u-he

Version 2.5 of u-he’s monster delay plug-in More Feedback Machine is now available.

The new version comes with a redesigned GUI, native support for Apple silicon, VST3 and CLAP (the new open source plug-in format), a new input section, new granular and diffusion effects… and quite a lot more.

The 3D circular arrangement of elements in the previous version has made way for a more practical design, and In case anything remains unclear despite the streamlined UI, users can access the user guide and other documentation by clicking on the u-he logo.

Several of the new factory presets feature the Diffusor effect, demonstrating that version 2.5 is also quite a capable reverb unit. Fans of experimental effects will also welcome the Granular feature, which includes a reverse option and host-syncable grain size.

MFM2.5 can do…

• Ping-pong and panning delays
• Filtered and frequency-shifted delays
• Chorus, flanger, resonator
• Reverb, diffusion and ambience
• Granular effects
• Degrading & distorting delays
• Ducked and compressed delays
• Endless loops
• Keyboard-controlled (tuned) comb filter
• Massive glitch effects
• Any combination of the above

2 Input Processors

Input signals can be processed in pairs before being sent to the delay lines. The “Transient” controls suppress or boost spikes. The two non-resonant input filters can reduce the frequency range or even split the frequencies into two stereo bands with independent delay settings (set In 1+2 to Lowpass and In 3+4 to Highpass with the same Cutoff value).

4 Delay Lines

Independent delay modes: synchronized, free, or even controlled by MIDI notes.

The dark field below each knob is a modulation source selector, and the amount of modulation is controlled by the “pip” which appears at the top right of the knob.

4 Main Filters

Resonant filters can be placed in various positions within the signal path. On offer here: 2x low pass, 2x high pass, band pass, band reject, allpass (phaser).

The Feedback Matrix

This is where you can specify how the delay lines feed into each other: The “User Matrix” option lets you freely route signals between all 4 delay lines.

The large control at the top adjusts the overall amount of feedback. At the bottom of the panel are the output level controls, allowing for normal and inverted polarity.

2 Effects

Pre-feedback processing. On offer here: limiter, bit crusher, phaser, frequency shifter, lowpass/highpass filter, granular pitch shifter, diffusor (reverb-ish).

2 Compressors

The final polish! Peak or RMS mode compression. In PeakComp mode you can compress one pair of channels using a sidechain from the other.

Creating new effects in MFM2 can be quite complex, depending on how deep you want to go! Below is a very brief introduction so you can get some idea of what awaits you as MFM2 tweaker…

Features

• New in version 2.5: input section with gain, filter and transient balance
• 4 delay lines with independent absolute time or tempo-synced modes
• Each delay line has its own multimode filter: 2x lowpass, bandpass, 2x highpass, bandreject or allpass
• 6 default delay configurations or user matrix (freely route signals between all 4 delay lines)
• 4 syncable LFOs with 8 waveform options or user definable shapes
• 2 syncable and loopable multi-stage envelope generator (MSEG) modulation sources
• 4-slot modulation matrix with depth modulation from a second source
• 2 channel-pair effects: soft clipper, bit crusher, phaser, frequency shifter, filter…
• New in version 2.5: granular (pitch shift, reverse delays) and diffusor (reverb)
• 2 channel-pair compressor/limiters, with peak or maximize modes
• New in version 2.5: output shield (soft clipper) with strength and threshold options
• Scalable UI from 70% to 200%
• 400+ factory presets

Colour Copy: A Bucketful of Delay

A virtual analog effect inspired by classic bucket-brigade delays (BBD) but extended with modern features.

We called our new baby “Colour Copy” because it can deliver the kind of colouration people still love in classic BBD units, but with a wider variety of colours.

Colour Copy started life as the little delay unit called “Lyrebird” we built into Repro-1, but the sound was too good not to be developed further and become an fx plug-in.

