While the Amazon Big Spring Sale is currently in full swing, to be totally honest, it’s not really the place to be for music-makers. If you’re looking for cheap accessories to pick up or consumer tech for your home, then admittedly, there’s some good stuff there, but actual gear for music production? Fuhgeddaboudit.

Instead, I think you should go check out the Universal Audio Winter Mix Tape deal on their official site, which, rumour has it, will be ending very soon. You can bag 10 out of 51 UA plugins for just $99 all-in, which is an absolute steal considering what’s on offer. It’s doubly great because you can pick stuff that’s missing from your current collection, so you don’t have to inadvertently buy any plugins you don’t really need.

I frequently use UA plugins in my own productions, so I’ve picked out three of what I think are the best plugins available in the sale. The rest you’ll have to pick yourself! First up is one of my currently most used channel strips, the API Vision Channel Strip Collection. It consists of mic pre, low and high pass filters, a gate/expander, compressor/limiter, and an incredibly powerful EQ, essentially all the mixing tools you need in one screen. I’m a particularly big fan of the EQ section, and once you get around the slightly weird dual knobs, you will easily find yourself boosting frequencies by 9dB yet finding they sound absolutely amazing.

The Empirical Labs EL8 Distressor Compressor is another must-have in the sale. I use it a lot on drums, whether I’m slamming a snare or using it to parallel compress the entire bus. It’s one of the most recommended bits of outboard gear for any studio, so having the power of it in your DAW can be a real boon to your productions. It works great on other sources too, like guitars and vocals, working equally well whether you’re just taming the peaks or crushing a signal into oblivion.

Finally, it might seem dull on the surface, but I love the SSL 4000 E Channel Strip. The workflow is super simple to use, and the lack of visual feedback means you listen with your ears and not your eyes when adjusting the sounds. Like the API, it features a pre, filters, gate, compressor, and EQ sections, but it is slightly easier to use at first. You might think, ‘not another channel strip’, but having a variety of flavours of EQ at your disposal is a really neat way of adding some variety to your mixes without drastically changing your workflow.

Shop more sales

• Save up to 35% on live sound at Sweetwater
• Over 25,000 deals at Musician’s Friend
• Save 15% on Spark Neo at Positive Grid

What is it?

Recording guitar at home has never been so easy. Nailing that perfect tone used to require the hiring of an expensive studio and an engineer with the know-how to place an appropriate mic in that perfect spot to get the best from your carefully curated gear. This, of course, still has its place, but the advent of digital modelling technology has allowed many of us to record high-quality guitar tracks from the comfort of our own homes. Universal Audio is one such company that has driven this change.

It has a strong pedigree in audio recording gear that stretches back to the 1950’s, and has been an important figure in utilising digital technology to recreate classic audio gear in plugin form.

Expanding from the recording world into the live music space, UA has, in recent years, launched a collection of high-quality digital pedals, most notably its guitar amp pedals in 2021, as well as effects such as the Golden Reverberator, Starlight Echo Station, and others.

The amp pedals are particularly interesting as they provide amp modelling to those who want to keep it simple by ditching the screens and almost infinite options provided by the likes of the Line 6 Helix and Neural Quad Cortex, and instead focusing each pedal on a few versions of a single amp with a familiar selection of knobs and switches.

With a selecition of these pedals already available in plugin form, Guitar Paradise Studio offers five - the Ruby (1963 Vox AC30 Top Boost), Lion (three ‘60s Marshall Plexi’s), Dream '65 (1965 Fender Deluxe Reverb), Enigmatic (Dumble Overdrive Special) and Woodrow (1955 Fender Tweed 5E3 Deluxe) - along with the Showtime plugin (Fender Showman) and a collection of drives, fuzzes, modulations, delays, reverbs, compressors and other utilities, all packed into one plugin.

This makes for a comprehensive recording suite that, on paper, should provide everything a guitarist needs for recording guitar tones of professional quality.

Specs

• Launch price: $199
• Type: Amp and FX modelling plugin (hosted)
• Features: 11 UA Amp Plugins - Ruby, Lion, Dream, Woodrow, Enigmatic, and Showtime. 35 cab/mic combinations, over 25 effects
• Platforms: Windows and PC
• System requirements: macOS Big Sur 11 or higher/Windows 10 or higher/10GB SSD storage
• Formats: VST3, AU, AAX
• Contact: Universal Audio

Usability

Usability rating: ★★★★☆

Getting the plugin fired-up in PreSonus Studio One, Paradise Guitar Studio’s interface is fairly straightforward, but it is not perfect.

At first glance, it’s an easy setup to get your head around. The signal chain, along with the Input, Gate, Tuner, preset selection, settings, Output, Limiter, and Room send, is displayed along the top. Below that are large and detailed images of the amp and cab or effects (depending on what section of the signal chain you have selected), and at the very bottom is a panel consisting of the amp settings. Simple.

There are over 300 presets to get you started, through which you can explore the full breadth of what the software can do. All these presets are displayed in one big, very long list with tags that help narrow down that selection, as well as a Favorite function to get straight to the ones you love.

The user presets menu has its own dropdown, which you can sort into folders to then store your presets via projects or whatever you like. I have previously complained about the lack of ability to do this on other plugins, so I’m glad to see it here.

In tweaking presets, I find that the images used in the signal chain displayed along the top of the page lack detail. This makes it tricky to quickly see what is loaded into each block.

The chain is split into three sections: the pre-amp effects featuring five blocks, the amp and cab, and then another five blocks of post-amp effects.

On selecting each of these sections, all the blocks are displayed at the centre of the screen, with detailed images through which you can adjust the parameters via the familiar depictions of all the controls and switches associated with the modeled gear, along with a drag-and-drop style interface to move the effect order around. So this part is very intuitive.

The general adjusting of knobs and switches is as it would be on real-life gear, which results in a positive, tactile experience; however, there is no way to type in values for these adjustments. This feels like a bit of an oversight, as moving some of the smaller knobs to a specific number can be quite fiddly.

When selecting an amplifier, there is no suggestion of an appropriate cab to pair with it. For those getting to grips with these sounds, it would be nice to have a little guidance here. Having said that, there are plenty of presets to glean this information from.

The Gate, Limiter, and Tuner utilities are all simple to use, with the expected associated controls popping up upon selecting each one. A couple of useful tweaks here are that the Gate and Limiter can be adjusted via a little draggable icon by the In and Out meters. And the Tuner can be set to Mini-Tuner mode, in which it is always displayed in miniature form alongside the preset drop-down.

These are minor things, but adjusting the Gate and Limiter as well as keeping an eye on your tuning are all things that are important when nailing that perfect take and tone, adding to what, despite a few niggles, is a smooth experience overall.

Sounds

Sounds rating: ★★★★½

Given the impact that UA made with its Amp Pedals, I am excited to get stuck into the plugin equivalents within Paradise Studio. Each of the aforementioned models is a faithful recreation of the original gear, complete with a full suite of controls and switches, including convincing versions of the reverb and tremolo featured on the Dream '65 and Showtime.

This makes the plugin a good choice for those looking to experience the sounds of some rare, vintage amplifiers that a lot of us will never get the chance to touch, let alone play.

With the exception of the Showtime, each amplifier boasts options based on the different inputs of the real amp or its common variations. For example, the Lion can be either a Marshall Super Bass, Super Lead, or Brown, which is a Variac-modded Super Lead.

The Dream, Lion, Ruby, Enigmnatic and Woodrow also feature a Boost, appropriately chosen by UA to get the most out of each amp as you push it into overdrive. This Boost changes depending on the variation of the amp/input selected, too. In short, the variety on offer is astounding.

Starting with the Ruby, it brings that trademark Vox chime, and the tendency to get a bit too bright. As does the real thing, lending credence to the idea that these amps have been accurately modeled - warts and all.

Easily my favourite setting on the Ruby, and perhaps the whole plugin, is the Normal channel, with the Volume gunned with the Boost dimed. Here, the Boost operates as a treble boost circuit, resulting in the amp kicking out a mid-forward, highly rewarding Brian May-style tones.

The Woodrow brings a clean with a mid-focused nature and a familiar aggressive breakup that the Fender Tweed Deluxe amps are known for, while the Dream '65 does a more scoopy Fender clean and a convincing edge of breakup sound that just begs to be pushed with a boost.

