Audi Concert 2 Manual

[Caterina Haggins]

2003Audi TT AWD 6-speed manual with a very unique TDI conversion. This TDI-swapped TT had the motor and transmission rebuilt prior to installation and they currently have about 12,000 miles on them. The engine is a ASZ (PD130) that makes 180hp/340ft/lbs and the transmission is a rebuilt TT quattro transmission. The car received a new clutch, flywheel, and short shift kit. This swap was done extremely well and as close to factory looking as possible, with over 500 hours of programming to make the electronics, gauges, and OBDII function as if it was a factory installation. There is a forum thread available that goes over all the specifics of the build - PDF/details available upon request.

The exterior is White with light Blue/Grey interior. It has Audi concert sound, Xenon HID headlights, factory 18-inch sport wheels, and a Neuspeed short shift kit. The car is in great condition and shows very minimal wear for the year and mileage. The swap was done to the car around 75,000 miles. The car is a blast to drive and you won't find another one like it! The average MPG is 35+. The car comes with 2 keys, manuals, and Bentley service manual. Not legal in California.

Amp is an effect that emulates the sound and character of seven classic guitar amplifiers. Developed in collaboration with Softube, Amp uses physical modelling technology to provide a range of authentic and usable amplifier tones, with a simple and consistent set of controls.

The various circuits in guitar amps work with a continuous and fixed amount of electricity. For this reason, turning up a particular parameter may inadvertently decrease the amount of available energy somewhere else in the amp. This is particularly noticeable in the EQ controls. For example, turning up Treble can reduce the level of bass and midrange frequencies. You may find that you need to carefully adjust a number of seemingly unrelated parameters to get the results you want.

The Auto Filter effect provides classic analog filter emulation. It can be modulated by an envelope follower and/or an LFO to create moving filter effects. The envelope follower can track either the filtered signal or an external sidechain source.

Auto Filter offers a variety of filter types including low-pass, high-pass, band-pass, notch, and a special Morph filter. Each filter can be switched between 12 and 24 dB slopes as well as a selection of analog-modeled circuit behaviors developed in conjunction with Cytomic that emulate hardware filters found on some classic analog synthesizers.

The OSR circuit option is a state-variable type with resonance limited by a unique hard-clipping diode. This is modeled on the filters used in a somewhat rare British monosynth, and is available for all filter types.

The MS2 circuit option uses a Sallen-Key design and soft clipping to limit resonance. It is modeled on the filters used in a famous semi-modular Japanese monosynth and is available for the low-pass and high-pass filters.

The PRD circuit uses a ladder design and has no explicit resonance limiting. It is modeled on the filters used in a legacy dual-oscillator monosynth from the United States and is available for the low-pass and high-pass filters.

The most important filter parameters are the typical synth controls Frequency and Resonance. Frequency determines where in the harmonic spectrum the filter is applied; Resonance boosts frequencies near that point.

When using the low-pass, high-pass, or band-pass filter with any circuit type besides Clean, there is an additional Drive control that can be used to add gain or distortion to the signal before it enters the filter.

When using the non-Clean circuit types, the Resonance control allows for self-oscillation. At Resonance values above 100%, the filter will continue to ring indefinitely even after the input signal has been stopped. The pitch of the self-oscillation depends on both the Frequency and Resonance values.

The Envelope section controls how the envelope modulation affects the filter frequency. The Amount control defines the extent to which the envelope affects the filter frequency, while the Attack control sets how the envelope responds to rising input signals. Low Attack values cause a fast response to input levels; high values integrate any changes gradually, creating a looser, slower response. Think of it as adding inertia to the response.

Normally, the signal being filtered and the input source that triggers the envelope follower are the same signal. But by using sidechaining, it is possible to filter a signal based on the envelope of another signal. To access the Sidechain parameters, unfold the Auto Filter window by toggling the button in its title bar.

The Auto Filter also contains a Low Frequency Oscillator to modulate filter frequency in a periodic fashion. The respective Amount control sets how much the LFO affects the filter. This can be used in conjunction with or instead of the envelope follower.

Available LFO waveform shapes are sine (creates smooth modulations with rounded peaks and valleys), square, triangle, sawtooth up, sawtooth down, and sample and hold (generates random positive and negative modulation values) in mono and stereo.