Colour Copy in the spotlight…

• BBD-style analog delay, for the smoothest possible pitch effects
• Unique colour morphing, with saturation for non-linear effects such as distortion / resonance
• 1ms to 1s or host-synched time base, scaled via rate control from 25% to 400%
• Dynamic ducking via envelope follower, with an option that preserves the initial delay
• LFO (with dynamic frequency and depth) can modulate rate, tap position or amplitude.
• Midi note tracking and Freeze button (infinite loop) for wildest experimental effects
• Powerful preset browser with tag and/or text search functions
• Independent input and feedback routing options allow all possible stereo or mono combinations
• 100 factory presets, nks-compatible
• UI instantly resizable from 70% to 200%
• Custom remote control via midi cc, 14-bit resolution option

In most digital delays the delay time alters the size of the buffer. If you quickly modulate or sweep the delay time on a typical digital unit, unmusical glitches propagate through the feedback as the buffer is shortened or lengthened.

Like a real BBD, Colour Copy changes the internal sample rate instead (i.e. how fast the “buckets” pass on their content), and this is why Colour Copy is smooth with a capital SMOO!

MAIN FEATURES

Colours
During development we soon realized that we could capture the essence of the entire range of classic bucket brigade delays – from the low-range rumbling, slowly evolving delays to the highly resonant, screaming characters. A single knob lets you continuously blend between the five finely-tuned “colour” macros.

The differences may be subtle, but each one is rich in detail. In addition to obvious differences in frequency bandwidth, each comes with its own noise and dynamic characteristics, frequency loss over time, and several other qualities. The Saturation knob controls how prominent or subtle those characteristics should be, in case you want to dial back the colouration to better fit in the mix. Finally, a Brightness knob lets you adjust the bandwidth.

Flexibility
Colour Copy is capable of a huge variety of different delay-based effects. With delay times ranging from under a millisecond to several seconds, you can create anything from comb-filter and flange/chorus effects to regular ping-pong delays and longer “looper” effects.

The routing options let you mix or swap the input and feedback signals independently or even invert the feedback phase for various phase cancellation effects when delay times are set very short. Additionally, unlike hardware BBD units, Colour Copy’s left and right output “taps” can be placed anywhere along the delay lines. This feature lets you move echos independently “forward in time” for e.g. ping-pong or “rushing” delays as well as various stereo chorus or flanger effects. You never knew you’d want three different ways to create a ping-pong effect!

Animation
Colour Copy comes with a stereo LFO that can be used to modulate either the delay rate, the tap positions or the delay amplitude. With a range of 0.05Hz to 20Hz (as times: 20s to 50ms) the LFO can create chorus, vibrato and tremolo effects. Crank up the modulation depth for deep pitch-shifting. An envelope follow signal derived from the input signal can be used to modulate the LFO frequency and depth, adding realtime dynamics to the effects.

Colour Copy comes with the obligatory ducking compressor, but with a unique twist: You can select whether to duck the entire delay output or just the feedback signal. This latter option leaves the very first delay unaffected, preserving the overall stereo “space” while preventing the sonic mayhem that high regeneration often causes.

Performance Control
Some people like to perform on their bbd hardware, pitching the regeneration up and down by twisting the rate knob.

We took Colour Copy a step further in this direction by adding a pair of creative features: Firstly, a freeze button that loops the contents of the delay buffer for as long as you like. Secondly, midi key control so that you can play Colour Copy like a mono synth – each octave up doubles the delay rate.

Repro dives into the past for analogue inspiration, meticulously modelling two famous synthesizers.

Every detail of the original was captured using component-level modelling technology to create the most authentic model possible. All the subtle characteristics and quirks found in the originals are present in Repro.

One product, one installer, two synths. Repro contains Repro-1 and Repro-5.

Repro-1 is a fierce monosynth: hard working, raw sounding and immediately playable. The classic design is simple and intuitive but belies a deep feature set capable of a wide range of sounds.

Repro-5 is the new polyphonic addition. It has a lot in common with Repro-1, a similar design and feature plus shared sonic DNA. But Repro-5 introduces new flavours, most notably is ability to play lush chords or thick unison leads, while keeping the authentic analogue sound.

At first glance Repro-1 and Repro-5 are simple and intuitive, but the clean and classic designs hide deep feature sets capable of a wide range of sounds.