I don’t get on that well with the Showtime, as it seems to lack the dynamic of the other models. It’s still a nice-sounding, high-headroom clean, but just doesn’t feel as lively, so I am more likely to reach for the Dream '65 or the Woodrow for all things Fender.

The opposite is true of the Enigmatic. It has a bright, mid-forward nature reminiscent of the Dumble tones used by the likes of Robin Ford, which leaves nowhere to hide, with all the nuances and mistakes within my playing, clearly represented. It’s a lot of fun.

There are tons of options, as with the real thing, and I find that it’s worth spending a bit of time learning how to get the best out of it, as it is very easy to tweak your way into an unpleasant tone. Again, as with the Ruby, it’s a warts-and-all type situation, but when you nail that sustaining, mid-forward gain, or lush clean, it's totally worth the effort.

Lastly, the Lion can do a Hendrix-esque edge of break-up thing, that ACDC drive, or an all-out Van Halen-like Brown sound. Stick the included Tube Screamer model (more on that later) in front of it and you're in that heavy, saturated, classic rock heaven.

The only thing missing is an all-out metal amp. In Universal Audio’s amp pedal stable sits the Anti 1992 and the Knuckles, which are based on the iconic Peavey 5150 and Mesa Boogie Dual Rectifier repectively. If one of these were included in the Paradise Guitar Studio plugin, it would easily become a one-stop shop for guitar tones of almost any genre.

With over 300 presets, there is more than enough to get anyone started if you want to skip a bit of tweaking. A couple of my favourites are the B-Man 4x10 Clean, which provides a nice, warm, mid-forward clean utilising the Woodrow ‘55 and suiting my Telecaster perfectly, and the entertainingly-named 80’s Hair Snakes, using the Lion amp for those Marshall tones and the Micropitch Shifter for some ‘80s flavoured wobble.

Looking at the cabs, I note that we cannot change the mics or mic position. None of the amplifiers shy away from bright high-end, so the ability to play around with these settings would be helpful, but alas, this is not to be.

The upside of this is that Universal Audio has expertly curated the cabinet and mic combinations, making it easier to get great tones.

And, to be fair, we are not short of options here. There are 34 mic and cab combinations in total, with everything represented from a Fender Style 1x12 loaded with an Oxford 12K5-6 speaker, right up to a Marshall style 4x12 with Celestion V30’s. The microphones are equally as varied, covering everything from a Shure SM57-inspired dynamic mic, through to a Royer 121 ribbon.

The real fun, though, comes with pushing these amps. For this, we have four drives. The TS Overdrive (Tube Screamer 808), Gold OD (Klon Centaur), Nashville Overdrive (Nobels ODR-1), and RAW Distortion (Pro Co RAT).

Using the Dream ‘65 as a pedal platform within the plugin, the TS does a great job of that compressed, mid-humped, Tube Screamer thing. The Gold Overdrive is mid-boosted at a higher frequency than the TS, just as you would expect with a Klon-type drive.

However, in a clone of the Klon, that mid bump would usually become more pronounced as you dial in the gain - this doesn’t happen here. So it’s not a wholly accurate recreation, but it's fun all the same.

The Nashville Overdrive provides a more full-range type of tone, with the RAW Distortion bringing that all-out saturation worthy of its status as a RAT model. All in all, a great selection of drives.

Fuzzes are well represented, too, with the Big Fuzz (EHX Big Muff) and Vintage Fuzz (Dunlop Fuzz Face). Both these models are convincing replications of the originals they are inspired by, with the Big Fuzz bringing that smooth, mid-scooped eq and the Vintage Fuzz being fat and aggressive.

Both include common mods, as the Big Fuzz has a switch to take out the Tone stack from the circuit. To my ears, this results in a tone that is a tad too bright. The Sputter control added to the Vintage Fuzz, however, makes things all spitty and angular, which is just a ton of fun.

No plugin with the Guitar Studio moniker would be complete without a little wobble, and here, there are plenty of modulation options. There’s the Blue Flanger, Brigade Chorus, Micropitch Shifter, Multi Chorus, Orange Phaser, Trem 65, and Vintage Vibrato.

Covering all bases when it comes to modulation, it really is a complete and very capable suite in this regard. I particularly love the Multi Chorus. It provides a glassy type of movement with plenty of high end information retained, and a comprehensive suite of controls that results in a very polished and highly customisable chorus sound.

The Micropitch Shifter is another favourite, as I find it particularly useful when set post-amplifier in stereo. Here, it can be used to create a doubling effect, giving the impression of a wide stereo spread to your guitar through two separately tweakable delays and/or pitch changes. It’s hard to turn it off once you’ve heard it.

EQ needs are also suitably covered with two EQ effects. The first being the Studio EQ, which is a four-band parametric EQ that also features high- and low-pass filters. And then the 10-Band Graphic EQ, which, based on the Boss GE-10, does exactly as it says on the tin.

Also modelled is Universal Audio’s legendary 1176 Compressor. It’s a simple setup with Attack, Release, Input, Output, and a 4/8/12/20:1 selectable ratio. But it covers everything from super squashy to a subtle polish.

That’s not the only compressor option, however, as the Red Comp model provides the famous MXR Dynacomp sound. It’s a little less transparent than the 1176, slightly coloring the tone in a warm and rewarding way.

Everyone likes a little space. To that end, there are four reverbs to choose from. The Digital Reverb, Reverb 224 (Lexicon 224), Plate 140 Reverb (EMT 140 Plate Reverb), and Drip Spring 65 Reverb.

The Digital Reverb is nice and easy to use, the 224 allows a lot more tweaking, the Plate brings the brighter plate-style thing and also boasts plenty of room for adjusting, and finally, the Spring 65 is a simple spring reverb with plenty of that drippiness on tap and three reverb tanks to choose from. Again, it’s a pretty comprehensive selection of high-quality options.

Sticking with the theme of creating some space, the delays here also cover pretty much every echo style you're likely to need. There’s the Memory Delay with some analogue warmth, the Digital Delay sporting plenty of controls and wide stereo sounds, the EP-III Tape Echo that emulates the Echoplex III Tape Delay, and the Pitch Shift Delay, which contains some outlandish sounds via heavily modulated, stereo repeats.

Playing around with them, I find the digital delay particularly rewarding. With a Low Cut, a High Cut, and modulation adjusted via Rate and Depth controls on top of the Time Feedback and Mix you would expect on any Delay, it runs the gamut from warm, texture-adding repeats to the crystal clear digital high fidelity thing, great for time-based acrobatics.

Both the Memory Delay and EP-III Tape Echo emulate pedals that are known not only for their delay sounds, but also for how they color a tone in general. A nice touch with the UA Paradise Guitar Studio plugin versions of these is the option to turn this color on or off.

The EP-III in particular provides a nice bump to the higher mid-range, so I am inclined to leave the color switch on.

Verdict

So it’s fair to say that what we have here is an incredibly capable plugin. Elements of the user interface, such as the lack of ability to type in parameter values and the detail-lacking images of the signal chain, do put a bump or two in the user experience, but overall, it remains fairly straightforward to use thanks to the utilization of the familiar knobs and switches that we would see on the real life versions of the gear the plugin is modelling.

Universal Audio's highly-regarded amp pedals are well represented here and do a good job of meeting the bar that the pedals set. Although to make the selection of amps truly comprehensive, it would have been great to see an all-out metal amp, too.

What is comprehensive, however, is the selection of effects. Drive, fuzz, distortion, delay, reverb, modulation, compression, EQ - it’s all here. Making it a one-stop shop for almost everything a guitarist might need.

MusicRadar verdict: It’s always easier to have everything in one place, and for the most part, that is exactly what Universal Audio’s Paradise Guitar Studio does. It brings together a selection of UA’s well-regarded digital amplifier modeling products and combines them with a comprehensive list of effects to make what will be, for many guitarists, the only plugin you will ever need.

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Hands-on videos

Universal Audio

John Nathan Cordy

Plugin Boutique

Now that Cyber Weekend is done and dusted, you'd expect that most of the best deals have met a similar fate. Hold your horses though, because this hard hitter is still around. From now until December 31st, you can bag your pick of one of ten Universal Audio plugins completely free of charge. If you missed out on this one first time round, that gives you til the end of the month to pick yours up.

