments in Studios A and B, mix through Capitol’s vintage mics and consoles, and send to four echo chambers never before available in a plug-in.*

• Track vocals, drums, and ensembles in rooms that have shaped generations of music, from Frank Sinatra to Frank Ocean.
• Hear your tracks through vintage microphones with setups curated by Capitol alum Steve Genewick.
• Drag mics around the room and hear the space respond in real time.
• Send strings, horns, and vocal groups through the time-tested three-mic orchestral Decca tree array used on countless albums.
• Add space and depth from four storied echo chambers beneath Capitol Tower.
• Mix through Capitol’s priceless large-format British consoles and trusted in-house analog gear.
• Start with preset settings dialed in by past and present Capitol engineers, producers, and musicians who know these rooms best.

*Use of artist names does not constitute official endorsement of Capitol Studios software.

In this article

• Operational Overview
• Quick Start
• Studio View
• Mixer View
• Master Effects View
• Equalizer
• Dynamics
• Chambers
• Description Lists
• Technical Overview
• History
• Special Thanks

Operational Overview

Capitol Studios is a complete studio in the box, based on the principle of "re-miking," or blasting the room with pre-recorded tracks over loudspeakers, and recording the results back to transform your sound. The plug-in takes this re-miking concept much further, by replicating the radiating energy patterns of specific sources such as drums or piano, for unmatched sonic realism.

You can recreate specific recording setups in Studio A and Studio B, with an array of Close, Room, and Decca tree mics that can be dragged to new positions.

Capitol Studios includes much more than modeled room sound. The plug-in captures the audio path of both rooms' recording consoles, along with outboard equipment and Capitol's echo chambers. Effects can be quickly enabled, reordered, and disabled.

Capitol Studios is built on the principle of "re-miking" the room for all-new sounds

Modes

Capitol Studios offers two modes of operation. It can be used as a "Re-Mic" processor when full immersion within Capitol Studios' studio space is desired, or in a traditional Reverb workflow using send and return paths mixed with dry signals.

Re-Mic mode

Use Re-Mic mode to mix through Capitol Studios. Re-Mic mode entirely replaces your recordings with Capitol Studio A or Studio B, complete with microphone characteristics, room setups, and mic choices and locations. Re-Mic mode retains the source-to-mic "direct path" component, a crucial part of every microphone's unique sound. For more information, see Understanding Re-Mic mode.

Reverb mode

Use Reverb mode to mix Capitol Studios with existing recordings. Reverb mode works as a short reverb effect by programmatically removing Capitol Studios' source-to-mic "direct path" component captured by the mics. Only the early reflections and decay of each studio are heard. For more information, see Understanding Reverb mode.

Views

The Studio, Mixer, and Master Effects views present you with different ways to interact with the mics, level controls, and audio processors. The controls within each view are described later in this guide.

Studio view overview

 Studio A view

 Studio B view

In Studio view, you can make immediate changes to the studio sound. See Studio View for details.

• Choose Studio A or Studio B
• Choose Re-Mic or Reverb mode
• Choose from a variety of sound sources such as drums, acoustic instruments, speakers, vocals, and ensembles
• Choose from extensive microphone options:
  • Enable Close, Room, and Decca tree mics and adjust their levels
  • Drag mics to reposition them in the room
  • Adjust mic type, polar pattern, and on/off-axis placement
• Show/hide Mixer and Master Effects views from the sidebar
• Quickly bypass or enable the Room and mixer, Equalizer, Dynamics, and Chamber effects

Note that Studio view is always visible, but reduced in size when other views are displayed.

Mixer

In Mixer view you can adjust levels, balance, and other mix settings for the microphone channels, and adjust the master controls. It also provides Predelay and Mix controls in Reverb mode. The Mixer has a different color scheme for each Studio. See Mixer View for details.

Mixer view (Studio A)	Mixer view (Studio B)

Master Effects

You can adjust the EQ, Dynamics, and Chamber post-mixer effects, as well as the master controls, in the Master Effects view. Effects can be rearranged by dragging. The Mixer and Master Effects have two different color schemes representing each studio's console, and two different EQ modules for each of the two studios. See Master Effects View for details.

Master Effects view (Studio A)	Master Effects view (Studio B)

Equalizer overview

Each studio features an EQ module from the studio's recording console: the 88 from Studio A, and the 80 from Studio B. See Equalizer for details.

Dynamics overview

Capitol Studios includes an easy-to-use dynamics module that gives you access to an array of console and rack-mount dynamics processors famously used at Capitol Studios. See Dynamics for details.

Chamber overview

In addition to the studio spaces, Capitol Studios includes four of Capitol's stereo echo chambers. You can add reverb from any of these chambers to your sound. See Chambers for details.

Quick Start

Use this section to quickly get started using Capitol Studios.

Insert the plug-in

Load the Capitol Studios plug-in on a DAW track or bus. Capitol Studios works well on stereo tracks or submixes. For example, you can place the plug-in directly on a stereo drum track, or you can place the plug-in on a stereo submix bus, and then route the outputs from several other tracks to that bus track.

Capitol Studios opens in Studio view. Studio view lets you quickly and easily make changes to the studio, operating mode, source and mic selections, mic channel levels, mic settings, and mic distances, and to open the other plug-in views.

Tip: Click the ⓘ symbol at the lower right side of the plug-in screen to see informational tips as you hover over items in Studio view.

Choose a studio

Choose Studio A or Studio B. Each studio has a unique room design, mic placements, and (switchable) console EQ.

Choose a mode

Choose Re-Mic mode to replace your entire audio signal with Capitol Studios' room, mics, and processors. For more information, see Understanding Re-Mic mode.

Choose Reverb mode to mix Capitol Studios in as a reverb effect, while preserving your dry sound in the mix. For more information, see Understanding Reverb mode.

