DSP efficient URS Classic Console Strip version included. Selectable Input Stage Algorithms: The URS Classic Console Strip Pro includes digitally recreated Input Stages with adjustable Intensity Control 0-200% to color the signal before adding any EQ or Compression. A Digital transparent Input stage is also provided which adds no colorization, harmonics or saturation. Add your review for URS Classic Console Strip Pro - TDM at Sweetwater!! Shop Sweetwater inSync SweetCare Events Careers Used Gear Marketplace (800) 222-4700 Talk to an expert!

The URS Classic Console Strip Pro is our ultimate multi console in the box channel strip solution. You the engineer create your dream console choosing your favorite algorithms from the Input Stage, Compressor and EQ selections. The URS Classic Console Strip Pro is a revolutionary new way of combining classic sounds into one unified channel strip. The URS Classic Console Strip Pro is a revolutionary new way of combining classic sounds into one unified channel strip. This modern concept allows the engineer to create hundreds of custom console starting points from the almost never ending palette of input stages. This plugin is NUTS. The idea behind it is to model the EQ / 'coloration' characteristics of all these different types of input stages, compressors, and EQs, and put them all into one plugin that is a channel strip of all three. Enter URS Console Strip Pro.

Unique Recording Software have modelled a vast array of vintage compressors and EQs and presented the results in a single plug-in.

Stand-alone hardware channel strips became big news in the ’90s as engineers began to migrate to computer–based systems for recording and mixing. Ditching the big desks and racks of outboard effects in favour of PCs and plug-ins brought undeniable benefits: automation got more sophisticated, track counts grew, space was saved. Yet many engineers felt that something else went by the wayside in the process. Digital audio workstations might have allowed them to use hundreds of EQs and compressors on every track, but those EQs and compressors just didn’t sound as good as their analogue counterparts.

The idea behind the channel strip was to put back that missing analogue magic, but in a format that lent itself to the new digital working practices. Thus, a typical rackmounting channel strip would include a high-quality mic preamp, compressor and equaliser, in some cases taken bodily from vintage mixer channel strips. Important signals such as lead vocals could then be processed on the way in to the computer, to give them the sheen and substance that plug-ins weren’t able to supply.

Throughout this decade, plug-in manufacturers have been working hard to change the prevailing view of their products as cold, sterile or lifeless, with a good deal of success. Plug-in recreations of vintage analogue processors have become big business, and their quality has improved to the extent that companies such as Neve, API and SSL have allo wed their names to be attached to digital emulations of their classic hardware. And, perhaps inevitably, things have now come full circle, and you can buy plug-ins designed to emulate the hardware that was designed to mean you wouldn’t need to use plug-ins...

Consoling Thoughts

All of which brings us to the subject of this review, URS’s Classic Console Strip Pro. Like many other plug-ins, its raison d’être is the recreation of vintage analogue processing in a digital environment. However, Classic Console Strip Pro goes way beyond the idea of emulating any one vintage channel strip. Instead, it offers a modular design that makes it one of the most comprehensive and versatile processing plug-ins on the market. Classic Console Strip Pro is available in TDM and all major native formats on Mac and PC, and is authorised to an iLok key. Installation is straightforward, although it’s slightly frustrating that you need to download and run separate installers for every version you want to install (VST, RTAS, TDM and so on).

The Classic Console Strip Pro window is divided into a number of sections. Some of these can be re-ordered using the Pre and Post switches, with the current order displayed in the Signal Flow section at the left. This also provides a handy way of bypassing individual sections, which can lighten CPU load. Presets saved at the host or plug-in level capture the entire status of the plug-in, but there are also drop-down menus in the individual sections. These allow you to change the model or algorithm that section is using, and in the case of the compressor section, bring up appropriate preset time constants and other settings for that model.

The one fixed element in the signal path is the modelled input stage, which, as you’d expect, is always the first thing your signal encounters. A drop-down menu provides access to a range of algorithms which model different combinations of transformer input stages, tape-head bumps, and tape machine or valve electronics. A gain control lets you choose how hard to drive this algorithm, and an Intensity slider runs from zero to 200 percent — the halfway point being the most faithful to the original hardware.

A World Of Dynamics

There are three further sections: compressor, filter and EQ. These can be arranged in any order, or the filter section can be placed in the compressor side-chain rather than in the audio path.

The filter section is the simplest, and the only one that does not provide a choice of algorithms. Instead, you get low- and high-pass filters with a fixed slope, both with cutoff fully variable from 20Hz to 20kHz. If you put it in the audio path, it does a good job of cleaning up low-end rumbles or high-frequency noise, but unlike the full-blown EQ section, its sound is transparent rather than characterful. In use, it seemed to me most valuable switched into the compressor side-chain; a gentle high-pass helps stop the compressor pumping on low-frequency sounds like kick drums, while a more aggressive setting can be used to make the compressor act as a de-esser.

