Perfect all-round DAW integration
By turning to the UR series, your interest is now piqued to look at the ideal interface solution your DAW. Boasting excellent sound characteristics and no-latency monitoring mixes with Yamaha’s custom-designed SSP2 DSP chip, the UR824 and UR28M integrate effortlessly into your existing workstation environment.
- dspMixFx DSP mixer for UR824
Cubase all the way…
Running with Cubase, the UR824 and UR28M do away with any need for additional mixing software between DAW and I/O. This means that all aspects of I/O handling and DSP management are handled directly from within Cubase. Once your UR interface has been installed, Cubase detects the launched device and automatically embeds it into the Cubase production environment. With Steinberg’s acclaimed True Integrated Monitoring technology, Cubase manages all audio streams with perfect sync, allowing for a highly efficient workflow that boosts productivity to new levels. The URs feature direct integration into Cubase with dedicated windows and views that only appear when they are connected, providing full control of the hardware’s functionality from within Cubase itself. This not only includes the Cubase Mixer extension for the Sweet Spot Morphing Channel Strip and REV-X reverb DSP effects, but almost all hardware functionality.
…plus overall DAW support
Zero-latency monitor mixes with DSP effects are managed alongside mixes played back through your DAW of choice via the included dspMixFx mixing application, combining hard disk audio data and live streams being recorded at the same time. Each independent monitor mix can utilize the DSP capability for an outstanding sound that you will feel extremely comfortable performing to. The effects can be included in the signal recorded to the input track but the signal can, of course, also be recorded dry with no FX or bypassed completely.
All power to DSP
Powered by Yamaha’s custom-designed SSP2 DSP chip, you now can enjoy the benefits of dspMixFx technology which offers latency-free monitoring together with the highly acclaimed REV-X reverb and the Sweet Spot Morphing Channel Strip for users of any DAW software. The Sweet Spot Morphing Channel Strip consists of a sidechain-enabled compressor and a 3-band parametric equalizer, which can be applied to up to 8 mono input channels or 4 stereo input channels on the UR824 and 4 mono input channels or 2 stereo input channels on the UR28M. Both EQ and compressor were developed to attain a highly musical sound.Its featured morph knob smoothly allows you to morph through both EQ and compression settings in combination in order for you to come up with the ideal sound very quickly just by using one single control element. The REV-X built into the UR824 and UR28M is a complex reverb algorithm developed by Yamaha. Renowned for its high-density, richly reverberant sound quality, with smooth attenuation, spread and depth that work together to enhance the original sound, the REV-X features three types of reverb effects: Hall, Room and Plate simulations with reverb time and level control.
- Sweet Spot Morphing Channel Strip
- REV-X Reverb
D-PRE microphone preamps
The preamp is where sound creation begins in recording, and ultimately determines the quality of your mix. The D-PRE is carefully designed to capture all the subtleties and expressiveness of any audio source and is the culmination of years of development by the experienced engineers at the Yamaha Corporation. The results are stunning, and the difference is in the design.
Usually, preamps use one transistor each for the hot and cold signals at the input stage to amplify the signal. However, the D-PREs specified on Steinberg audio interfaces use an inverted Darlington circuit, where two transistors are used for each hot and cold- a total of four per unit. With only one transistor on a preamp circuit, distortion tends to increase along with the signal level. By using a pair of two cascaded transistors, very low distortion can be maintained regardless of signal level.
Some users might look for a microphone preamp to dramatically color the sound while others search for a very neutral response. For example, some highly sought after vintage microphone preamps excel at amplifying certain components of a given source, imparting a generous amount of color to the signal. Such a preamp might be great for a vocal recording, however those preamps will not suit every use. D-PRE has a very wide frequency range so that it can handle any music source and it does not overly amplify any specific components of the signal. It’s beautifully tuned to be able to capture the true expression of a given performance or audio source, while leaving flexibility for later editing. The end result is that D-PRE provides a sound that is a perfect amalgamation of understated signal enhancement combined with impeccable sonic integrity. The development team took a lot of time to adjust this subtle balance and the D-PRE sound quality speaks for itself.