If you open a Set that was created in a version of Live older than version 9.5, any instance of Auto Filter in the Set will open with legacy filters in place of the filters discussed previously. These consist of 12 dB or 24 dB low-pass, band-pass and high-pass filters, as well as a notch filter, and do not feature a Drive control. Each Auto Filter loaded with the legacy filters shows an Upgrade button in the title bar. Pressing this button will permanently switch the filter selection to the newer models for that instance of Auto Filter. Note that this change may make your Set sound different.

Beat Repeat includes a combined low-pass and high-pass filter for defining the passed frequency range of the device. You can turn the filter on and off, and set the center frequency and width of the passed frequency band, using the respective controls.

Cabinet is an effect that emulates the sound of five classic guitar cabinets. Developed in collaboration with Softube, Cabinet uses physical modelling technology to provide a range of authentic sounds, with optimized mics and mic positioning.

The Low parameter controls the gain of a low shelf filter, tuned to 100 Hz. This filter can boost or attenuate low frequencies by a range of +/- 15 dB. The filter curve is adaptive and will change dynamically relative to the amount of gain applied.

The Mid parameter controls the gain of a sweepable bell filter. Unlike the Low and High parameters, Mid has a range of +/- 12 dB. The frequency slider located above the Mid control allows you to set the center frequency of this filter from 120 Hz to 7.5 kHz.

When boosting, the High parameter controls the gain of a high shelf filter, up to 15 dB. When attenuating, the shelving filter is combined with a low-pass filter. Turning the parameter from 0 dB towards -15 dB will simultaneously reduce the cutoff frequency of the low-pass filter from 20 kHz to 8 kHz.

Each delay has its own delay time control, calibrated in milliseconds. Delay 1 has a high-pass filter that can remove low frequencies from the delayed signal. Greater high-pass values let only very high frequencies pass through to Delay 1.

The Feedback control determines how much of the output signal feeds back into the input, while the Polarity switch sets (surprise!) the polarity. Polarity changes have the most effect with high amounts of feedback and short delay times.

Enabling the Crisp option via the right-click(Win) / CTRL-click(Mac) context menu can improve the sound quality, particularly at higher frequencies. This is enabled by default, except when loading Sets that use Chorus and were made in earlier versions of Live.

Chorus-Ensemble offers a classic two-delay line chorus with an optional third delay line mode. With a wide variety of tools for thickening sounds, creating flanging and vibrato effects, this device also allows you to easily recreate string ensemble chorus sounds.

In addition to the mode selector buttons, the display also provides access to a high-pass filter and the Width parameter. Width is active in Classic and Ensemble modes, but while in Vibrato mode, this parameter is replaced by Offset and Shape controls.

Width sets the stereo width of the wet signal, which in turn adjusts the chorus level balance between the mid and side channels. At 0% the signal will be mono, at 100% the balance is equal, and at 200% the chorus level is twice as loud in the sides as in the middle. This is used for maintaining the level of the effect across the stereo field, which can be helpful during mixing.

When using Vibrato mode, Offset adjusts the amount of phase offset between the waveforms for the left and right channel. At 180, the channels will be perfectly out of phase. Shape enables you to change the shape of the modulation waveform between a sine and a triangle.

Rate sets the modulation rate in Hertz, and can be adjusted either with the dial or by dragging up or down in the display. Tip: Turn up Rate for a more drastic chorus sound, or keep it low for more gentle phasing.

The Threshold slider sets where compression begins. Signals above the threshold are attenuated by an amount specified by the Ratio parameter, which sets the ratio between the input and output signal. For example, with a compression ratio of 3, if a signal above the threshold increases by 3 dB, the compressor output will increase by only 1 dB. If a signal above the threshold increases by 6 dB, then the output will increase by only 2 dB. A ratio of 1 means no compression, regardless of the threshold.

The orange Gain Reduction meter shows how much the gain is being reduced at any given moment. The more reduction, the more audible the effect; a gain reduction above 6 dB or so might produce the desired loudness, but significantly alters the sound and is easily capable of destroying its dynamic structure. This is something that cannot be undone in later production steps. Keep this in mind especially when using a compressor, limiter or sound loudness-maximizing tool in the master channel. Less is often more here.

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