• Grab yourself a totally free plugin over at the Universal Audio site

It's not just that deal remaining either, one of the best value ones in my opinion was your pick of 10 Universal Audio plugins for just $99, which is still going at the time of writing. Choosing from 50 of UA's most iconic software, it's the perfect way to build your dream tone locker for significantly less than it would cost to buy them all separately.

UAD Spark is also available at a significant reduction, with full access for a year for just $79. It gives you nearly every single Universal Audio plugin, with 60+ pieces of software and more being added all the time. Whether you want to audition UA plugins to see what you like, or you just want a huge palette of tools to paint your mixes with, as someone who uses UAD Spark in my own work, I can't recommend this one enough.

I’ve used all ten of the plugins that UA is currently giving away, so if you want a nod in the right direction, I personally think the Verve Analog Machines Essentials is one that’s properly underrated. I use it a lot when an instrument needs a little extra pizazz without having to resort to EQing or going back and adjusting the overall mix.

If you don’t already have it, the 1176 Classic FET Compressor is another must-have. 76-style compression is one of those things that’s just ubiquitous with music production, with pretty much every major studio having at least one. Whether you want to get things to sit better in the mix or you need something fast to tame transients, the 1176 will be eminently usable in a huge range of mixing scenarios.

If you already have the 1176, the LA-2A is also available for free. I like to use both together, with the 1176 catching the fast transients and the LA-2A providing a limiting effect to catch those peaks that sneak through. You can use it to tame bass guitars and acoustic instruments like piano and acoustic guitars too, delivering a smoothing effect that imparts its own subtle character.

The Universal Audio Galaxy Tape Echo is another one I use regularly, great for slapback on a lead vocal or for some super cool delay throw effects when you need them. You can push it into self-oscillation for those ‘Karma Police’ style spiralling delay tones. It’s also got a handy tempo sync so your delays will always be in time with the rest of your track.

Last-minute Christmas deals

• Amazon: Save on beginner gear
• B&H Photo: Save on pro audio
• Fender store: 10% off everything
• Gear4Music: Clearance deals
• Guitar Center: Up to 30% off
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex
• Musician's Friend: 25,000+ deals
• Native Instruments: Big software savings
• Plugin Boutique: 100s of plugin discounts
• Positive Grid: Up to $50 Spark savings
• Reverb: Up to 80% off
• Sweetwater: 60% savings
• Thomann: Hot deals
• Universal Audio: Best deals of the year
• Waves: Buy 2 get 2 free

With a year’s subscription to UAD Spark down to just $79, I think I just found the best value Black Friday plugin deal of the year so far. That’s not hyperbole either, I’ve done the maths. At just $6.58 a month for access to over 60 top-quality plugins and counting, this could be just the thing to help take your mixes to the next level in 2026.

There’s a lot of negativity around plugin subscriptions, but I’ve been a very happy UAD Spark user for about two years now. I love the fact that I have so many plugins available, even if I’m not using all of them, all the time. I don’t always need a multi-band enhancer, but it’s there if I do. Similarly, I’m not always in the mood for a Lexicon reverb on a vocal, but if I do need it, it’s right there and ready to be used.

As I’m a subscriber, I was genuinely curious what the total value of the UAD Spark subscription is, so I did the maths. All of the 60+ plugins available in the subscription give you a grand total of $6,729 at full price. To put that into perspective, you’d have to subscribe for nearly 45 years at the full price of $149.99 in order to fully pay for all the plugins you’re accessing.

If you’re lucky enough to have a music career that lasts that long, then no doubt you’ll have made your investment back and then some. It just goes to show that plugin subscriptions aren’t as bad a value as you might think when browsing user comments on forums. For those of us who don’t have thousands in savings to spend on software, it also allows you to spread the cost on quality tools for mixing, or you can just use it as a testing ground to find the plugins you’ll use on a regular basis.

Another thing I love about UAD Spark is the consistent updates, which means there’s always something new I can add to my locker. This year I got Ocean Way Studios Deluxe, Showtime 64 Tube Amp, Woodrow 55 Instrument Amplifier, A-Type Multiband Enhancer, and the Anthem Analog Synthesizer. That’s an extra $745 worth of plugins, which isn’t bad at all considering the price of my subscription didn’t change at all.

This awesome deal is only available until November 30, so if you want to bag the saving you'll need to grab it sooner rather than later.

Shop more Black Friday deals

• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Thomann: Up to 70% off Cyber Week sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

As well as being the best time of the year to pick up a Black Friday plugin deal, Cyber Weekend is also a great time to pick up free gear. Getting right into the spirit of things, Universal Audio has an amazing offer for 2025. Until 1 December you can get one of ten plugins completely free of charge.

This will be my fourth year covering the sales and this year I’ve seen more and more companies offering free software, but this is the first time I can recall anyone offering a choice of free plugin without you actually having to buy something. It’s super value for music-makers, because there’s bound to be one plugin in the list that will be useful to you.

• Grab yourself a totally free plugin over at the Universal Audio site

I’ve used all ten of the plugins that UA is currently giving away, so if you want a nod in the right direction, I personally think the Verve Analog Machines Essentials is one that’s properly underrated. I use it a lot when an instrument needs a little extra pizazz without having to resort to EQing or going back and adjusting the overall mix.

If you don’t already have it, the 1176 Classic FET Compressor is another must-have. 76-style compression is one of those things that’s just ubiquitous with music production, with pretty much every major studio having at least one. Whether you want to get things to sit better in the mix or you need something fast to tame transients, the 1176 will be eminently usable in a huge range of mixing scenarios.

If you already have the 1176, the LA-2A is also available for free. I like to use both together, with the 1176 catching the fast transients and the LA-2A providing a limiting effect to catch those peaks that sneak through. You can use it to tame bass guitars and acoustic instruments like piano and acoustic guitars too, delivering a smoothing effect that imparts its own subtle character.

The Universal Audio Galaxy Tape Echo is another one I use regularly, great for slapback on a lead vocal or for some super cool delay throw effects when you need them. You can push it into self-oscillation for those ‘Karma Police’ style spiralling delay tones. It’s also got a handy tempo sync so your delays will always be in time with the rest of your track.

Shop more Black Friday deals

• B&H Photo: Early Bird Holiday deals
• Fender store: Player II Strat lowest price ever
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Guitar Tricks: $899 $99 annual sub
• IK Multimedia: Up to $300 off Tonex hardware
• Musician's Friend: Early Black Friday 50% sale
• Native Instruments: Over 50% off UA bundle
• Plugin Boutique: 100s of software savings
• Positive Grid: Up to $50 Spark savings
• Reverb: Black Friday early access
• Sweetwater: Up to 80% off Black Friday sale
• Thomann: Up to 70% off Cyber Week sale
• Universal Audio: 12 Days of UAD software sale
• Waves: Huge plugin bundle deals up to 95% off

Black Friday audio interface deals are still out there, and having tested 12 different interfaces over the past year, I was surprised to see so many of my top picks reduced for 2025. Not only have some of my top-rated audio interfaces gone on sale, but the one I use as my daily driver has also been discounted.

Having tested so many different interfaces, I'm very well placed to make a judgement call and what's good and what's not. I don't just leave it to opinion, though. Each interface I get my hands on goes through an in-depth round-trip latency test to ensure it performs objectively against others in that most crucial of performance stakes.

Below you'll find personally recommended audio interfaces that you can pick up with a discount right now. Each and every one would serve you well as the lynchpin of your home studio. For more great deals throughout Cyber Weekend, make sure to go check out our Black Friday music deals page where we're covering all the comings and goings for the biggest sales bonanza of the year.

Shop more Black Friday deals

• B&H Photo: Early Bird Holiday deals
• Gear4Music: Early Black Friday deals are live
• Guitar Center: Up to 40% Black Friday sale
• Musician's Friend: Early Black Friday 50% sale
• Reverb: 80% off music gear
• Scan Computers: Pro audio savings
• Sweetwater: Black Friday deals up to 80% off
• Thomann: Up to 70% off Cyber Week sale

What is it?

The newest arrival to UA's more affordable suite of Volt interface, the Universal Audio Volt 876 is an eight-channel audio interface that provides an ADAT expander for existing Apollo and Volt users, as well as a keenly priced eight-channel interface for musicians looking to record simpler drum setups or capture the sound of their band in rehearsals.