Choose a Source

At the top of the screen, hover over a Source category, then click a source from its menu. The bar below the active category is highlighted. Many source types and room positions are available.

Toggle Room and Effects on/off

At the right side of Studio view, you can toggle the Room, EQ, Dynamics, and Chamber on and off independently.

Adjust mics

At the bottom of the screen, you can choose microphones for each mic position: Close, Room, and Decca. Click a mic to select it. Try the different mics to get an idea of their sounds.

Move mics around

Drag a mic to move it in the room. A custom cursor that indicates that you can drag in any direction to move mics appears when hovered, and the mic or mics are highlighted. Mics can move closer to the source, further from the source, or both. Overhead mics move up and down. Some mics have fixed positions and cannot be moved.

Adjust mic levels

Below each mic, you can quickly adjust the mic level with a slider.

Change mic polar patterns or mic axis

Some mic options have selectable cardioid or omnidirectional polar patterns. Try each polar pattern to hear how it changes the sound.

On guitar cabinet sources, you can place the Close mic on-axis or off-axis. Try both axis choices to hear how they change the sound.

Mix the mics

Capitol Studios includes a fully featured mixer for the three mic channels. To open the sidebar and show Mixer view, click the Mixer icon within the view select area on the right side of the Studio view screen.

For each mic channel, you can adjust the microphone distance, apply cut filters, invert polarity, mute/unmute, balance, and set output level. You can also time-align the mic channels. The Decca channel has separate faders for its stereo (left/right) and center mics, which can be linked or unlinked. In the master section you can mono sum, swap the left and right channels, and adjust master output level. In Reverb mode, you can add predelay, adjust the reverb mix (when used as an insert), and enable Wet Solo (for send/return use on an aux bus). For more information on these settings, see Mixer view controls.

Adjust Master Effects

Capitol Studios includes three effect modules that you can use to further process your sounds. To open the sidebar and show the Master Effects, click the Master Effects icon within the view select area on the right side of the Studio view screen.

Enable and adjust the Equalizer

Toggle EQ with the IN button. Choose the 88 or 80 EQ, then adjust the Low, Mid, and High bands to taste. For more in-depth information, see Equalizer controls.

Enable and adjust Dynamics

Toggle Dynamics with the IN button. For quick adjustments, select the processor type then adjust the Amount and Mix controls to taste. For more in-depth information, see Dynamics controls.

Enable and adjust Chamber reverb

Toggle the Chamber with the IN button. Choose a chamber and adjust the Amount control to add more or less reverb. For more in-depth information, see Chambers controls.

Try a preset

Capitol Studios includes many presets designed by Capitol Studios staff and alumni to work as excellent starting points. Click the Preset area to search, filter, and choose presets from the Preset Browser. For more information on managing presets, go here. 

Studio View

Studio view presents a full visual representation of Studio A or B, including the Source placement, the studio configuration, and the default mic locations as directed by Capitol alumnus, Steve Genewick.

Studio A view

Studio B view

Mics are placed in the room to best suit each source, and the Distance parameter adjusts their relative distance from the source. Drag mics toward or away from the source. Mics and mic stands brighten when hovered, and a custom cursor shows the direction to drag.

Note: Mics that are muted are not shown in Studio view. When the Room is bypassed, no mics are shown.

Studio view controls

Studio view controls are always visible and available when the Mixer or Master Effects views are shown. Some mics may not be visible in the Studio view when the Mixer or Master Effects are open.

Tool tips

To show or hide informational tool tips, click the ⓘ symbol at the lower right side of the plug-in screen. When highlighted, additional text is displayed as you hover over items, including descriptions of the modes, sources, microphones, and Studio View icons. Tool tips are also available in Mixer and Master Effects views. The Info setting is saved with each plug-in instance.

Power

Power allows for glitch-free bypass of the plug-in, for A/B comparison with the original unprocessed signal. To toggle Power, click the UA diamond or the CAPITOL STUDIOS logo. Power is tied to the IN control in the UADx toolbar.

Studio

Each studio has a unique room design and mic placements. The current studio is highlighted. Select a studio to load its default microphones in their default positions for the Close, Room, and Decca mics, and switch the Equalizer to that studio's console EQ.

Tip: Hold Shift while changing studios to retain the current microphone and Equalizer selections. Mic Distance still returns to the default positions.

Studio A: Capitol's largest space, world-renowned for orchestral scoring, is equally suited to small groups and big bands. With both "live" and "tight" room sounds, Studio A pairs timeless design with a modern, detailed sound.

Studio B: Capitol's most popular room for bands, Studio B is famous for punch, energy, and superb-sounding drums. Switchable acoustic panels make it equally suited for live recording and overdubs.

Mode

Capitol Studios offers two modes of operation: Re-Mic and Reverb. Click a mode control to activate the mode. The current mode is illuminated.

For details about the differences between these two modes, see Modes overview.

Re-Mic

Re-Mic mode entirely replaces your recordings with Capitol Studios' complete room and microphone characteristics. Re-Mic mode retains the source-to-mic "direct path" component, a crucial part of every microphone's unique sound. Predelay and Mix are not available in Re-Mic mode, and Wet Solo is locked on.

Important: For the intended design results and to minimize phasing when Capitol Studios is in Re-Mic mode, exercise caution to ensure the original dry signal is not mixed with Capitol Studios' processed output, as phase issues can occur. If you want to preserve your original dry source, use Reverb mode instead.

Reverb

Reverb mode works as a short reverb effect by programmatically removing Capitol Studios' source-to-mic "direct path" component of the mics. With Reverb mode, only the ambience of the studio's early reflections and decay are heard. Due to the inherent nature of the Capitol Studios design, changes to the microphone Distance and Gain settings are less audible in Reverb mode than in Re-Mic mode. Predelay, Mix, and Wet Solo are only available in Reverb mode.