The compressor section seems to be partially derived from URS’s existing 1970 and 1980 Compressor plug-ins, but they have extended their remit to cover a huge range of vintage units. URS told me that they don’t use convolution, and their plug-ins’ relatively low DSP or CPU loads bear this out; but whatever technique they are using seems to involve creating several different algorithms for each piece of hardware, at different ratio settings. So, for instance, there are four ‘Stress’ algorithms (based on the Empirical Labs Distressor?), which default to ratio settings of 3:1, 6:1, 10:1 and 20:1 respectively, and other hardware units are similarly represented four or five times each.

Many of the hardware units emulated here had fixed, stepped or otherwise restricted time constants, so choosing a compression algorithm from the drop–down list also sets these to appropriate values, along with the separate Knee dial. However, the plug-in’s interface is the same whatever model you select, and all the controls remain active over their full range; so even if, for instance, you select the ‘Stress 3’ algorithm, there’s nothing to stop you moving the Ratio dial to 20:1 or even higher. Likewise, you can happily use super-fast attack times on models of legendarily slow compressors if you want to. This may displease some vintage obsessives, but as URS’s Bobby Nathan points out, the ‘original’ feature set is not sacred; it was common for studios to modify classic hardware to maximise its flexibility, and URS are merely extending the same principle here.

One thing that initially confused me about Classic Console Strip Pro’s compressor section is that calling up a new compressor algorithm also resets the Threshold and Gain Makeup controls. This means that if you use the Threshold control to manage the amount of gain reduction, it’s hard to perform A/B comparisons between different compressor algorithms. However, there is logic behind this approach; each compressor preset has been designed to deliver the same amount of gain reduction, so if you want to A/B them, the easiest way is to leave these controls at the default settings and turn up the plug-in’s input gain control until you get the desired amount of compression. When you then switch to a new compressor preset, the output level should remain unchanged, even if that preset uses radically different ratio and time-constant settings. The idea, apparently, is that this provides a good way of learning the differences between the different compressor models; once the user is more familiar with them, he or she will be more confident about moving away from the presets and making free with the Threshold and other controls. It’s an interesting approach, but it takes some getting used to.

By default, an appropriate input stage model is selected automatically whenever you choose a compressor model, but during the course of this review URS released an updated version 1.1 of the plug-in that makes it possible to turn this linking off. This version also introduced authentic auto-release settings for seven of the compressor models.

Strike Up The Bands

The right-hand half of the Classic Console Strip Pro window is devoted to the four–band EQ. Each band allows you to select one of five algorithms; these, again, mimic classic hardware, but have been given dates instead of names. (I’m not sure why URS have to be quite so coy about what they are emulating!) Few of the original hardware units being mimicked here had bandwidth controls, while most had only a few stepped frequency settings (and in the case of the ‘1951’ EQ, no boost circuitry at all), but as with the compression section, the plug-in controls remain freely variable regardless. The Q setting ranges from 3.0 to 0.25, cut and boost run to 15dB in either direction, and the frequency range covers 1.5kHz to 20kHz (HF band), 220Hz to 7kHz (the two mid-frequency bands) and 20 to 500 Hz at the bottom end. The two outer bands can be switched between shelving and peaking operation.

Super Strip

I’ve been a long-term user of URS’s Classic Console Compressors bundle, and especially their A- and N-series EQ plug-ins. In terms of sound quality, the compression and EQ sections of the Classic Console Strip Pro plug-in easily match those earlier products, as you’d expect. In terms of versatility, moreover, they go way beyond URS’s previous efforts, although it’s mildly annoying that the two mid EQ bands can’t be set lower than 220Hz. The compressor algorithms augment the slightly generic ‘vintage’ feel of the Classic Console Compressors models with a huge range of distinctive and highly usable hardware emulations, including valve, optical, FET and VCA designs, as well as tape compression. I can’t think of any other plug-in that models so many different input stages, although Cranesong’s Phoenix and Magix’s Analogue Modelling Suite offer good alternative takes on the idea. Now that a programme-dependent release option has been added, the only major functional improvement I’d like to see would be the addition of a separate, dedicated de-esser. You can turn the compressor into a competent sibilant remover easily enough by filtering the side-chain, but of course doing so means you can’t also use it as a compressor. A dedicated de-essing section could also incorporate more advanced options such as split processing to compress only the offending frequencies.

From a new user’s point of view, the inevitable down side to all its flexibility is that Classic Console Strip Pro is not as immediate as URS’s individual plug-ins. Until you familiarise yourself with the quirks of the different compressor algorithms, the list is pretty daunting, and the unconventional design approach behind the compressor presets takes some getting used to. Likewise, the simplicity of something like the A-series EQ plug-in is a little lost when you start to introduce Q controls and freely variable frequency ranges. However, there’s a good selection of presets that can serve as starting points, and I imagine most users will quickly build up a library of their own.