MAIN FEATURES

Repro-1:

• Unashamedly monophonic
• 4-pole resonant lowpass filter
• Glide control
• Arpeggiator with latch mode
• Sequencer with two 32-step patterns (or 64 steps when chained)
• 3 modulation sources controlling 5 destination
• 2 additional “performance” modulation assignments
• 5 effects: wavefolder/distortion, delay/chorus, EQ/resonator, reverb, sonic conditioner/dynamics processor
• 500 factory presets

Repro-5

• 8-voice polyphony
• 1 to 8 voice unison with glide control
• Audio-rate voice modulation: oscillator FM (frequency and pulse width), filter FM
• 4-pole resonant lowpass filter
• Flexible modulation options plus 2-slot matrix
• Polyphonic distortion unit with 4 types including bit crusher
• 5 effects: tape emulation, delay/chorus, EQ/resonator, reverb, sonic conditioner/dynamics processor
• Over 950 factory presets

Shared Features:

• Powerful analogue sound using component-level modelling
• 2 oscillators: saw / pulse and saw / triangle / pulse
• Oscillator waveforms can be combined
• Waveform pulse width modulation and oscillator sync options
• White noise generator
• ADSR envelope
• “Tweak” screen for adjusting component behaviour
• Host-syncable LFO with 3 waveforms
• Microtuning support (.tun files)
• Resizable UI
• MIDI learn page and editable list
• Global preferences page
• New preset browser with powerful search functions, tagging

The Spirit Of Analogue

DIVA – Dinosaur Impersonating Virtual Analogue Synthesizer

The oscillators, filters and envelopes closely model components found in some of the great monophonic and polyphonic synthesizers of yesteryear. Modules can be mixed and matched so you can build hybrids, but what sets DIVA apart is the sheer authenticity of the analogue sound. This comes at the cost of quite a high CPU-hit, but we think it was worth it.

Diva is the first native software synth that applies methods from industrial circuit simulators (e.g. PSpice) in realtime. The behaviour of zero-delay-feedback filters when pushed to the limit clearly demonstrates the advantages of this groundbreaking approach.

Check out more than 1200 presets. If your computer can handle it, try them in “Divine” mode.

MAIN FEATURES

• Authentic, unrivaled analogue sound
• Up to 40% less CPU-hit than version 1.0
• Multithreading support for modern CPUs – more polyphony, less overload
• Even bigger library of gorgeously organic presets
• Resizable editor window, alternative skins available shortly
• The essence of 7 or 8 vintage synths for about 1% of the cost
• …and so much more!

Filters
This is where a LOT of Diva’s magic happens – Diva’s zero-delay-feedback filters set a very high standard of authenticity.

Each filter type closely models a classic analogue hardware filter (or two): You can already choose between Ladder, Cascade, Multi-Mode, Bite… and more are planned!

Envelopes
Two envelopes, one for the output amp and the other general-purpose. Again, there is a choice of several different models based on classic hardware synthesizers.

The characteristics of amp and filter envelopes within the same synthesizer often differ.This important detail has also been carefully modeled.

Mix & Match
All modules in the upper rack can be replaced – send any of the oscillator models through any filter model to any amp / envelope model.

The rack also offers highpass filter models (pre or post main filter) or feedback from output to input.

Effects

• 3 Analogue chorus
• 2 Analogue phaser
• Plate reverb
• Stereo analogue delay
• Rotary speaker emulations.

The two effects are arranged in series – you can even use two plate reverbs, one after the other.

Modifiers
Modulation processors: Rectify, quantize, multiply, invert, lag, add modulation sources before using them.

There are also several modulation options here that aren’t available in all the main panels (e.g. filter resonance, feedback).

Trimmers
Diva shows her most esoteric side here as she saucily flashes those voice activity indicators!

As well as detuning individual voices, a voice-specific offset is applied to cutoff, envelope times, pulse width and glide.

Scope
Every synth needs an oscilloscope! Diva has a no-nonsense scope that only requires two knobs – frequency and scale.

Patches
Diva comes loaded with over 1,200 presets sorted into various categories . Select a folder from the bottom left panel, then a preset from the main area.