Note: Predelay and Mix settings are retained when you switch to Re-Mic mode and back to Reverb mode.

Source

A variety of audio sources and their natural radiating patterns were modeled for Capitol Studios. An audio source's placement within a room influences the energy of sound waves throughout the room. Therefore, the active source can have a significant impact on the sound in the room. Each source adopts the placement of the sound source within the room, exactly as it was recorded.

Tip: Although all placements are optimized, any type of audio can be used with any source selection. Experimentation is encouraged.

Available sources

• Drums
  • Wall (Studio A)
  • Corner (Studio B)
• Acoustic
  • Solo
  • Piano
• Speakers
  • Studio PA
  • Cab 1 — Studio A: 2x12 Cab D65; Studio B: 1x12 Cab GB
  • Cab 2 — Studio A: 2x15 Cab 130; Studio B: 1x12 Cab EV
• Vocal
  • Solo
  • Group Live
  • Group Tight
• Ensemble
  • Horns Live
  • Horns Tight
  • Strings Live
  • Strings Tight

Choosing your source

To change the active source, hover over the Source category (Drums, Acoustic, Speakers, Vocal, or Ensemble), then select the desired source setup from the drop-down menu. The mic selections and recorded positions are displayed in Studio view, and the bar highlights the selected category.

When you choose a Source, the Close, Room, and Decca mics and their positions return to their default settings. 

The current Source is retained when you switch studios. For example, if Vocal Solo is selected in Studio A, Vocal Solo remains selected when you switch to Studio B. The same mic selections are available for the Sources in both studios. 

Note: This selection does not change the mixer's Filter, Polarity, Mute, Balance, or Level settings.

Source loading progress

Switching Sources, Studios, or mics causes a brief update period while the plug-in updates, as indicated by a blinking line under the label. Sonic artifacts may occur until the underline stops blinking. See DAW automation limitations for related information. 

Microphones

The microphone channels each have their own set of controls. Close mics are closest to the source, Room and Decca mics are further from the source to capture more room sound. Decca mics are configured in a three-mic Decca tree array. Selecting a studio or source loads curated sets of default microphones. Not all microphones are available for all sources, and some mics have different features than others. For a list of available microphones and their descriptions, see Available microphones.

Dragging mics to adjust Distance

You can adjust microphone distance by dragging mics. Hover over the mic you want to adjust; the mic and stand brighten and the mouse cursor changes to show four arrows. Drag vertically or horizontally to reposition the mics. This is the same as changing the Distance control in Mixer view.

Note: Some mics may be offscreen when the Mixer or Master Effects sidebar is open, and cannot be selected to adjust their distances in Studio view. Hide the Mixer or Master Effects sidebar to reveal these mics.

Mouse cursor when dragging mics

Mic controls

The mic controls are at the bottom of Studio view.

Mic selections

For each channel you can select microphones within the mic selector footer. The selected mic is highlighted. Hover over the microphone names to reveal mic images, and click to change the active microphone. The number and placement of available microphones per channel differs for each source. 

When you change microphones, the original recorded position is restored.

Tip: Hold Shift while selecting a new microphone to retain the current mic-to-source Distance.

Mic levels

You can quickly adjust the mic level with a horizontal slider below the mic name. This makes the same adjustment as moving the faders in Mixer view.

Decca level slider

The Decca slider in Studio view controls the Decca stereo (left/right) and center levels together when Decca Link is on. When Decca Link is off, the Studio view slider has no handle; use the Decca faders in Mixer view to adjust the stereo and center levels independently. See Decca Link.

Mic polar patterns

You can switch some mics between cardioid and omnidirectional (omni) patterns. A pattern is selectable when more than one pattern icon appears. To change a mic's polar pattern, click the polar pattern you want to use. Cardioid patterns are more focused and produce a tighter, more directional response, while omni patterns capture more room sound and produce a less directional image.

Mic placement (on- or off-axis)

When you select a Cab source in the Speakers category, you can place the Close mic on-axis (the default setting) or off-axis. On-axis mics capture more of the brightness and edginess of the speaker, and off-axis mics capture a smoother, darker sound.

Output meter and master level control

The output meter shows the left and right levels at the output of the plug-in. Use the master level control to adjust the output volume level. This is the same adjustment as the Master fader in Mixer and Master Effects views.

Mixer View

In Mixer view you can adjust levels, balance, and other mix settings for the microphone channels, and adjust the master output controls. When in Reverb mode, it also provides Predelay, Mix, and Wet Solo controls.

Mixer view (Studio A)

To open the sidebar and show the Mixer, click the Mixer icon on the right side of the Studio view screen, or click the angle bracket (❮) to show the sidebar with the Mixer or Master Effects section. Click the active view icon or the bracket again (❯) to hide the sidebar. Once the sidebar is open, you can switch between Mixer and Master Effects. The master section remains visible in both views.

Mixer view controls

The microphone channel strip controls for the Close, Room, and Decca channels are available in Mixer view.

Distance knob

Distance varies the length between the microphones and the source. This control also updates when you drag mics in the room. The available ranges and default values for Distance depend on the selected Source and Microphones. You can move some microphones towards the source, and some away from the source. Others can be moved in both directions. Still other microphones are in fixed positions.

Tip: To return to the default value for the current microphones, click the DISTANCE text label. Click the MIN or MAX labels for minimum and maximum values.

Distance display

The Distance display shows the distance from the source to the microphones.

• If a number is displayed, this is the distance in feet from the source to the mics. The distance displayed is an average of the mic distances.
• If FIXED is displayed, the mic channel Distance is fixed. Fixed position mics are specialized setups placed near studio surfaces or sources for specific audio results.
• If ALIGNED is displayed, the mic channel is time-aligned.

Distance Align

When microphones are aligned, the sonic character of their placement in the room is maintained, but the time delay between the source and the microphones that occurs in the physical realm is programmatically eliminated. To toggle microphone alignment on a channel, click the "clock" button below Distance.