There are a few options available at the moment if you’re looking for eight channels to record with, and the Volt 876 sits in the middle of the cheaper Focusrite 18i20 ($749.99/£649.99) and the pricier Audient iD48 in the US ($1,299.99/£749). Having reviewed both of these previously, I'm in a good position to see where it sits in the pantheon of eight-channel audio interfaces.

The 876 is a 24x28 interface with 32-bit/192kHz AD/DA. It’s got eight digitally controlled microphone preamps, each with an analogue compressor based on the legendary 1176, and a vintage mic pre mode with tube emulation based on the UA 610 console. It’s got 16 channels of ADAT I/O too, so you can rack yourself up a 24-channel interface with three of them, or just expand your existing setup for more complex recordings.

It’s also got an assistive auto-gain function like the 18i20, a built-in talkback mic, cue mixing, and can be remote-controlled via the UAD Console software. As well as the inclusion of UA’s Luna DAW, you get the UAD Producer Suite too, which features plugins like the LA-2A and 1176 compressors, Pultec EQs, a Century Tube channel strip, a couple of tape emulations, delay, reverb, and a guitar VST. You also get some third-party plugins with Melodyne, Ableton 12 Lite, and plugins from Softube, Spitfire Audio, Brainworx, and more.

Performance

As I imagine the vast majority of music makers will be buying an eight-channel interface to either record a band or drums, I elected to test the Volt 876 by taking it into the studio to record some drums. I also decided to make things harder for myself and do away with my usual Pro Tools and use Luna to see how the 876 integrates with the software.

Setting up the 876 with my laptop is an absolute breeze, probably made easier by being an existing Apollo user. It’s not bus-powered, so it uses a kettle lead (IEC) for power, and has a dedicated on switch at the front, which is a nice touch. It plugs in via an included USB-C cable, which has one of those handy attached adapters that let you quickly switch it to USB-A if you need.

My laptop instantly recognises the 876, and it’s a matter of seconds before I’m set up once I’ve installed Luna. I do a small bit of prep here, setting my ins and outs, adding some buses for my drums, and applying some hardware compression to the snare channel and the vintage mode to my room mics. 876 can recall settings if you save them in UAD Console, and handily, it automatically remembers your hardware settings if you’re working in Luna, which makes for quicker setup when I head into the studio.

Enlisting the help of my drummer friend Gaz of Barbarian Hermit, we set up eight mics with kick in, snare top, rack tom, floor tom, plus two overheads, and two room mics in a Blumlein configuration. Once everything was plugged in, I set my laptop on top of the Volt 876 and went through each channel, applying phantom power to the condenser mics I used on the toms and room mics. The interface remembered my settings from earlier, too, so I didn’t need to reapply the compression to the snare channel or the tube emulation to the room mics.

I ask Gaz to soundcheck the kit, setting levels via the large gain knob on the left, and monitoring the inputs in Luna. As soon as we get to the bell brass snare, there’s way too much signal coming in, and instinctively, I look for a pad switch that’s not there. It’s easy enough to trim the input in the software, but I do find myself wishing there was a quick -10dB cut I could apply here. It’s the same story with the floor tom, and although there’s a pad switch on the microphone, it would’ve been quicker and easier to just apply this on the unit itself.

Overall, though, I can’t knock how quick and easy it is to get everything set up, especially having never used it prior to the session. The front panel is very intuitive, with the split functions section and each channel having its own dedicated button; it’s a breeze to cycle through and make changes as I set the levels for the recording. There are LED lights for checking the levels on the unit itself, but I always recommend using your DAW to check your levels.

Although I don’t need to use the talkback function as the interface was in the same room as the kit, I do use the dual headphone outputs to send levels to my drummers’ in-ear monitors. Having dual knobs is handy, as I can set a different level for my own studio headphones to monitor while we’re recording, giving him a lot more juice so he can hear the scratch track and click over the sound of the kit in a large room.

Listening back to the tracks after an initial take, I’m really happy with the sounds. It perfectly captures the sound of the kit in the room, which is all you can really ask for of any audio interface. I’m a firm believer that sound quality is very similar across audio interfaces at this level, and having tested this, the 18i20, and the iD48, I’m inclined to maintain that belief.

Adding that touch of tube emulation to the room mics really brings some life to them without totally overcooking them in saturation, and it’s a similar story with the compression. It’s all light-touch stuff, and I went for the fast setting, which makes sense for tracks with a lot of transients like a snare, although you can also dial in a guitar and vocal setting depending on your particular use case.

Verdict

If you’re looking for an eight-channel interface to upgrade your recording setup, the Volt 876 is an awesome choice. I love the addition of analogue compression on each channel and the tube emulation circuitry, giving you the ability to craft your sounds on the way in, and it’s really easy to use, even if you’ve only ever had a two-channel interface prior.

The only thing I could really criticise is the lack of a dedicated pad switch, which slightly interrupted my hands-on workflow, but other than that, it’s an excellent option for a variety of different musicians. If you already own an Apollo or Volt interface and want to upgrade your inputs, then the 876 is a no-brainer with its UAD Console integration.

MusicRadar verdict: The Universal Audio Volt 876 adds another great option for the musician looking to take a step up from their two-in audio interface, or any band that wants to record in their rehearsal space. It’s super easy to use, sounds phenomenal, offers plenty of upgrade potential, and comes with an excellent software offering.

Hands-on demos

Universal Audio

Alternatives

Specifications

By popular demand, Universal Audio has revisited its smash-hit UAFX lineup of effects and amp modeller pedals, adding user-requested features such as MIDI connectivity as a free update.

The UAFX 2.0 update is a free software update to all UAFX pedals – its amp emulator and dual-footswitch effects pedals alike – and it is available now. Adding MIDI connectivity over USB is officially a BFD. It has been something that users have requested since the pedals’ launched.

It was, for many, one of the few caveats on a series of pedals that have been a huge success for Universal Audio, with the likes of its Dream ’65, Lion ’68 and Ruby ’63 pedals meticulously recreating the sound and feel of vintage tube amps from Fender, Marshall and Vox and housing them in compact dual-footswitch pedals (the brand later released them as guitar plugins).

Indeed, it was one of MusicRadar’s few caveats when sitting down with the Woodrow ’55, Ruby ’63 and Dream ’65 amp pedals, all of which provided “benchmark” performance for an amp modeller, with “some of the most impressively nuanced amp modelling of tone and touch sensitivity we’ve ever heard”.

With MIDI connectivity, players have real-time control over their sound, allowing deeper edits and instant preset switching on the fly.

The UAFX 2.0 update also improves your options for presets, allowing you to store four user presets, and on the dual-footswitch amp emulators you can now switch between your guitar amp tones “instantly”.

Universal Audio has also souped-up its UAFX Control app connection so that you can connect your pedals via a “rock-solid” Bluetooth or direct via USB.

The engineers on the UAFX line can officially take a bow for all this, but, Universal Audio’s, director of product, Rodrigo Ibieta, says the company’s user community can share some of the credit for the update. This is the kind of thing people have been asking for.

"With UAFX 2.0, we’re delivering the biggest update to our pedals yet,” Ibieta says. “We’ve listened to our users. By adding MIDI over USB, expanded presets, and smoother app connectivity, we’re giving them more creative freedom to shape their tone, whether they’re on stage, in the studio, or at home.”

Note, you’ll still need a compatible USB MIDI host/controller/interface to access these new features – but then if you’ve been requesting MIDI all this time you’ll no doubt have one. The new MIDI CC parameter controls are released under open beta.

The UAFX 2.0 update is available to all users now, free – just pop on over to Universal Audio.

Universal Audio’s hardware recreations are amongst the highest-rated out there, delivering some incredibly accurate digital recreations of classic console and outboard gear to the comfort of your home studio. Ahead of the soon-to-arrive Prime Day music deals, there’s an amazing sale over at the official UA site with plugins starting from as low as $24.

The sale will last the whole of October, which gives you a good amount of time to decide what to purchase, but there are no guarantees that certain plugins won’t come off the sale price so I wouldn’t hang about too long. The sale means we’ll be well into the Black Friday plugin deals territory too, as I expect to start seeing those arrive early in November this year.

• Save big in the Universal Audio Rocktober sale with plugins starting from just $24

I’ve been using UA plugins for many years now in my own productions, whether that’s in projects recorded purely at home in the box or full-on studio productions with 20-plus mics on a drum kit. They make up some of my most used plugins no matter what I’m working on, and five of my favourites have got a discount in the sale, making it a great way for you to level up your own productions.

