The UAD modelled version of the original hardware certainly lives up to the magic of the original. Oh and for the nice modulated guitar patches as well. Both of these are embedded in so many mixes from the 80’s, I would buy one of these just for those two patches.
DSP QUATTRO 4 REVIEW PATCH
It had a great stereo width patch that sounded amazing on vocals (now well-known as the “Phil Collins” vocal sound), and a great simulated tape slap echo sound as well. It was pretty revolutionary at the time.īut apart from the sampling trickery, it was also just a damn fine digital delay and pitch shifter. And you could also pitch shift stuff after it was sampled (hello vocal tuning).
Back in the day this was one of the only ways to cut and paste audio without bouncing between synced analogue tape machines. In our case it was to cut and paste audio (a long drum roll actually) between different sections of a song. I also remember having to pay an extra $150 to use this beauty in our session.
I remember being in a New Wave band in the early 80’s and recording at a major recording studio in Auckland, NZ. It was a sampler, and could do pitch changes, and also had an extra chorus module in some versions. Made in England by Advanced Music Systems (AMS were later bought by Neve), ostensibly it was a 15-bit digital delay, but it did so much more than that. The original piece of equipment this software was based on was one of the essential pieces of kit (and early digital kit at that) found in major studios from the late 70’s onwards. Along with the classic Lexicon 224 which has been UAD-modelled for a few years now, this has always been on my list of most desired effects units. That’s a very long name for a piece of virtual equipment, and that’s even with a few abbreviations.
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