Align has no relationship to the Predelay control in Reverb mode.

For additional details about this feature, see Aligning microphones overview. For related information, see Latency.

Cut filters

Independent High Cut and Low Cut filters derived from the 80 Series console EQ can be enabled on each microphone channel. Click the button to toggle the filter state. The cut filter frequency varies among the sources and channels. See Cut filter values for the filter values.

Polarity invert

This button inverts the polarity (phase) of the microphone channel. Polarity may be useful when more than one microphone set is enabled, but may be used creatively as well. See Phase considerations for related information.

Mute

The Mute button disables the microphone channel so it is no longer heard. The incoming signal is muted, so reverb tails continue to decay naturally. Click the button to toggle the mute state. When a channel is muted:

• The mute button is lit in Mixer view
• The mic enable button is unlit in Studio view
• Mics are hidden in Studio view

Tip: To quickly solo any microphone, Shift-click any Mute button in the Mixer, or any Enable button in Studio view. The selected mic channel is un-muted and the other mic channels are muted.

Balance

Balance sets the microphones' 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. Click the L or R labels to pan hard left or right.

Gain Faders

These faders control the volume of the microphone channels. The gain range is from off to +10 dB. Gain is at unity when set to 0. This is the same adjustment as dragging the horizontal sliders in Studio view.

Tip: To quickly return to the 0 dB (unity) position, click the text label at the fader's unity gain position. Click any fader label to jump to that value.

Decca faders

The Decca channel has two faders:

• L/R controls the level of the Decca tree's stereo left and right mics.
• C controls the level of the Decca tree's center mic.

Both faders range from off to +10 dB.

Decca Link

Decca Link links and unlinks the Decca L/R and C faders.

• On: Both faders move together. When you enable Link, the C fader jumps to the current ST fader value. Any offset between the faders is not retained.
• Off: The L/R and C faders can be adjusted independently. In Studio view, the Decca slider cannot be adjusted when Link is off; adjust the faders in Mixer view.

Bypass

Bypass disables the mixer, all microphones, and the overall contribution of the room's sound. The button is lit when the room and mics are disabled. This is the same as enabling/disabling the Room in Studio view. This control bypasses the room and mics only; Master Effects still process the signal. Microphones are removed from Studio view when the room is bypassed.

Tip: Use Bypass to process only with the Master Effects of Capitol Studios. For example, bypass the room and enable the Chamber for fully wet chamber reverb on a send/return bus. The Master fader remains available when bypassed to adjust the plug-in's output level.

L/R Swap

This button reverses the left and right channels at the output of the mixer. L/R Swap is useful for changing the perspective from the audience position (the default) to the performer position.

Note: L/R Swap changes the output of the main room only. The Master Effects signals are not swapped. L/R Swap is unavailable when Mono is engaged. The L/R Swap setting is restored when Mono is disengaged.

Mono

Capitol 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 of the mixer are summed to mono when the Mono button is engaged. When the plug-in is used in a mono-in/mono-out configuration, this control is always engaged and the left and right output channels are summed.

Note: The Mono button changes the output of the main room only. The Master Effects (for example, the Chamber) remain in stereo.

Master Fader

The Master fader controls the volume level at the output of the microphone mix and the Master Effects, from off to +10 dB. Gain is at unity when set to the zero position.

Tip: To quickly return to the 0 dB (unity) position, click the MASTER label or the 0 text label at the fader's unity gain position, or click any fader label to jump to that value.

Mixer view Reverb mode-only controls

These controls are only available when the plug-in is in Reverb mode. In Re-Mic mode, these controls cannot be adjusted.

Note: These controls adjust the main studio room sound only. Chamber and Dynamics have their own separate mix/amount controls.

Predelay

The amount of time between the dry signal and the onset of the room reverb is controlled with this knob. The range is from 0 to 125 milliseconds. Predelay is cumulative with the inherent microphone delays.

Tip: Click the 0 or 125 labels to set Predelay to those values.

Mix

Mix is used to set the amount of room and mic ambience when the plug-in is used in a track insert, versus a send/return configuration. The control determines the balance between the original dry signal and the processed signal.

If Wet Solo is enabled, this control is unavailable.

This control uses a logarithmic taper to provide increased resolution when selecting lower values.

Note: EQ, Chamber, and Dynamics are not affected by the Mix control. Chamber and Dynamics have their own separate mix/amount controls.

Tip: Click the DRY or WET labels to set Mix to 0% or 100%.

Wet Solo

Wet Solo puts Capitol Studios into 100% wet mode. When Wet Solo is on, it is the equivalent of setting the Mix knob value to 100%.

Wet Solo defaults to On, which is optimal when using Capitol Studios in Reverb mode in the "traditional" reverb configuration (on a send/return bus). When Capitol Studios is used on a channel insert in Reverb mode, deactivate Wet Solo to adjust the dry and wet mix.

Master Effects View

The Master Effects view of the plug-in can be used to apply EQ, dynamics, and echo chamber ambience.

Master Effects view

To open the sidebar and show Master Effects, click the Master Effects icon on the right side of the Studio view screen, or click the angle brackets (❮ or ❯) to toggle display of the Mixer or Master Effects section.

Working with Master Effects

• Enable an effect: Click its IN button to toggle the module on/off. A module is enabled when its button is lit.
• Toggle from Studio view: Click the effect's related icon in Studio view.
• Reorder effects: Drag a Master Effect module to a new position. Hover over the bottom title strip of the module to see the custom up/down move cursor, then drag the effect module vertically to the desired position. The default order is EQ, Dynamics, Chamber.

Equalizer

You can use the Equalizer module to adjust the frequency balance of the output from the mixer. Two Equalizer modules are available:

• 88: From Studio A's 88 Series console, this EQ features a modern sound with "formant shaping" low-mid or high-mid band control. 88 is the default EQ for Studio A.
• 80: From Studio B's vintage 80 Series console, this EQ features famed three-band EQs. 80 is the default EQ for Studio B.