What is it?

The Universal Audio SD-1 is a dynamic microphone designed for versatility. This could mean recording vocals, podcasting, streaming, and music. Being a Universal Audio product, there are expectations to manage here. It says it aims to provide professional-grade sound in an accessible package, making it an attractive option for musicians, content creators, and broadcasters alike. Does it succeed?

At its core, the SD-1 features a cardioid polar pattern, which helps reject unwanted background noise, focusing on the sound source directly in front of it. This makes it particularly effective in untreated rooms where environmental noise could otherwise be an issue. It also includes two onboard EQ switches: a low-cut filter (rolling off frequencies below 200Hz) to eliminate rumble and a presence boost (targeting 3-5kHz) to enhance vocal clarity. These settings allow users to tailor the mic’s response without the need for additional post-processing.

Physically, the SD-1 is built like a tank, with a robust metal body and an integrated shock mount to reduce vibrations. It also comes with a built-in foam windscreen to minimise plosives, making it ideal for speech and close-mic vocal work. Despite being a dynamic microphone, it requires a significant amount of gain from an audio interface or preamp, similar to industry staples like the Shure SM7B, so it’s worth keeping this in mind before you click ‘buy’.

Overall, however, the SD-1 is an excellent choice for podcasters, vocalists, and musicians who need a versatile, high-quality microphone without breaking the bank. Whether you're tracking vocals, capturing guitar amps, or streaming live content, the SD-1 offers a well-rounded feature set tailored to modern recording needs.

Pricing

• Full price: £229

At the time of writing, the SD-1, alongside it's compatriot, the SC-1 have been on the market for a few months and in that time, there has been a slight reduction in the price, compared to launch.

In the UK you can pick on up for about £211, which will be a saving of £88.

Performance

Universal Audio is a known quantity in the world of high-end audio gear. From legendary analogue hardware to industry-standard UAD plugins and interfaces, UA has built a reputation for premium sound quality, usually with a price tag to match. That’s why the SD-1 is such an intriguing product. It’s significantly more affordable than most of UA’s catalogue, but does it still live up to the brand’s reputation?

In our testing, the SD-1 proved a solid performer, punching above its price point in several key areas. The build quality is impressive; it feels professional, with a solid metal chassis and a design reminiscent of the Shure SM7B. It feels like UA wanted to create something that looks and feels premium despite its lower price, and it’d be hard to argue that it hasn’t achieved this.

On vocals, the SD-1 delivers a warm and natural tone with a slight midrange focus, making it well-suited for speech, podcasting, and singing. The built-in low-cut filter is useful for removing excessive low-end rumble, while the presence boost adds clarity, though it can make harsher voices sound a bit brittle. Unlike some budget dynamic mics, the SD-1 avoids sounding too muddy or dull, though it lacks the airy high-end of a condenser mic.

Instrument recording was another pleasant surprise. Used on a small Fender valve amp, the SD-1 captured a punchy, focused sound with good detail. As a dynamic amp, we’d have no hesitations putting it up against the front of a larger cab, but there are probably other mics – like the Shure SM57 – that are better suited to this kind of application. Good to see some versatility though. It also performed well on snare drums, providing a tight and controlled tone. In short, for recording instruments, while it may not be your first choice and its bulky size may preclude it from getting into nooks and crannies, it’s versatile enough to handle multiple recording scenarios.

Where the SD-1 truly shone was when it came to recording voiceovers and podcasts. For us, it’s up there with mics like the Shure SM7B for accurate voice-tracking, with superb high-quality recordings captured which require minimal tweaking in post-production. You might want to consider employing a shock mount for studio work, as it doesn’t come with one in the box, but otherwise, we’d happily recommend the SD-1 for such applications.

However, there are some trade-offs. The SD-1, like other broadcast-style dynamic mics, requires a lot of gain to get a strong signal. If your audio interface has lower-gain preamps, you may need a signal booster like a Cloudlifter or a high-quality external preamp. This is an important factor to consider if you're on a budget, as it could add to the overall cost. You’ll still capture decent results with a more basic interface, but to truly unlock the SD-1's potential we’d recommend pairing it with something that can truly give it the platform to shine.

So, is there a benefit to buying a "budget" product from a premium brand? In this case, yes. While the SD-1 isn't revolutionary, and it’s not short of competition, it offers a level of design, build, and sonic quality that’s hard to find at this price point. It doesn’t feel like a cheap knockoff with a fancy logo. UA could have tried to cash in on its reputation, but instead, the SD-1 feels like a well-thought-out microphone that just happens to be more accessible and easier on the wallet. For those who want a Universal Audio product without spending thousands, the SD-1 is a compelling entry point into its ecosystem.

Verdict

The Universal Audio SD-1 stands out as a versatile and durable dynamic microphone suitable for a range of applications. Its natural sound signature and practical features make it a valuable tool for both professionals and hobbyists. While it requires a preamp with ample gain and has a bulkier design, these considerations are outweighed by its performance and affordability. Whether you're recording vocals, instruments, or podcasts, the SD-1 is a worthy contender in its class.

Hands-on demos

Universal Audio

Alternatives

Specifications

What is it?

Essentially, the Universal Audio SC-1 is a large-diaphragm condenser microphone designed to grant access to a variety of classic microphone tones from the history of recording through advanced modelling technology. At a basic level, it features a cardioid polar pattern, focusing on sound sources directly in front while minimising ambient noise from the sides and rear, while a frequency response spanning 20Hz to 20kHz ensures the SC-1 captures a wide range of audio details, making it suitable for various recording applications. ​

One of the standout features of the SC-1 is its integration with Universal Audio's Hemisphere Mic Modeling plugin. This software allows users to emulate the characteristics of eight renowned microphones, including models inspired by the Neumann U87, U67, and U47, the Telefunken ELA M 251, the AKG C12 and C414, the Sony C-800G, and the Neumann TLM 103. These names might not mean much to a beginner, but those of us who’ve been around the block will be positively excited by this. It’s ‘kid in a sweetshop’ stuff. This modelling capability provides users with sonic options, effectively offering multiple microphone sounds in one unit. ​

Physically, the SC-1 is a tough cookie, with its metal construction ensuring durability for both studio and field use. It has a self-noise level of 12dB(A), making it suitable for capturing subtle nuances in performances without introducing unwanted noise, and the mic can handle sound pressure levels up to 145dB, allowing it to record loud sources like drums and amplified instruments without distortion should you need to, although we’d argue there are better options on the market for that.

The SC-1 is aimed at musicians, recording engineers, and content creators seeking a versatile microphone capable of adapting to various recording scenarios. Its ability to emulate multiple classic microphones makes it particularly valuable in project studios or for individuals who require a broad range of tonal options without investing in multiple high-end microphones. As a result, the SC-1 excels in recording vocals, acoustic instruments, and as a room or overhead microphone for drums, offering flexibility across different genres and applications. ​But how does it perform in a real-world environment?

Pricing

• Launch price: £399

The SC-1 was first announced at the back end of 2023 alongside UA's Hemisphere modelling software. Since then, the prices have dropped a bit, so you can expect to pick up these up for around £360. Some outlets have been spotted as going as low as £345, so there are some deals to be had.

Performance

In our experience with the Universal Audio SC-1, we found it to be a versatile and reliable microphone that delivers on its promise of providing access to classic microphone tones through modelling technology. Straight out of the box, the SC-1 exhibits a rich and full-bodied sound, capturing speech and vocals with clarity and presence. Its cardioid polar pattern performed admirably at rejecting unwanted noise, making it suitable for various recording environments. ​

The integration with the Hemisphere Mic Modeling plugin significantly enhances the SC-1's versatility. The plugin's user-friendly interface allows for seamless switching between different microphone models, each imparting distinct tonal characteristics. For instance, the U87 model offers a balanced and smooth sound, ideal for vocals, while the C-800G model provides a bright and airy quality, which brought life and shimmer to some acoustic guitar recordings we did. This flexibility means you can tailor the microphone's response to suit your specific recording needs without the necessity of physically swapping microphones. ​You might even find something you weren’t expecting, and isn’t that half the fun of studio work?

