Universal Audio A Type

As the name implies, albeit not stating so directly, Universal Audio’s new A Type plug‑in models the old Dolby tape‑noise reduction system, and it specifically caters for the various ways in which that system was modified and abused for creative effect. The Dolby noise reducers comprised two stages; a pre‑tape encode processor, and a post‑tape decode processor. The former used EQ and multiband compression to lift the low‑level details of the signal — particularly the high end, whose frequencies, being less energetic, are almost always lower in level than those further down — so that they would be above the noise floor of the tape onto which they’d then be recorded. The decode stage, used on playback, essentially reversed the process, using EQ and expansion to restore the signal (almost!) to its previous state, while simultaneously pulling down the tape hiss’s most audible frequencies.

Both stages are catered for in UA’s plug‑in, which means that as well as using it for creative effect you can even use it to decode Dolby A‑encoded recordings. Universal aren’t the first company to emulate this processor in software, of course, but some others focus only on the encode stage — this was used on its own for popular HF enhancement ‘tricks’ — and UA have added bags more user control than I’ve seen elsewhere too, along with a generous selection of presets that help you get your head around what the plug‑in might have to offer on different sources. It’s available to buy as a native or UAD/Apollo DSP plug‑in, and is included in UA’s Spark subscription.

The GUI sports a large Amount knob on the left and turning this gives you more effect, obviously. But, helpfully, this is also level‑compensated. Opposite, another large knob lets you blend between the dry and processed signal paths to dial in the selected effect to taste. In between the two are a ‘scrolling’ meter that can indicate the input level or gain reduction, along with five colourful buttons to choose the mode: Excite, Expand, Air, Crush or Gated.

The Auto Cal switch allows you to choose whether the modelled mods are carried over when you change from one mode to another.

The side‑chain filter switch (high‑pass or tilt options, or off) is a nice touch, and there’s a power on/bypass button. Beneath these, a virtual cartridge changes appearance according to the selected mode, and clicking on it reveals much more control. Depending on the mode, you can ‘mod’ the crossover frequencies and band gain, side‑chain linking, compression ratio, knee shape and release, the output level (20dB) and the amount of headroom. Lastly, the Auto Cal switch allows you to choose whether the modelled mods are carried over when you change from one mode to another.

Excite mode uses all four bands of compression to replicate the so‑called ‘John Lennon trick’, often used in the days before exciters to make a voice sound more forward, without adding harmonics. In this mode (and some others), virtual chinagraph pencil marks appear next to the large control knobs, and these hint at the classic control setup for the mode. You’re free to choose other settings, of course. Expand mode again employs all four bands, but offers a different effect based around the expansion stage. This gives you some noise reduction, and as well as being a creative tool is the mode you’d choose for decoding Dolby A‑encoded material. Air creates a very hyped top end, which can be great for emphasising breathiness and whispering on vocals. It’s very easy to overdo, but can be an enticing effect that’s hard to put into words; very different from EQ and fiddly to replicate using a more general‑purpose dynamic EQ.

Excite mode uses all four bands of compression to replicate the so‑called ‘John Lennon trick’, often used in the days before exciters to make a voice sound more forward, without adding harmonics.

Then we have some different effects, intended largely for use on drums. Crush mode ditches the multiband processing, to compress a single band, and it sounds similar to what’s implied by the name, while Gated mode is effectively the same but with a gate before the compressor, to achieve an ’80s‑style gated drum effect. The mix control affects only the compression in this case, so you can use it for gating alone if you really want to.

All these options and controls add up to create a plug‑in that’s really fun to use and can deliver classic or novel treatments on a range of sources. Given the nature of the processing and the mix control, it’s possible to find a use for it on pretty much any source, even including brightening full mixes — though I’d definitely want to be using conservative settings there! The control over the band splits and gains is most welcome, and makes it super easy to focus the effect where it’s wanted. I had great success shifting the energy of some electric guitar parts to sit them in a mix, sometimes by lifting the highs, other times by beefing up the mids, which is perhaps a less obvious tactic with this sort of processor. Again, it’s a hard effect to put into words: noticeable, yet tastefully discreet.

Cracking Good Presets

The presets do a cracking job of demonstrating the possible range of effects from this plug‑in, and on a number of different sources. For example, try putting a slowish, solid‑sounding acoustic drum performance through the Crush The Kit and Drum Dryer presets, one based on the multiband Expand function, the other on the single‑band Crush. You get utterly different‑sounding results, each bringing out different facets of the original recording. Either might be useful (or not), depending on the production aesthetic you intend. If you like what you hear, just play with the wet/dry balance control until you have broadly what you need. The potential for transforming loops that offer the right rhythm but not quite the right vibe is immense, even before you start diving into the deeper controls.

Note that, as with any enhancement processor, your ears quickly grow used to what they’re hearing, and that this can easily lead you to bad decisions — either in overcooking the effect, or in opting to use it on every source. The key to good results is ensuring you retain your sense of perspective, so that you exercise good judgement. That’s one reason the wealth of presets is so welcome: you can work quickly, make a judgement on the basic treatment, and move on to the detailed refinement before your ears are seduced.

As I said, this isn’t the only plug‑in to take on the Dolby A idea. Some other options are less expensive, and can sound good. But I’ve not encountered anything that offers the range of treatments available here, nor anything that’s quite so configurable. If you have a Spark subscription, you have no excuse not to explore this plug‑in. And if you don’t? I’d say it’s still well worth checking out the demo.