When you change studios, the EQ switches to that studio's EQ. You can freely switch to the other EQ at any time. To swap the Equalizer modules, toggle the EQ switch to 88 or 80, or click the 88 or 80 text labels.

Tip: Hold Shift while changing studios to retain the currently selected Equalizer.

88 EQ (left) and 80 EQ (right)

Equalizer controls

The two Equalizer modules have distinct controls and frequency settings. Settings for each EQ are saved when you switch EQ modules.

Gain

The gain for each equalizer band is adjusted with the gain knob. Rotate the control clockwise to increase the gain, or counter-clockwise to reduce the gain. Gain is continuous on both EQs.

Tip: Click a band's gain label to return the gain to 0 dB.

Frequency

The equalizer band frequencies are set with the frequency controls. To set the equalizer band frequency, rotate the control or click the frequency text label.

88 EQ filters and frequencies

• Low Shelf (±19.8 dB) — Continuous, 31.1 Hz to 448 Hz
• Mid Parametric (±18.9 dB, continuously adjustable Frequency and Q)
  • Range: LMF or HMF. The 88 hardware's two mid bands are merged into one band, with a range (LMF/HMF) switch to select between them.
    • LMF – 118.1 Hz to 2.13 kHz
    • HMF – 756 Hz to 8.74 kHz
  • Q: 0.45 to 10.3
• High Shelf (±19.1 dB) — Continuous, 1.48 kHz to 21.3 kHz

80 EQ filters and frequencies

• Low Shelf (±15 dB, Hz) — 35, 60, 110, 220
• Mid Bell (±20 dB, kHz) — 0.35, 0.7, 1.6, 3.2, 4.8, 7.2
• High Shelf (±20 dB, kHz) — 10, 12, 16

Dynamics

You can use the Dynamics module to process the output of the mixer with six available console and studio dynamics processors, as used at Capitol Studios.

Dynamics controls

The six types of available dynamics processors include simplified Amount and Mix controls.

Type

Rotate the switch or click the processor's text label to select the dynamic processor type.

• 1176LN: UA's classic 1176 limiter at 20:1. Attack and release get progressively faster as Amount increases.
• Air: "A-Type" dynamics for a hyped, airy sound on vocals and more. Mix blends the effect.
• LA-2A: UA's classic optical compressor known for smooth, natural control of vocal and bass dynamics.
• Ch-88: Studio A's 88 Series channel dynamics, providing modern sheen and cohesion.
• CMC: Designed for Capitol's mastering rooms, now indispensable in their racks. A smooth, era-defying sound.
• Bus-80: Studio B's console dynamics with gentle 2:1 ratio and transparent multi-stage auto release.

Amount

Amount adjusts the gain reduction or other dynamic effects applied to the signal. Amount acts as a macro control for each processor type, adjusting parameters such as attack, release, and auto gain. To add more of the effect, rotate the knob clockwise.

Mix

Controls the mix of the source signal with the dynamic processor's signal for parallel wet/dry effects. Rotate the knob clockwise to blend in more signal from the dynamics processor.

SC Link

Provides Linked (Stereo) or Unlinked (Dual Mono) dynamics sidechain operation.

• SC Link Off: The L/R dynamic processors are unlinked, and the amount of compression that occurs is completely independent for both channels, for creative effect. If one channel has higher signal peaks than the other channel, the left-right stereo image may shift.
• SC Link On: The L/R dynamic processors are stereo linked and the amount of dynamic processing is always the same for both channels. This setting prevents left-right shifting of the stereo image at the output that can occur when one channel has higher signal peaks compared to the other channel.

When the plug-in is used in a mono-in/mono-out configuration, SC Link is always off.

Tip: Click the text labels to switch the SC Link settings.

SC Filter

The SC Filter (sidechain filter) options allow you to filter the input signal to the dynamics detector, to control dynamics processing across the frequency range. This three-way switch has the following settings:

• Tilt (left) – Applies a 3 dB per octave linear filter, for a low to high shift in the dynamic response to the signal across the frequency range.
• Off (middle) – No sidechain filter is applied.
• Low Cut (right) – Applies a 12 dB per octave low cut filter at 150 Hz to minimize low frequency detection and reduce "pumping" with bass-heavy content.

Tip: Click the filter icons to switch the SC Filter settings.

Chambers

You can use the Chambers module to mix in the return from one of four of Capitol Studios' stereo echo chambers. The natural response of each chamber is represented by the Long setting, but four shorter "beyond reality" settings are also included for increased flexibility.

Chambers controls

Chambers include comprehensive controls to apply the sound of four new Capitol Studios chamber models.

Chamber

Choose one of four stereo chambers: 1, 3, 5, or 8.

• 1: A distinctively bright and airy sound, voiced with custom MDF D50-style cabinets. Features original D50 woofers and horns, with low-placed SM80 condensers capturing the sound.
• 3: Midrange-forward chamber with floor-level SM80 omnis paired with A7 "Voice of the Theatre" cabinets. Custom-loaded with 2420 drivers on top-mounted H91 horns.
• 5: C37 tube condenser mics create a warm and refined sound field when paired with A7 "Voice of the Theatre" cabinets, custom-loaded with LE85 drivers on H91 horns.
• 8: A rich, frequency-balanced chamber featuring A7 cabinets loaded with their original 515 woofers. H91 horns are placed on top, with their original acoustic lenses.

Tip: Click the text labels to select a chamber.

Amount

Adjusts the amount of chamber return signal, from 0–100%. This is not a wet/dry control, but is instead a reverb level return. However, if you bypass the Room and enable the Chamber, the reverb is fully wet (there is no dry component) and the Amount knob controls the reverb level for traditional send/return use.