Tape Construction Kit

We took a journey back to the Golden Age of magnetic tape recording. We wanted to recreate all kinds of tape machines in software, from the ground up. After many months spent on research, measurement and on developing an architecture that would be flexible enough for the job, we knew we had nailed it…

But we couldn’t stop there: We added the old noise-reduction systems that were often (mis)used for timbral compression effects. Then more heads and a global feedback path, which made an uber-tape-delay and realistic ‘one-shot’ tape flanging possible.

Users familiar with analogue recording gear should instantly feel at home with Satin, and digital aficionados will also learn to love the magic of tape – Satin invites you to explore and find out for yourself.

Presets

Satin ships with a wide variety of presets – emulations of classic professional tape machines, cheap ‘n nasty tape machines, tape delays, tape flanging/chorus… and a whole lot more!

Gains

The two large knobs adjust input and output levels – probably the most important controls in Satin!

Metering

Precise visual signal level monitoring is ensured through a combination VU & peak meter, with switchable RMS mode and variable reference level.

Delay

2 or 4-tap delay with variable routing, cyclic modulation, feedback filtering and limiter. Easily create beautiful organic space or precisely synchronized, complex patterns. 

Flanger

Unlike regular LFO-controlled digital flangers, this is the real deal. True tape flanging that legendary ‘swoosh’! Doing this on a pair of real tape machines takes skill and practice – with Satin, you simply activate the Trigger.

Grouping

In Studio mode, you can assign each instance of Satin to one of the eight groups. Each group will behave as a multitrack tape, ‘remote-controlled’ from any instance in that group.

Companders

A choice of encoder and decoder circuits brings back the era of noise-reduction systems that were (mis)used for all kinds of dynamic and spectral effects, including the legendary ‘A-type vocal trick’.

TapeControls

Satin’s speed control is continuously variable from 7.5 up to 30ips – it even re-adjusts the entire machine model as you tweak. Pre-emphasis allows for precise control over transients, tone and fidelity.

Service Panel

Satin lets you get seriously technical whenever you want: adjust numerous attributes of the tape, the heads and the surrounding circuitry. A handy analyzer makes alignments such as biasing easy and precise.

MAIN FEATURES

• Mix-and-match emulation spans all major historical developments in tape technology
• Control multiple instances from one panel – ‘glue’ multiple tracks together
• High-quality: internal sample rate up to 384kHz, continuous tape speed control
• All the ‘goodness’ of tape (saturation, transient-smoothing, HF compression etc.)
• Full control over the ‘badness’ (head-bump, wow&flutter, asperity noise, hiss etc.)
• Record / repro EQ standards (separately selectable), classic NR compander standards
• Extra FX modes: through-zero tape flanging, host-synchronizable 4-tap stereo delay

Shake, Rattle, and Roll

A flexible spring reverb box-of-tricks. If you’re familiar with Bazille, you might already have come across its built-in spring unit. We took that one, then modeled two more reverb tanks, paired it with drive section, filter stage, envelope, and mod matrix.

It emulates a hand-picked selection of the most popular units you will find in classic guitar and instrument amplifiers, recreating the odd character of real springs.

MAIN FEATURES

• Shakeable springs
• 3 different reverberation tanks, inspired by the most popular ones built in the guitar & instrument amps that made rock ‘n roll
• Tasty drive & tone stage for heating-up and colouring the sound
• Multi-mode filter, with variable type blend
• Four-flavours envelope stage, picking up the signal from either input, output or external sidechain
• LFO module, 8 different types & waveforms, variable time base & syncable
• Comprehensive modulation matrix, for realtime control of all the parameters
• Independent input and feedback routing options allow all possible stereo or mono combinations
• 76 factory presets, NKS-compatible
• UI instantly resizable from 70% to 200%
• Custom remote control via MIDI CC, 14-bit resolution option

As a faithful emulation of a mechanical device, Twangström needs to be handled well. Many of the technical parameters are user-adjustable in real time, and these can be controlled via MIDI or using the internal LFO and envelope generator.

With its multimode resonant filter, Twangström is a unique and powerful tool which can deliver highly unusual, evolving textures… especially when the signal is tossed around using the modulation matrix!

The Reverb Tank – What’s going on?!

Often referred to as a tank, spring-reverberation devices typically incorporate several metal springs suspended in a metal case. The springs are excited using electromagnetic transducers. The principle is similar to a loudspeaker, except with a spring instead of the membrane.