It’s the sound that matters most, though, and if the aim is to create a truly ‘one stop’ processing shop, Classic Console Strip Pro certainly has the sonic bases covered. Whether you’re after bright, in-your-face, screwed–down ’80s rock vocals, warm ’70s folksiness, characterful ’60s colour, or whatever, you’ll find it here. It’s equally at home on other sources, such as acoustic guitar or bass, and I liked it as a mix-bus processor too; the ‘Tape 15ips’ preset, for instance, adds a subtle forwardness and bass boost that can really make a mix sound rounded and complete.

In short, then, there’s very little to dislike about Classic Console Strip Pro, but prospective buyers might need to think about how well its ‘one plug-in to rule them all’ philosophy chimes with them. One of the great benefits of mixing in the box is the ease with which you can combine different processors from different manufacturers, and personally, my instinct is often to reach for simpler, single–function EQ and dynamics plug-ins that I know inside out, even though they may not offer the same depth or versatility. What URS have set against that here is the potential to create your own custom ‘analogue’ console by inserting the same plug-in across multiple DAW tracks, and that will be a mouth-watering prospect to many. If you like the idea of a comprehensive channel processor within a single package, and you’re willing to put some time into getting to know it, you should run, not walk, to URS’s web site and download the demo of Classic Console Strip Pro.

Stripped-down Strip

Buying Classic Console Strip Pro gets you a free copy of the much more straightforward Classic Console Strip plug-in, which is also available as a separate product. When you haven’t the time or the inclination to delve into the complexities of the full Pro version, this could be very handy. It’s also designed to have a very low CPU or DSP load (not that the full version is excessive), and to map easily onto hardware controllers for hands-on adjustment.

The compressor section is based on the ‘1975 VCA’ model from the Pro version, including an emulated transformer input stage, and offers basic Threshold, Ratio and Gain Makeup controls, plus a choice of three preset time-constant settings. It can be switched pre- or post- the three-band EQ, which features an equally simple feature set. Low and high filters have switchable turnover points, and the sweepable mid can be set to Sharp or Wide Q.

The three EQ bands are taken from different hardware models, but complement one another well, and the streamlined feature set is well suited to getting good vocal sounds in a hurry. If the full Pro version is beyond your means or seems over-complex for your purposes, it’s worth looking at this plug-in (native £97.53,TDM £190.35) as a product in its own right.

Alternatives

Perhaps the most obvious alternative in terms of emulating a wide range of vintage compressors and equalisers would be Focusrite’s Liquid Mix system, although this, of course, runs on a separate DSP unit rather than as a native or TDM plug-in. You could also investigate McDSP’s extensive range of plug-ins, which likewise feature numerous presets dedicated to recreating old and new analogue gear.

Pros

• Sounds great.
• Extremely versatile.
• Includes details such as the input stage modelling that are rarely found on competing products.
• The simpler Classic Console Strip plug-in bundled with it is very worthwhile, and efficient in terms of CPU or DSP resources.

Cons

• A deep plug-in, with some interface quirks, which takes time to explore fully.
• It would be nice to have a dedicated de-esser section.

Summary

If you like the idea of a vintage channel strip in software, there are few rivals that offer as much depth and versatility as this.

information

TDM version £669.75; native version £334.88. Prices include VAT.

Unity Audio +44 (0)1440 785843.

+44 (0)1440 785845.

Description

Four VintageRecording Consoles, Program EQs
and Racksof Outboard Compressors digitally recreated in a single plug-in!
The URS Classic Console Strip Prois a revolutionary new way of combining classic sounds into one unifiedchannel strip.
This modern concept allows the engineerto create hundreds of custom console starting points from the almost neverending palette of input stages,
compressor/limiter and EQ choicesall with near zero latency and full 48 bit Double Precision Processing.
Listen to what we believe is themost versatile and best sounding classic console strip that was never madebefore!

From themoment you put the URS Classic Console Strip Pro input stages in circuityou will hear the difference!
SelectableInput Stage Algorithms digitally recreate the sound and characteristicsof classic input stages to add warmth.
The Input Stage Intensity controladjusts the Input Stage affect from 0-200%.
Thirty (30) input stages are presentlyincluded:

• Three Class A American input transformers
• Class A British input transformer
• Class A German input transformer
• Two Class A tube input stages
• 15ips 2' tape electronics/head bump
• 30ips 2' tape electronics/head bump
• 30ips 1/2' tape electronics/head bump
• Fifteen input transformer & tapecombos
• Five Console Input/Summing Buss stages

A Digital transparent Input stage isalso provided which adds no colorization, harmonics and/or saturation.