Decay

The Decay switch includes five positions, from Short to Long. Long represents the chamber's true captured decay time. Rotate the switch to adjust the decay.

Tip: Click the text labels to switch between the five decay lengths.

Predelay

Predelay sets the amount of time before you hear the chamber reverb return signal. Rotate the knob to set the predelay amount. The range is 0–250 ms. This control uses a logarithmic taper to provide increased resolution when selecting lower values.

Tip: Click the 0, 50ms, or 250 text labels to set Predelay to those values.

Width

Sets the stereo width of the chamber return signal. Rotate the knob to set the width from 0% (mono) to 100% (fully stereo).

Tip: Click the 0, 50, or 100% text labels to set the Width to those values.

Description Lists

This section lists the microphones and filters available in Capitol Studios.

Available microphones*

• 4038: The legendary BBC ribbon sound. This figure-8 classic softens brittle highs, adds body through the mids, and lends a dense, warm character to drum overheads.
• 44: An iconic broadcast, studio, and live sound staple, this American-made figure-8 ribbon velocity mic is noted for its strong off-axis rejection and smooth midrange tone.
• 414: The studio standard condenser mic with a tight cardioid response. Known for clear upper mids and accurate, well-balanced sound. This option is mono only.
• C-37A: This vintage large-diaphragm condenser has a distinctive forward character with smooth detail and presence, for refined room sound with unmistakable personality.
• C12: A studio must-have large-diaphragm multi-pattern condenser with an airy, polished top end and gently scooped mids. Prized for clarity, depth, and a beautiful presentation.
• C12A: This later-generation tube-powered condenser evolves the C12's open character with tighter focus, sharp transient detail, and greater control when close-miking.
• C800: This rare and iconic tube condenser is prized for its ultra-clean detail, vivid presence, and larger-than-life vocal sound that retains precision and control.
• CO-100K: An ultra-wideband omni condenser with exceptional high-end extension and detail, chosen for its ability to capture air and transient nuance with startling realism.
• M50: Forever associated with classic Decca Tree arrays, this omni mic's capsule is mounted in an acrylic sphere, adding directional focus as frequencies rise.
• M149: This modern tube condenser is famous for use in Decca Trees at Capitol Studios. It delivers luxurious space, rich low end, and a natural presentation.
• M160: A compact dual-ribbon design with a hypercardioid pattern, rare among ribbons. Offers smooth highs, focused mids, and an unusually controlled sound for close cabinet work.
• M251: A legendary large-diaphragm tube condenser with a silky top end and detailed mids. Provides an effortlessly expressive sound that brings polish and intimacy to lead vocals.
• MD421: A classic large-diaphragm dynamic prized for punchy, focused performance on guitar cabinets. Muscular, yet clear and present on distorted guitars.
• MKH 800: A unique wideband RF condenser that captures an exceptionally open and extended picture. A Capitol Studios favorite with excellent phase and transient response.
• R88: A stereo ribbon mic with two figure-8 elements in a fixed Blumlein arrangement. Delivers width, depth, and a natural, cohesive picture of the source.
• SM57: The studio workhorse cardioid dynamic. Its familiar presence peak, controlled lows, and durability make it a trusted standard for punchy, close-miked guitar tone.
• U48: Capitol's iconic Sinatra tube condenser delivers forward detail, rich midrange presence, and a confident, finished tone that flatters vocals.
• U67: Capitol Studios' workhorse multi-pattern tube condenser. Prized for its refined and present sound, a well-controlled proximity effect, and its exceptional versatility.

*Microphone names are all trademarks of their respective owners, which are in no way affiliated with Universal Audio, Inc. or Capitol Studios. 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.

Cut filter values

The same cut filter values are available in Studios A and B.

• Drums:
  • Close Low Cut: 45 Hz
  • Close High Cut: 10 kHz
  • Room Low Cut: 70 Hz
  • Room High Cut: 8 kHz
  • Decca Low Cut: 70 Hz
  • Decca High Cut: 8 kHz
• Speakers: Cab 1 and Cab 2:
  • Close Low Cut: 70 Hz
  • Close High Cut: 8 kHz
  • Room Low Cut: 160 Hz
  • Room High Cut: 6 kHz
  • Decca Low Cut: 160 Hz
  • Decca High Cut: 6 kHz
• Vocal Solo:
  • Close Low Cut: 70 Hz
  • Close High Cut: 10 kHz
  • Room Low Cut: 70 Hz
  • Room High Cut: 10 kHz
  • Decca Low Cut: 160 Hz
  • Decca High Cut: 10 kHz
• All other sources:
  • Close Low Cut: 70 Hz
  • Close High Cut: 10 kHz
  • Room Low Cut: 160 Hz
  • Room High Cut: 8 kHz
  • Decca Low Cut: 160 Hz
  • Decca High Cut: 8 kHz

Technical Overview

Capitol Studios reinvents ambience processing with UA's proprietary Dynamic Room Modeling technology, an exclusive combination of signal processing and advanced measurement techniques. Eclipsing standard convolution reverbs, which can only provide a static snapshot, Dynamic Room Modeling opens up the full spectrum of the studio's ambience possibilities.

Specifically, Dynamic Room Modeling models the unique radiation properties of various sources, as recorded through a selection of microphones that can be repositioned in the room, in real time, by simply dragging the mics. This technology lets you immerse your tracks in one of the world's most famous recording studios, with an unparalleled level of sonic realism.

Ideal mic selections and placements are provided in Capitol Studios, along with a detailed set of Capitol Studios' console and outboard effects — the exact rooms and setups used to record some of the biggest acts of all time.

Dynamic Room Modeling is sonically superior in terms of overall model accuracy and dynamic customization to any previous room modeling technology.

Modes overview

Capitol Studios offers two modes of operation: Re-Mic and Reverb. These modes process signals in fundamentally different ways.