Sound waves travel across the spring to the opposite end, where another transducer converts the mechanical energy back into an electronic signal. A lot of the energy is reflected at both ends, but mechanical damping inherent in the system means that the the sound fades away naturally.

Several springs often share a transducer pair. In such cases, the transducer houses each spring’s cylindrical end-stop magnets, distributed evenly within the air gap (and enclosed by the laminated core, a stack of thin magnetic iron plates).

Sharing a transducer pair minimizes mechanical and electric complexity, but the signals can only be treated as a whole. Tanks that can be operated in stereo require multiple transducers, and are therefore quite rare Of course you have them in Twangström! Some stereo systems had two complete tanks.

A transmission spring follows a principle physicists call the spring-mass system, and you might recall classroom experiments in which a weight was attached to a hanging spring, making it oscillate at a certain frequency.

Apart from the external mass, the physical properties of the spring (material, length, wire gauge, number & diameter of coils) have a great effect on the vibration and transmission of sound. The longer the spring, the lower the frequency at which it oscillates. Longer springs also decay more slowly than short ones, as more windings result in more kinetic energy potentially stored.

Typically, reverb tanks with multiple springs are chosen for unequal delay times. Ratios based on prime numbers help in achieving dense reverb by strictly avoiding repetitive echo pattens. In a reverberation tank, the rigid suspension mounts at both ends act as a constant mass, thus damping the spring’s energy.

But upon vibration, some of the energy is transferred to the other parts. In a multiple-spring arrangement, all springs share a common mounting plate, so vibration becomes an interactive process. As a result, springs interchange their wave fronts and the sound becomes more washy with each reflection.

If there were no mechanical coupling involved, a minimum (static) density could be achieved by choosing suitable delay times, but there would be no buildup of echoic complexity. In real tanks a certain degree of coupling is always present, so we made it switchable in Twangström.

In certain setups the echo-density buildup has another cause: the division of the spring into shorter segments. For instance, at first glance the popular Accutronics Type 4 tank appears to be two springs, but is actually four: Each sub-system comprises two springs with a small joint in between.

What happens there is pretty much the same as at the suspension end of normal systems: Waves are partially reflected while most of the wavefront is passed on to the next spring. These joints seldom divide the two springs perfectly, and this fact helps spread the echos around, making the reverb tail more diffuse.

Shakeable Springs

Hitting your computer won’t make Twangström shatter, so we added a twang control. This is used to shake the springs, either manually or through modulation and automation.

You might think this is a gimmick for which you have no further use (apart from waking up the neighbours), but if you modulate it slightly, everything comes to life!

Tank Controls

Twangström’s reverb is based on physical modelling. As opposed to plug-ins based on impulse responses (IR), our approach mimics the physics of mechanical reverberation. By simulating the wavefront travelling through a medium, we can include all the aspects of excitation, reflection, dispersion, interference, and other audio properties.

Twangström does not mimic the sonic result, but simulates the physical device. This means that all dimensions of the device are controllable in realtime, on a per-sample-basis – which all boils down to quite some power at your fingertips!

Envelope

The envelope in Twangström features 4 different modes and can pick up the signal from either input, output or external sidechain. You can select between Envelope Follower, Attack and Decay, Attack and Release, or Cyclic modes. The last one is similar to a 2-stage LFO. Shown controls will adapt to the selected mode, with Threshold not appearing while in Envelope Follower mode.

Modulation Matrix

The modulation matrix has three general purpose modulation slots, and yes, you can select shake as one of many targets to modulate the Twang control!

Low Frequency Oscillator

The LFO features different time bases, including a non-synchronized one measured in seconds. Synchronized options include both dotted times and triplets. There are 8 different waveforms to choose from, with 2 of them being stepped or glide random shapes.

Any Cable Everywhere

ACE belongs to a new generation of synthesizers developed with the latest, fastest computers in mind.

ACE offers classic modular synthesis and more at a fraction of the cost of dedicated hardware. But like its hardware forebears, you can patch any output into any input: the number of different ways to connect modules together is practically infinite.

Needless to say, you will never run out of cables! 