However, the SC-1 does have some limitations. Notably, it lacks on-body controls such as a high-pass filter or pad switch, which are common features on many condenser microphones. This omission means that any adjustments to the microphone's response must be made through the – admittedly excellent – Hemisphere plugin or within the recording software, potentially adding steps to the workflow. Additionally, the SC-1 is supplied with a standard hard mount rather than a shock mount. This design choice can result in the transmission of mechanical vibrations and handling noise, particularly when recording in less controlled environments. Investing in a compatible shock mount is advisable to mitigate these issues. ​

Another consideration is the reliance on the Hemisphere plugin to access the full range of microphone models. While the SC-1 performs admirably as a standalone microphone, the modelling capabilities are contingent upon the plugin, which requires appropriate software and hardware compatibility. Users should ensure that their recording setup can accommodate the plugin to fully leverage the SC-1's features.

Despite these considerations, the SC-1's low self-noise and high SPL handling make it a versatile tool in various recording scenarios. Its ability to capture subtle nuances without introducing noise is particularly beneficial for acoustic instruments and delicate vocal performances. The high SPL tolerance also allows the SC-1 to handle louder sources like drums and electric guitar amplifiers without distortion, further showcasing its adaptability.

Verdict

The Universal Audio SC-1 is a commendable addition to any recording setup, offering a blend of solid standalone performance and the added versatility of microphone modelling through the Hemisphere plugin. Its robust construction, low self-noise, and ability to emulate a range of classic microphones make it a valuable asset for musicians, engineers, and content creators seeking flexibility without compromising on sound quality. While the lack of on-body controls and the necessity for additional accessories like a shock mount may require some adaptation, the SC-1's overall performance and feature set provide substantial value, particularly for those looking to expand their tonal palette without investing in multiple microphones.

Hands-on demos

Universal Audio

Alternatives

Specifications

As a special Valentine's gift, Universal Audio is giving away a free version of its classic 1176 peak limiter/compressor plugin. We have all the details here on how to get it and use it in your mixes!

Yes, you might consider roses, chocolates or expensive champagne as your ideal Valentine's gifts, but here at MusicRadar, we'd rather choose free plugins as the ideal gifts for our partners – which might explain why we're single – and there's none better than this special offering from Universal Audio: the mighty UA 1176 for free!

If you haven't experienced the magic of the Universal AudioA/UREI 1176 peak limiter/compressor, then now is most definitely the time. As a special Valentine's gift, Universal Audio is making a version of its plugin 1176 free for a limited time, and we have all the hands-on advice to make the most of this fantastic offer, and get some incredible 1176 magic going in your mixes.

First up, why is the original hardware 1176 so revered? Like a lot of vintage gear this happened almost by accident as the original unit was designed as a workhorse limiter/compressor, with no legendary status in mind. The original unit was released in 1968 by Bill Putnam, an expert in tube-based audio preamps and compressors, who was just discovering the joys of the all-new (for the time) solid-state transistor technology.

His new 1176 was a solid-state version of his original 175B/176 tube compressor – the '1176' name being a shortened version of the original. Unlike other compressors of the time it was loaded with extras like Attack and Release controls and four compression ratio options: 4;1, 8:1, 12:1 and 20:1.

These became the 1176's most famous feature when engineers discovered that dialling them all in simultaneously resulted in a steep compression and aggressive quality on certain instruments and mixes that became known as The British Sound.

This became one of the 1176's biggest calling cards, along with its fast and aggressive character, and the original hardware quickly became one of the most in-demand studio tools, with many famous users. These included engineer/producer Bruce Swedien who insisted on using 1176s when recording Michael Jackson's vocals for landmark albums like Thriller and Off The Wall, while Andy Johns certainly helped make that 'British sound' by dialling in all the ratio settings for both Led Zeppelin and Free recordings.

Putnam had interests in lots of early audio brands so used both the UREI and Universal Audio names on his gear – along with many others – so the 1176 was blessed with both names throughout its history, which turned out to be a remarkably long one.

There have been 11 versions of the 1176 released since 1968, the first three (A, AB, and B) known as 'Bluestripe thanks to their distinctive coloured facias. Versions C, D, E, F and G were called 'Blackface, with Revision C adding low noise circuitry, hence the '1176LN' name.

The 'Silverface' H was version 9, while Revision 10 is the current Universal Audio 1176LN model, and is used by such luminary producers as Tony Maserati (Beyonce, Alicia, Keys). Version 11 was a very limited edition (500 units) model that UA released the limited edition 1176 AE (Anniversary Edition) which has different ratios: 2:1, 4:1, 8:1, and 20:1; plus a slower attack time setting.

The original 1176 has become one of those legendary pieces of studio history that has an equally legendary price-tag. The latest revision 10 will set you back £3,000/$3.500 for a new unit, but if you want an original, you are going to have to start saving with the earlier the revision meaning the higher price tags. We've seen a Rev B for sale for £16,000/$18,000, while a Rev D is a snip at £7,500/$8,500!

The 1176 in software

Luckily, you don't need to pay top dollar for an original hardware version of the 1176, because you can now enjoy its magic as a plugin, and who better than the original developer's Universal Audio as the team behind it? The company's 1176 Classic Limiter Collection is hands-down the best way to get the 1176 sound into your mixes as it features not one but three versions of the original hardware: the Rev A, E and limited AE.

Well, when we say 'hands-down the best', there is – for a limited time only – one better way to get the 1176 sound, and that's with the free Valentine's Day version from Universal Audio. It has all the features of the original hardware and software versions, bar a couple of extras on the Attack and Release dials, which we explain below.

You simply set levels with the Input and Output dials, choose your compression setting, and it's easy to create dramatic or subtle compression effects on anything from beats to vocals.

We're going to show you how to recreate some vintage 1176 magic using this free version now, so head on over to the Universal Audio website and download it, install it and get ready for our tutorials!

Now you have it and, presumably have it installed, it's time to get dial up some 1176 magic.

Tutorial 1: The Dr Pepper Effect

In the 1960s, Dr Pepper ran an ad in the US saying that its drink should be enjoyed at the hours of 10am, 2pm and 4pm to keep yourself nicely topped up with its sugary ingredients. It was a good way of selling drinks but also – and heaven only knows who made the connection – those numbers made up some decent settings for the 1176, which became known as the Dr Pepper trick!

The first thing to note is that the 1176 has reversed Attack and Release controls compared to most other compressors, in that they give you the fastest setting as you dial right. In other words you get the slowest attack and release character dialling them left. With that in mind, set your first Dr Pepper setting at 10 o clock for the Attack dial. That's a value of around 3 on the dial (see above).

If you have a sugary-pop drink to hand, and it's 2pm your time, now is probably time to take a sip as we enter the second value in our Dr Pepper mode; that's 2pm on the Release dial, around a value of 5.

Take a final swig – feels good right? It's 4pm and that final boost of the day comes by way of the 4:1 ratio setting – 4pm, geddit? So we end up with the Attack at 10 o' clock, the Release at 2 o' clock and the Ratio at 4 o' clock.

You will have to balance your input and output dials to make sure that the gain settings are equivalent and that you can hear the difference. The end result is that the sound is more aggressive with these settings and it certainly allows instruments like the acoustic guitar and vocals to punch through the mix more, adding top end and ambience.

Tutorial 2: The classic 'All Buttons In' mode

The 'All Buttons In' setting or 'British Mode' on the 1176 was discovered by an engineer who accidentally pressed all the ratio buttons in on an original hardware unit. Clumsy, maybe – and what on earth were they doing? However, the result was worth it, as the end result was a lovely up-front sound. First up, press the 4:1 compression setting.

Now press Shift and click on the 20:1 ratio and all of the buttons should go in. Again, you might have to set up the Input and Output dials to keep the gain settings similar, so hear the impact of the 1176 before and after. Keep the Attack and Release dials in the middle to start with.

The result is that the overall compression works between 12 and 20:1, depending on your source signal, and the sound is very overdriven. While Dr Pepper adds a bit of bite, this is more of a colourful, pumping sound. On a drum break, for example, it is a 'smearing' effects where the transients become more blurred. Here we have the Rev A version of UA's 1176 with the Dr Pepper Settings.

Trying it on a kick and you an even more dramatic pumping effect, but experiment with the Release dial and Input level, in particular, to enhance it. It's a very distinctive effect that can add punch and character to pretty much anything – and is best used as a parallel processor – but is most evident on these percussive sounds.