About 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.

• Direct signal: The sound path that travels directly between the source and the microphone, without any reflected sounds from the walls, floor, ceiling, and objects.
• Early reflections: The still-distinct individual reflections that are reflected off the walls, floor, ceiling, and objects before reaching the microphone.
• Late field (aka reverb tail or ambience): The indistinct "wash" that decays over time, that consists of all reflections in the room. The tail is usually considered the main component of reverb.

Understanding Re-Mic mode

Re-Mic mode is a tool for "replacing" the original dry audio signal.

In Re-Mic mode, Capitol Studios essentially plays your recorded tracks through virtual sources placed in the room, then captures them with an array of ideally-placed microphones. The processed signal captures the sonic signature of the studio, the source and its radiation patterns, and the microphones with more accuracy and realism than is possible with generic impulse response players or other reverb processing.

Using Re-Mic mode

Use Re-Mic mode to mix through Capitol Studios. Re-Mic mode entirely replaces your recordings with Capitol Studios' complete room and microphone characteristics. Re-Mic mode retains the source-to-mic "direct path" component, a crucial part of every microphone's unique sound. Predelay and Mix are not available in Re-Mic mode, and Wet Solo is locked on.

The illustration below shows how to configure the Re-Mic workflow in a DAW. In this example, all the drum outputs are routed to a submix bus instead of the main outputs. Capitol Studios is inserted on the submix bus return, and the plug-in is configured in Re-Mic mode. Note that effect sends are not used in this configuration.

In Re-Mic mode, the dry/wet Mix control is not available, 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 is the complete recorded signal, the plug-in output is inherently louder in Re-Mic mode.

DAW signal routing with Capitol Studios in Re-Mic mode on a drum submix

Understanding Reverb mode

Use Reverb mode to mix Capitol Studios room sounds with existing recordings. Reverb mode works as a short reverb effect by programmatically removing Capitol Studios' source-to-mic "direct path" component. With Reverb mode, only the ambience of the studio's early reflections and decay are heard. This also minimizes the microphone characteristics. Predelay and Mix are available in Reverb mode.

Using Reverb mode

The illustration below shows a traditional auxiliary effect bus send/return configuration in a DAW. In this example, Capitol Studios is inserted on the effects bus, the plug-in is configured in Reverb mode, and the 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 CPU resources when the same effect settings are desired for multiple channels, instead of using multiple copies of the plug-in on individual channels.

Capitol Studios can also be used on individual tracks as with any plug-in. In this case, adjust the track's reverb amount with the Mix control.

DAW signal routing in Reverb mode using a traditional effect send/return configuration

Dual-mode (Re-Mic and Reverb 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 with two Capitol Studios plug-in instances.
Re-Mic mode on the drum submix, Reverb mode for guitar and vocals

Mono and stereo configurations

Capitol Studios can be used in stereo-in/stereo-out, mono-in/stereo-out, and mono-in/mono-out configurations.

• Stereo in, stereo out: The incoming stereo signal is processed as naturally correlated left and right channel audio, with modeled crosstalk between the left and right channels.
• Mono in, stereo out: The incoming mono signal is processed as naturally correlated left and right channel audio.
• Mono in, mono out: The incoming mono signal is processed in mono. In this configuration, Balance is locked to center, L/R Swap is off, Mono is on, and Dynamics SC Link is off.

Note: Mono (M) 414 room mics sum stereo sources to mono. Close mics on the guitar cabinet sources preserve stereo, although only one close mic is shown in Studio view.

Capitol Studios microphone details

In addition to the studio room acoustics, the microphones used in the development of Capitol Studios are a significant contributor to the tonality and fidelity of the plug-in.

Capitol Studios contains 18 different types of microphones, in various combinations of single mics, pairs, and Decca tree arrays.

See Available microphones for information.

Polar patterns

Available mic selections change with each source setting. For some mic selections, you can change the polar response between cardioid and omni. In Studio view, you can see (and change) the polar patterns of the mics that are currently active.

In simple terms:

• Omni microphones are equally sensitive to sound pressure levels from all directions
• Cardioid microphones are more sensitive to sound from the front of the mic and less sensitive to sounds 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

The result of this is more room tone from omni and figure-8 mics, and more directionality from cardioid mics. Experiment with the different types of mics and polar patterns to find the sound that works best for your source.

On-axis and off-axis mics

When using a Cab source from the Speakers category, close mics have the option of on-axis or off-axis placement. On-axis placement gives a brighter, more present and direct sound. Off-axis placement gives a darker sound with less of the "edginess" of the speaker cone and a smoother, less peaky response.

Close, Room, and Decca mic positions

Three microphone setups are available for each Source, with various combinations of single microphones, microphone pairs, and Decca trees. Each microphone setup can be active simultaneously for creative sonic blending.

• Close mics are closest to the source.
• Room mics are further from the source, to capture more room sound.
• Decca mics are a Decca tree: a three-microphone array with a left/right pair and a center mic placed slightly forward. The Decca channel's stereo (L/R) and center (C) levels can be adjusted together or independently.

You can freely adjust mic distances for most mics by dragging the mics. Overhead mics move vertically, away from the source. Some mics are in fixed positions.

Distance

The distance from the microphones to the source can be dynamically adjusted using the Distance controls, or by dragging the microphones. Just as when recording with microphones in physical space, the mic-to-source distance can have a significant impact on the sound that is captured.

The room will sound tighter and more present when mics are closer to the source; conversely, the room gets "bigger" when mics are further from the source. Capitol Studios' modeling includes the proximity gain and increase in low frequencies that occurs in the physical realm; the signal can become noticeably louder and deeper as microphones are moved closer to the source.

Distance ranges are limited by the source position, the default positions of each mic set, and the physical limits of the studio walls and other objects such as gobos.