The careful selection of modules and clear layout make ACE the ideal instrument for newcomers delving into the fascinating world of modular synthesis.

But ACE also delivers the goods: like any medium-sized professional hardware system, ACE has enough synthesis power to keep you discovering new tricks for many years to come! 

List of Modules

• 2 LFO (0Hz – 20kHz)
• 2 ADSSR envelopes
• 2 VCO (0Hz – 20kHz, PWM, VCO1-linked sub)
• 2 VCF (LP1/LP2/LP3/LP4 and HP/BP/BR each)
• 2 VCA with pan
• 2 multiples (with modulation input)
• 1 mixer (for standard sources + aux)
• 1 ramp generator (loopable)
• 1 mapping generator (up to 128 values)
• 1 noise (white, pink)
• 3 global effects (chorus, delay, 2 x tone)

Key Features

At first glance ACE may seem overly simplistic, but remember that virtually anything can be plugged into anything else. For instance, try plugging an LFO into a Filter, then use that filter as an FM source for an oscillator.

Crazy routing is possible, endless fun is guaranteed!

• Semi-modular architecture, with default routing like ARP 2600
• 25 signal sources, 30+ signal targets
• Up to 8 times unison with +/-2 octave detune range each
• Exceptional filters, can self-oscillate
• LFOs can be used as VCOs and vice versa
• Sync, FM, cross modulation
• Use multiples for inversion, amp / ring modulation etc.
• Custom LFO waveform “tap map”
• Microtuning (Scala .tun standard)
• 100% free of Supersaws!

Bazille – Digital Modular Synthesis

Bazille is a large modular system combining digital oscillators with analogue-style filters and modelled effects, with a flexibility that only modular patching can provide.

After ACE, the second spawn of our ongoing ‘Berlin Modular’ project, this one is a very different, much larger beast…

Ultraflexible modules – Bazille is highly unusual for a modular synth.

Although the filters are traditional analogue models, the oscillators are unashamedly digital: They combine the two technologies that made digital synthesis affordable (and analogue synths suddenly unfashionable) in the 1980s – FM (frequency modulation, more correctly ‘phase modulation’) and PD (phase distortion).

In Bazille, each oscillator panel has five distinct sections:

• Pitch, Phase / FM
• Phase Distortion
• Fractal Resonance
• and the Outputs

Since the 4 main oscillators have a frequency range which starts at zero Hertz, they can be used as synchronized or unsynchronized LFOs or also adopt custom shapes thanks to Bazille’s mapping generators. The oscillators are also capable of all kinds of FM sounds by plugging an audio-frequency source into the phase modulation input.

One of the most interesting features included in Bazille’s powerful oscillators is an unusual process we call Fractalize (fractal resonance). This can be used to create very bold sounds from tame waveforms, with a similar result to the classic cutting sound of the sync effect.

MAIN FEATURES

• 4 digital oscillators with simultaneous FM (frequency modulation), PD (phase distortion) and FR (fractal resonance)
• 4 multimode analogue type filters with up to 6 parallel outputs each
• 4 modelled effects: stereo delay, distortion, phaser, spring reverb
• 2 LFOs with 3 parallel outputs each
• 4 ADS(S)R type envelope generators
• Signal processors: Inverter, rectifier, sample & hold, lag generators and quantizer
• 2 mapping generators (waveshapers) with a variety of drawing tools and controls
• 8 x 16-step morphing sequencer
• Multiplex modules for signal mixing, RM (ring modulation), AM (amplitude modulation)
• Single-page alternative skin included
• Microtuning support (.tun files)
• Multichannel MIDI support
• User interface zoom in 10% steps
• Over 1700 presets…

With its effortless workflow and low CPU usage, you can create stunning patches in next to no time at all. Hive is quick and uncomplicated, without sacrificing flexibility or audio quality. Now packed with more controls than ever, version 2 opens up new dimensions of expression… and sheer fun!