Finally, if you push the Attack dial all the way to the right on an 1176, it is effectively switched off, forcing a ratio of 1:1 and meaning that the 1176 is simply used as a preamp and giving you a little magic colour. An 1176 is well worth trying just for this, although the free version doesn't have this option, so just push the Attack dial as far as you can to the right.

NAMM 2025: Universal Audio has just announced Luna v1.8, with some big updates to a DAW that was already free. So how much more of a bargain do you want? There's got to be a catch, right?

Luna is Universal Audio's free DAW, although UA doesn't really like us using the term 'DAW'. That's because Luna offers a near latency-free recording environment, very much based on hardware studios of old, with a slick vintage feel and one of the most seamless recording experiences yet.

Yes, it is pushing the UA ecosphere and plugins, but the base version is free, no longer requires you to partner with UA hardware, runs third-party plugins and records unlimited tracks. To our feeble brains, then, Luna has enough qualities to call it… a DAW. An attractive and slick one at that.

There is, of course, a more fully-endowed, paid-for version of Luna should you wish to part with some cash, but the v1.8 updates apply to the free version as well so all the new goodies are yours for nowt, and these include some worthy additions.

Yes, many of these you might already find in your (very likely) much older and mature DAW, but Luna is very much the new kid on the block - a mere five years old, compared to some DAWs which have been around for decades - so we can forgive these features not arriving until now.

First up there's Bounce in Place, allowing you to render your tracks to audio at the touch of a button. A once essential practice in the old days of slow processor speeds, this enables you to free up CPU headroom by losing active plugins.

Track presets, meanwhile, enable you to save plugin chain setups and routing configurations for easy recall and time saving. An enhanced browser - very much 'the thing' of many recent DAW updates - is also present and correct, with Browser Tabs enabling you to home in on sounds and plugins.

Various bug fixes and workflow enhancements have also been included in the 1.8 update, so should you be heading over to the UA website for the freebie version?

Well, that free version gets you unlimited tracks (OK, limited by your processor grunt), full analogue summing, Tape Machines recording, plus channel strips, bus and parallel compression built into the Luna mixer. Needless to say, it's very easy to buy UA plugins to fit into the Luna environment - which UA would obviously love you to do – but the free Luna option does deliver a very pleasing and slick recording environment.

The Pro version (above) adds a bundle of over a dozen classic UA plugins to effectively recreate a vintage studio in your DAW. Think Pultec, API, Ampex… you can almost smell the reel-to-reel tape. The Pro Luna bundle usually retails for $399, but as part of the 1.8 Luna launch, you can currently get it for just $99.

Which only leaves us to insert some puns featuring the words 'sheer lunacy!', which thankfully we've resisted. Head on over to the UA website for more (information that is, not lunacy).

Universal Audio is one of the most revered names in music technology. Ask any producer or engineer about their dream studio set-up, and they'll more than likely place the 1176 and LA-2A compressors at the top of their list - if they don't own them already, that is.

Let's be real, though: most of us can't afford to drop four figures on a piece of hardware. The folks at Universal Audio know this all too well; that's why they've dedicated themselves to recreating classic studio gear in software, giving generations of DIY music-makers access to the sound of powerful mixing tools and effects that, once upon a time, could only be found in professional studios.

This Cyber Weekend, you can pick up some of UA's best software titles for over 90% cheaper than list price, thanks to some incredible bundles on sale over at Plugin Boutique.

I've been a bit behind when it comes to the leaps guitar plugins have made recently, but the Black Friday guitar deals gave me a reason to dive into the latest offerings from Universal Audio – because they're a massive 50% off.

Admittedly, the massive half-price deal on the new Dream, Lion and Ruby amp plugins was already rolling before the Cyber Weekend from retailers including Sweetwater here, but now Thomann is now offering it for even less. Plus, I got paid so this felt like the perfect deal at the right time.

It turns out I was right.

I'm a little biased here – but for good reason. I am already a fan of the pedal version of the UA Dream '65 amp pedal – it raised the bar for the kind of detailed amp modelling technology could capture when I reviewed it, with a focus on the 1965 Fender Deluxe Reverb combo and the most popular mods that have been done to this iconic tube amp over the years. And it worked incredibly well on my pedalboard.

Universal Audio did the same for the Vox AC-30 Top Boost with the Ruby '63 pedal, plus Marshall Plexi Super Lead and Super Bass with the Lion '68 pedal. But its decision to make plugin versions of these pedals has impressed me in a different way.

I'm a dad, and when I'm not reviewing guitars as part of my job in a test environment, it can be difficult to find space and time to play guitar through an amp after my two children have gone to bed. The headphone experience with amps and even multi-fx has often felt somewhat compromised for me – compressed and oppressive. but UA's Dream '65 Amp plugin changed that.

The Dream '65 UA plugin doesn't require the company's hardware to launch it. I can boot up my laptop and GarageBand (the three amp plugins work with any DAW) then launch the plugin from there. And it sounds spectacular through headphones; like a loud Deluxe in the room; spring reverb dripping, vibrato throbbing and captured with mics I could never afford in the real world. It's blown me away.

Unlike the pedal that needs the UAFX Control smartphone app to access presets, they're instantly accessible here – alongside the amp's controls in a super easy-to-use interface. They're a great jumping-off point for inspiration, from gritty edge of breakup to flubsome, cab-rumbling neck pickup drive and glassy cleans. These are sounds I get lost in, and it's reinspired me to record more too.

But it ain't cheap. These three amp plugins are $299 each. Quality like this is worth paying for but half price is much more palatable, especially if you are yet to be convinced by the pedal versions. But we've found it even cheaper – Thomann is offering each one for $142 / £138 rather than the £/$149 everywhere else. If you're looking for iconic tones for your recordings or just a way to enjoy those sounds through cans in your house, this is a Black Friday deal I can personally recommend.

• Check out more great Black Friday music deals

Universal Audio are one of those brands that don’t ever really seem to put a foot wrong. From their industry-defining studio hardware tools to their expansive range of pro-level and beginner-friendly audio interfaces, UAD has changed the game via innovative and well-executed design. This Black Friday at Guitar Center, you can grab a slice of that industry-defining pie for a song – with up to $800 off some of the best recording gear on the market.

Universal Audio’s presence in the audio interface niche is, in a word, considerable. They have a device for practically every price point, every use case and every studio set-up; when a significant handful of your favourite creatives are happily using Universal Audio at the centre of their own rigs, you know you’re barking up the right tree.

Guitar Center is discounting a veritable smorgasbord of Universal Audio products, from their incomparable software plugins to their shiny new range of guitar effects pedals – but for audio engineers, the real gold is found in these crucial hardware discounts.

The biggest of the bunch is the whopping $800 discount on the UA Apollo X8 Heritage Edition, an audio interface with a frankly ridiculous number of ins and outs. It’s an 18x24 device, four inputs of which benefit from UA’s world-class preamp emulation via its proprietary Unison preamp tech. This rack-friendly audio-interfacing powerhouse is the best recording-rig brain you could ever ask for, with quality conversion and a high-quality build - better yet, you can score 25% off this Black Friday.

On the entry-level end of the spectrum, UA’s Volt series is also getting some serious Black Friday treatment - a standout deal of which relates to the Volt 476P. This is a 4-input interface with some killer analogue and digital architecture; each input served by hardware circuitry designed after the illustrious 1176 compressor. Along with the easy color and punch this 76 mode adds, each input also has a fun Vintage setting – more specifically, a digital emulation of the characterful 610 tube preamp.

This is a hell of a lot of mojo for a portable interface – to say nothing of the studio-quality conversion hiding behind those studio-quality signal chains! And that mojo can be yours at an 11% discounted price of $419. There’s also 10% off the more austere little-sibling desktop interface, the Volt 276.

If you’re looking for Apollo-level conversion quality with a desktop-friendly form factor, the iconic Apollo Twin MKII – the favoured at-home interface of countless musicians and engineers – is discounted by 22%, bringing it down $200 from $899 to $699.

Whichever level you’re buying at this Black Friday, you’re still buying Universal Audio. Every one of these products is an impressive example of its type, lauded by at-home producers and pro engineers alike for the simple reason that they’re damn good. And for a limited time, they’re a steal!

Universal Audio Anti 1992 High Gain Amp: What is it?