Aligning microphones overview

When recording a sound source, 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 About recorded sound components). The further the mic is from the source, the longer the delay time.

When a microphone set in Capitol Studios is aligned by clicking the Align button, the inherent mic delay is programmatically removed so the sound source "reaches" the mic instantaneously, without changing the mic position's tonality. This setting is useful when the source audio signals need to remain time-aligned, or simply for their own physically-impossible sonic effects. This feature has the same result as adjusting track timing manually in a DAW.

Removing the source-to-mic 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-miked. Typically, you can compensate for this delay in your DAW by manually shifting the track forward in time so it aligns with the other instruments. With Capitol Studios, aligning the mics removes this delay automatically.
• When the microphones are distant from the source, the additional microphone delay can be problematic for performers when tracking while monitoring through the plug-in. Aligning the mics reduces this monitoring latency.

Tip: The most realistic emulation of the Capitol Studios rooms occurs when channels are not aligned. This is because the inherent source-to-mic delays provide important auditory cues that our brains use to interpret the acoustic space.

Illustration of Distance Delay. When set to Aligned, distance delay time is eliminated.

Acoustic balancing

All rooms have time and frequency-dependent resonances that impact the loudness and sonic balances within the room. Microphone selection and placement and the audio source positions change these resonances and balances as well.

The acoustic responses of Capitol Studios' rooms are iconic, but still subject to these real acoustic principles. Because the plug-in accurately models the sound sources and microphone positions, certain combinations of sources, mics, and distances may cause the level balances to seem too quiet or too loud, or not perfectly centered in the stereo field. As you would in the real world, you can use the mic Gain, Balance, and Polarity controls to compensate for these imbalances or for creative control.

Phase considerations

When recording in the physical world, it is possible for phase issues to occur when more than one microphone is used on a source. The sonic characteristic of "phasing" (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 reduced by adjusting the placement of the microphone(s), or inverting a microphone's polarity.

Note: Phase issues do not occur in Reverb mode.  

Phasing with Capitol Studios

Capitol Studios is designed to minimize phase interaction between microphone channels. If phase cancellation occurs, repositioning a microphone or inverting the polarity of the affected mic channel typically resolves it. In Reverb mode, phase issues are generally absent because the direct component of each microphone signal is removed.

Important: Phasing can occur if you mix unprocessed tracks with the same tracks processed through Capitol Studios in Re-Mic mode (for example, by routing a send to an aux track with the plug-in). For illustrations of proper DAW routing in Re-Mic mode, see Using Re-Mic mode and Dual-mode (Re-Mic and Reverb mode) example.

Latency

Capitol Studios has higher latency than other UAD plug-ins. This latency may be audible when tracking through the plug-in in Re-Mic mode, or in Reverb mode when inserted on individual tracks.

For live tracking, use Capitol Studios in Reverb mode in a send/return configuration. In this setup, the added latency affects only the reverb return, not the monitored performance.

Tip: Aligning mics further reduces latency.

DAW automation limitations

When certain parameters are changed, Capitol Studios' modeling engine is updated and numerous recalculations are performed by the plug-in. While these recalculations happen quickly, they are not instantaneous. During recalculations, sonic artifacts may be audible, and CPU usage can increase. Audio can be heard while loading, but the full sound is not heard until loading is complete.

To prevent artifacts, minimize automation of these specific Capitol Studios controls during mixdown:

• Mic Align setting
• Mic low and high cut filters
• Mic phase
• Mic channel mute
• Mic channel balance
• Mic channel level faders

If you require DAW automation for Capitol Studios controls, it is recommended that only static snapshot automation (instead of continuous automation) be used for the above parameters. Additionally, static snapshot automation should be used only when the signal being processed is not audible. For example, automate changes between musical phrases.

History

“I don’t just put up mics, I talk into them to make sure that they sound right, then during the session I’m constantly out in the studio moving mics around until I get the sound that I’m happy with.” 

- Al Schmitt

From the opening of Capitol’s purpose-built Hollywood studios in 1956 — designed to match the ambition of the newly completed Capitol Records Tower — to the refinement of its legendary underground echo chambers, Capitol Studios quickly became a cornerstone of American record-making. Studios A and B have hosted an unbroken lineage of landmark sessions. 

Defined by precise acoustics, disciplined engineering culture, and a deep respect for performance, Capitol has remained a working studio rather than a museum, evolving technologically while preserving the sound and methods that made it essential in the record-making community. Capitol Studios was recently refurbished to ensure that they remained a cutting-edge, state-of-the-art facility where artisan craft can continue to thrive as it has for the past 60 years.

Notable artists who have recorded at Capitol Studios include:

Ariana Grande

Billie Eilish

Bob Dylan

Bob Marley & the Wailers

Camper Van Beethoven

Cannonball Adderley

Daft Punk

Diana Krall

Ella Fitzgerald

Frank Ocean

Frank Sinatra

George Benson

Green Day

Imagine Dragons

Jack White

John Mayer

Louie Armstrong

Mary J. Blige

Michael Jackson

Muse

Nat King Cole

Natalie Cole

Oasis

Ozzy Osbourne

Paul McCartney

Peggy Lee

Ray Charles

Robbie Williams

Sam Smith

Seal

Steely Dan

Steve Miller Band

The Beach Boys

The New Basement Tapes

Note: Use of artist names does not constitute official endorsement of Capitol Studios software.

Special Thanks

Steve Genewick, Pat Kraus, Nick Rives, Mario de Arce, Todd Brunkow, Brian R Taylor, Darrell Thorp, JJ Blair, Johnny Morgan, Niko Bolas, Tom Camuso, Joe Zook, Oli Jacobs, Travis Ference. In loving memory of Al Schmitt.

Product names used herein are trademarks of their respective owners, which are in no way affiliated with Universal Audio, Inc. These names are used solely to identify products studied in the creation of the sound models found in Capitol Studios.

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