Hive 2 in the Spotlight…

MAIN FEATURES

• Low CPU usage, 3 different synth engines
• 2 oscillators with wavetable option, 16x unison and tunable sub-oscillators
• Drag & drop modulation assignment
• 12×2 modulation matrix slots with modifiers for curvature, rectification, quantization, sample & hold, slew rate
• 4 user-definable XY control pads
• Arpeggiator, step sequencer with realtime recording
• Unique 8-step shape sequencer with 4 independent outputs
• 2 function generators can serve as extra envelopes, gate generators, LFOs, slew limiters
• 7 rearrangeable effects: distortion, chorus, delay, phaser, EQ, reverb, compressor
• Panel presets for each oscillator, filter, matrix slot, etc., with copy, load and save options
• Solo buttons allow auditioning individual oscillator or filter signals
• Scope to view the audio output or any modulation signal, with freeze option and zoom controls
• Microtuning support (.tun files)
• 2000+ NKS-ready factory presets by some of our favourite sound designers
• Resizable UI from 70% to 200%

Underneath its sleek exterior, Hive 2 lets you go as deep as you like.

Add movement and life using the shape sequencer, or instantly record, rotate and arpeggiate note sequences. The 12-slot matrix even lets you modulate effect parameters, encouraging you to explore a whole new world of creative options.

With its swappable audio engine, flexible signal routing, wavetable support and quality effects, Hive 2 makes sure you can get the sound you want with a minimum of fuss.

Presswerk is designed to be a powerful dynamics processor rich with musical soul.

An easy-to-use interface and a rich feature set give you hands on control to all the details of your sound. Presswerk is more than a copycat of other hardware compressors, it blends the warmth of classic hardware models with many modern touches.

Presswerk has all the features you expect in a Compressor:

• Sidechain ready. Create more space in your mixes with ducking or get creative with keying / pumping effects. 
• Adjustable compression curve and envelope. Find the best settings to get the most out of your audio with the soft knee, compression ratio, attack and release and other settings.
• Loud. Yes, Presswerk is more than capable of making your tracks louder. We didn’t use the German word for pressing plant for no reason.
• Soft clip. Roll off those harsh peaks and avoid distortion when your output levels get too high.

Plus, we have added some options to enhance Presswerk’s capabilities:

• M/S mode. More detailed stereo signal processing
• DPR (Dual Phase Rotation) mode. This is an emulation of classic outboard gear phase response. Use this to smooth out some of the harshness of digital recordings to create a more analogue style softer / rounder sound.
• Saturation. This is where Presswerk shines – adding colour and character to your audio. Saturation can give subtle warmth and tame some of the transients, or turn it up to create tape overdrive like effects.
• Internal parallel compression. The Mix controls let you blend the compressed uncompressed signal together. This is helpful in creating a more natural sounding result.
• Variable detection topologies.

With Presswerk you can select from three different detection modes: FF (Feed-forward), FB (Feed-back) and INT (Interactive). Each one is a different style of Compression:

• Feed-forward is a modern style and tends to be precise, almost surgical in the input tracking.
• Feed-back is a more musical and loose sounding and is common to classic hardware.
• Interactive is a mix of FF and FB modes. The signal is continuously analyzed and Presswerk blends the two modes according to the type of signal.

Compression has become an essential part of the studio – whether you are gently applying it to glue various parts together, or add some colouration and tone or adding loudness in the final mixdown of a track. Presswerk was created to fit into any workflow, no matter what task you throw at it – and do so with the style, attention to detail and sound quality you expect from u-he.

Uhbiquitous FX Bundle

Uhbik is our fine collection of effect plug-ins for the discerning audiophile. Each surround-capable effect comes wrapped in a beautiful, streamlined interface. The entire bundle of nine effects is available now at an unbeatable price…

Meet the Family…

Four of these units (D, F, P, T) are modulation effects that include an ultra-slow to ultra-fast low frequency oscillator. LFO rate can be set to an absolute value (in seconds or Hertz), synced to host tempo (then scaled by a constant!) or swept manually / automated…

Uhbik-A

Ambience / Reverb, a very unusual combination of early reflections with different plate algorithms.

While most of the other effects in the Uhbik family are geared towards the more synthetic, radical effects, Uhbik-A is the master of understatement. Great reverb is seldom conspicuous, but if itʼs not there, something is missing from the sound. With its independant control over high and low-frequency decays, diffusion and modulation, Uhbik-A delivers the kind of reverberations that can turn a flat sound into a warm space, or evoke the widest of landscapes!