Urs Classic Console Strip Pro Download

Input StageUnLock Function
The Input Stage Lock Function allowsthe Input Stage to be Locked from being changed by the Compressor StartingPoints

Urs Classic Console Strip Pro Review

In yourface Interactive Signal Flow Button Display
No confusionhere! The signal flow button display section shows the signalpath of Compressor, Filters and EQ sections.
The labeling of the buttons updatesautomatically as per the status of the Compressor and Filters section Pre/Postswitches.
In addition, each signal flow buttonacts as a bypass for the section it represents.

IndependentCompressor, Filters and EQ sections
The Compressor, Filters and EQ sectionsare totally independent of each other featuring separate In/Out switchingvia the Signal Flow Button Display.
The Compressor section is selectablebetween Pre/Post the EQ section. The Filters section is selectablePre/Post /Sidechain the Compressor section.

Compressor/Limiter section features a custom designed versatile channel compressor
that can matchthe sound and characteristics of Diode Bridge, VCA, Fet, Opto, Tubeand Tape compression.

The compressor starting points arebased on the most prized compressors limiters in recording studio history,
The URS Classic Console Strip Profeatures 14 classic console compressor/limiter models and 46 outboard compressor/limitermodels.

The compressor starting points simultaneouslychange the input stage algorithms to suit the compressor preset.

The Compressor features fully adjustableThreshold, Ratio, Knee, Attack, Release and Gain Makeup. Adjustablefrom soft to aggressive!

Presently 60 Compressor presets areincluded:

• Two 1967 Americian Channel Comp presets
• Five 1970 British Channel Comp presets
• Two 1970 British Channel Limiter presets
• Five 1980 British VCA Channel Comp presets
• Five Fet presets
• Four Opto presets
• Room Mic preset
• Four Stress presets
• Five Tape Compression presets
• Twelve Tube Compression presets
• Seven American VCA presets
• Two Very-New presets
• Three Class A Buss Comp presets
• Three URS Classic Console Strip presets

Seven AutoRelease Algorithims
The Seven Auto Release algorithimsdigitally recreate the most popular Vinatge Compressor Program DependentRelease and Auto Releases modes.
The Seven Auto releases range fromfast to slow.

• A1 - 1970 Fast Auto Release
• A2 - Opto3a Program Dependent Release
• A3 - 1970 Slow Auto Release
• A4 - Opto2a Program Dependent Release
• A5 - 1980 Auto Release
• A6 - Fet Program Dependent Release
• A7 - Tube Child Auto Release

Filters/Sidechain section can be assigned either Pre/Post Compressor oras the Compressor's Side chain.
Using the Side chain feature canfine tune how narrow or 'Broad Band' the Compressor will affect the programmaterial.
Both Filters completely overlapto dial in problem frequencies. The Listen Key is after the Internal/ ExternalSide Chain Filters section.
The Listen Key allows you to monitorthe signal being sent to the Gain Reduction detection circuit.
Presently 6 Side chain presets areincluded

• Six Classic VCA De-esser presets
• Two Drum VCA Ducker presets
• British Talkback Mic Preset
• Telephone preset

Brand New EQAlgorithims

Urs Classic Console Strip Pro 2

The URS Strip Pro features all newEQ Algorithim technolgy. The digitally recreated Analog EQs representthe cutting edge in EQ modeling.

EQ sectiondigitally recreates the sound of four different analog consoles plus aVintage Tube program EQ.
All bands features fully sweepablefrequency and 'Q' bandwidth selection,
The Mid range bands overlap overfour octaves of frequency selection. The LF and HF EQ Bands are selectablePeak or Shelving.
Each EQ band presently selects fromeither:

• 1951 Program EQ- Tube
• 1967 Console EQ- American 4 Band
• 1970 Console EQ- British 3 band Class A
• 1972 Console EQ- British 4 band Class A/B
• 1980 Console EQ- British 4 Band

Room to grow
The URS Classic Console Strip Pro’sunified GUI allows room to add more Input Stages, Compressor and EQ algorithmsas they are developed.

High Res48 bit 'Double Precision' processing
The URS Strip TDM version featuresHi Resolution 48-bit TDM and URS Classic Console Strip Native features64-bit 'Double Precision' processing
for increased clarity and headroomwith unparalleled gain reduction. Hi Resolution 'Double Precision'processing helps to avoid internal clipping in the Digital Domain.

Two Plug-insincluded
The URS Strip Pro includes the superDSP efficient URS Strip version. We call the URS Classic Console Stripthe 'Easy Eight'.
The URS Classic Console Strip'seight knobs map perfectly to the Command 8, Digi002, ProjectMix I/O, ProControl,HUI
and other popular controllers allowingfor quick adjustments on individual tracks.
The eight knobs map to Page table1 and all other functions map to Page table 2.