Uhbik-D

Delay / echo with 5 ‘tape heads’, LFO or flutter modulation, low/high-cut filters, soft-clipping, per-tap feedback and multi-channel pan.

Imagine an echo that repeats every quarter note, although precise quarters are not part of the echo signal? Or ping-pong delay (no central tap) that applies the Haas effect for extra movement? Or 7.1 surround delays… Uhbik can do all this and more – once again, the simplicity of the GUI belies its power. Uhbik-D is the perfect playground for creative delays without the overt complexity of MFM2 (see there!)

Uhbik-F

Flanger, from through-zero tape flanging (dramatic jet-effect!) to classic stomp-box type chorus, with LFO modulation and feedback / resonance

Uhbik-F simulates two tape machines per audio channel, with recording and playback heads that can even occupy the same position if you want – impossible in the real world! Bass frequencies can bypass the effect (‘bass sanctuary’) to ensure LF-stability while the rest of the sound is swept around. Turn up the drive (2nd harmonic distortion), and your lead line will scorch its way through any mix!

Uhbik-G

Granular pitch-shifter / phase vocoder (via fast fourier analysis) delivers a wide range of dramatic contemporary effects. Whole grain goodness…

Effectively cuts audio material into snippets (‘grains’), then plays them back at a variable rate – even backwards. In the original tape devices, the radius of a rotating cylindrical tape-head determined grain size and the length of tape in contact with the cylinder determined the overlap between grains. But Uhbik-G is not bound by the physical limitations of rotating cylinders – you can make it huge or impossibly small!

Uhbik-P

Phaser set to stun, with up to 42 allpass filters in series delivering the deepest, richest phasing available. But is it an angel or a metal monster?

Again, bass frequencies can bypass the effect (‘bass sanctuary’) to ensure LF-stability. Again, resonance accentuates the comb filter effect, but unlike Uhbik-F the distance between peaks is kept fairly constant. As the signal is phase-shifted each time it is fed back, frequencies are created that were not present in the original signal – the main reason why Uhbik-P is also great for wild metallic effects!

Uhbik-Q

Equalizer, the perfect balance between simplicity and flexibility required a unique approach… Uhbik-Q is a revelation!

Maximum flexibility from a minimum of controls, low CPU without compromising transparency. Uhbik-Q combines freely tunable frequency bands (4-pole filters, not the usual 2-pole!) with presets for other options. Q-factors automatically adjust to gain, an optional ‘mid’ bell curve filter adjusts to the two main bands… judging by the simple GUI, you would never guess just how much this EQ can do!

Runciter

Filter with parallel lowpass, bandpass and highpass outputs, resonance, controllable input overdrive and brick-wall fuzz.

Filters were always dramatic sound-shaping tools, one reason why they’re still so popular. But users today expect more than a simple resonant lowpass, so here’s RUNCITER! For classic wah-wah, add low- and highpass together then control cutoff from a MIDI pedal. Or max out the resonance and drive the input from -48db to 48dB for a vast range of effects… instant glittering sweeps or absolute filter mayhem!

Uhbik-S

Frequency shifter / sideband filter with exceptional frequency response and low latency, can create anything from serene barber-pole waves to metallic FFF (full frequency freakout) effects!

Movement in frequency shifters (no LFO required) is constantly downwards or upwards. In Uhbik-S, the barber-pole effect can even rise in one channel while falling in the other. Clever routines prevent otherwise inaudible sidebands from folding back into the audio range – Uhbik-S never compromises audio quality.

Uhbik-T

Tremolo – but if you think that just means ‘volume wobble’ you haven’t tried the mother of all tremolos yet: Uhbik-T!

Our tremolo unit Uhbik-T is a general-purpose ‘rhythmicizer’ featuring linear or exponential (with 3 different strengths) gain modulation. But there’s much more: You can morph between user-defined patterns in the 11 x 16 grid, apply rhythmic lowpass filtering, add vibrato or Haas-delay spatial effects. In either of the pattern modes, the LFO wave knob selects a position between 11 user-defined patterns, and the LFO scale knob determines precisely how ‘choppy’ the effect is… tremolo redefined!