A couple of years back, Universal Audio entered the pedal amp emulation modelling game with a line of three boxes: Woodrow, Dream and Ruby. All scratching those Fender Tweed, Deluxe and VOX AC-30 itches. It was a solid start for a company well-known for its digital emulation of classic analogue gear and it opened the floodgates for even more pedal amp releases, and a ton of effects.

It has, however, taken the Scotts Valley-based firm two years to really hit the high (gain) notes, so you can imagine our glee at the announcement of the UAFX Anti 1992 High Gain Amp – a Peavey 5150 emulation to sate those with a love of heavier tube amp tonality with a smattering of UA know-how.

While the 5150 is the headlining act here, there's also room for UA to squeeze in a few appropriate extras. Alongside this legendary metal monster, there is the addition of the ubiquitous Tubescreamer-esque overdrive, TC Electronic-style preamp, noise gate and three onboard cab sims (you get three more when you register the product).

The pedal amp modeller market is chock full of choices, no matter your proclivity towards the higher end of the gain spectrum, so our inevitable question is: has Universal Audio upped the ante in the war of gain?

Universal Audio Anti 1992 High Gain Amp: Specs

Launch price: $389/£359/€429
Type: Amp and cab modelling pedal
Made: Malaysia
Controls: Pre-gain, Presence, Output, 3-band EQ (Alt controls for noise gate and preamps), two footswitches
Features: Peavey 5150 emulation with overdrive, preamp, noise gate and cab simulation, app control
Connectivity: Two unbalanced inputs and outputs (also configurable as an effects loop), USB-C, Bluetooth
Power: 9VDC, centre-negative, 400mA minimum (not included)
Weight: 1.34 lbs/0.605 kg
Dimensions: WxHxD mm 920x650x1410
Contact: Universal Audio

Universal Audio Anti 1992 High Gain Amp pedal: Build quality

Build quality rating: ★★★★½

The UAFX line has already demonstrated that the rugged and well-built metal chassis is more than able to meet the rigours of the road. The Anti is no different. The red and white livery is a nice little nod to Van Halen and a welcome change to your standard black or silver (UA has clearly left that option for the new Knuckles ‘92 pedal).

Despite the inclusion of plastic knobs, the pots themselves offer enough resistance to deliver precise control. The build itself is of the usual high quality that we’ve come to expect from Universal Audio, with no loose nuts or signs of misaligned hardware here.

Universal Audio Anti 1992 High Gain Amp pedal: Usability

Usability rating: ★★★★☆

Pretty much any amp modelling pedal will inevitably have some sort of reliance on an app, whether it's desktop (Win/Mac), mobile (Android/iOS), or both in Anti's case. Connectivity with the UAFX range is both Bluetooth for mobile and USB-C for desktop, with the latter the only option for updating firmware.

Now, we've had lots of issues with UA's digital companions regarding past pedal releases, especially with the original lineup. Things have gotten better, but not entirely fuss-free. Typically, setting up on a Windows system has caused the most grief. Numerous attempts had us reaching for the iOS and Mac versions, which, thankfully, are more robust despite the former being agonisingly slow when connecting. The mobile also app suffers from disconnecting with the pedal after a while, which can be annoying if you're thinking of tweaking it in a live scenario.

With the app, you are afforded more options, which we'll go into more detail on in a moment, but first it is worth mentioning that straight out of the box, the Anti is ready to rock. It was a good while before I was reaching for the app. The controls are very straightforward and a fair amount of options are available to you before you dive into the app's options.

Six rotary knobs, three toggle switches and two footswitches adorn the interface, with a familiar layout to the Anti's UAFX stablemates. All six rotaries have dual functionality. The Amp controls consist of Pre-Gain, Presence, Output gain and a three-band EQ. Flick to the Alt option and you have access to the overdrive gain, tone and level, noise gate and resonance controls. It’s all familiar territory, especially for past users of the 5150.

Within the app, you can toggle between the TS Overdrive or the TC Preamp types. Then there's the ability to tweak even more sound-shaping functions and even the footswitch layout. By default, the footswitches are designated for Live/Preset mode where you’re able to toggle between the stored preset and live amp controls with the Preset switch, or bypass everything with the On switch.

There are two more modes: Gate and Boost. Both change the use of the On switch, leaving the Anti in a permanently on state. Thankfully, there are also options for the noise gate within the Edit menu, as the default setting is somewhat harsh to say the least, giving you the ability to tweak the Threshold, Attack, Release, Attenuation and Hold.

At the other end of the signal chain, you can select between four different power amp Bias options: Cold, Warm, Cold Choke and Warm Choke. They all serve as different ways to scoop those mids, with varying levels of clarity and warmth of tone. Then you have a Post Gain level, which is ideal in boosting levels in your signal chain.

The app opens up plenty of opportunities for Anti to be used in different scenarios and the extra sound-shaping tools are most welcome. The one issue that slightly sticks in the craw is that there’s currently no way of adding some extra functionality for the footswitches. I would’ve liked to have the ability to cycle between the channels, especially with the added Punch option on the RTHM channel. Even a MIDI option would be welcome here.

Universal Audio Anti 1992 High Gain Amp pedal: Sounds

Sounds rating: ★★★★★

Had I not been writing a review, it could've been ages before I reached for the app to download more presets and access the full functionality, such were our first impressions. The Anti's greatest strength, much like the rest of the UAFX range, is that it does one job very well. The job of emulating the 5150 is a triumphant one. As soon as we plugged in, we were instantly transported back to the mid-'90s, riffing through the NWOAHM and early metalcore hits – familiar territory for these ears.

Those familiar with the 5150 will no doubt have their own, go-to settings and I had mine: dial all the EQ to midnight and let the overdrive do all the talking. It worked then and it works now. While I would've been satisfied with the box fresh options available, including the three cab emulations, once you dive into the app you get far more control over your tone. As mentioned earlier, by registering the pedal through the app you get three additional cab sims.

Using the app is a bit like Pandora’s box (I’ve barely put it down) and the extra presets serve as a nice showcase of what the Anti can achieve. Alongside a ton of factory presets there are a handful of artist additions from the likes of Jeff Loomis, Ryan Knight and Tetrarch's Diamond Rowe (very fitting that we’re also testing Diamond’s new signature Jackson for this review).

Of all the cab sims at my disposal, I did have a favourite in the CA Vee 30 and it seems I wasn't the only one as pretty much all the artist presets plumped for the same cab. It has clarity and low-mid aggression that perfectly complement the gain at your disposal here. The three default cab sims are miked with an SM57 to keep things simple.

The additional three sims add some ribbon mics and different speaker configurations for slightly more complex sonic characteristics. For our taste, the three extra sims worked better with a lower gain tone and can get a bit muddy when you're trying to paint with chainsaw-like clarity. There’s also the option to bypass the cab sim altogether allowing you to slot the pedal in an existing set-up with your own cab sim/IR solution. The option of adding Room ambience to the cab is a nice touch, but it's not on the output and will only work when a cab sim is selected.

The original 5150’s lineup of Clean, Crunch and Lead channels has been improved upon with the inclusion of Punch and Punch+ options on the RHTM channel. Punch essentially combines elements of Clean and Lead channels together, while Punch+ adds some extra emulated circuitry from a JCM800 for an even richer tone.

Universal Audio Anti 1992 High Gain Amp pedal: Verdict

The beauty of the Anti is that it is way more than just a 5150 emulation, the extra tonal options at your disposal bring this mid-’90s classic bang up-to-date. The integrated overdrive and preamp boost give you the option to hone your tone and tighten up the edges, and it ticks all the big metal subgenre boxes you can think of. Both levels of Punch really add to Anti’s versatility and for my money, it’s the secret sauce.

In fact, since testing this pedal out, I had forgotten how good the Clean channel on the 5150 is. You can get similar results running the Clean channel with some overdrive (cab sim bypassed) into another amp. I tested it into Positive Grid’s Treadplate amp sim for some thoroughly face-melting, yet strikingly clear results. It had me seriously champing at the bit in readiness for the new Knuckles ‘92 pedal. I have a feeling both the Anti and Knuckles will play very well together.

It’s fair to say that many guitarists with a bias to metal have fully embraced the world of capturing and modelling and you'd be hard-pushed to prize them from their trusty Quad Cortex. Granted, Anti is more of a one-trick pony in comparison to the Cortex family and Kemper offerings, and you can find more affordable options from Line 6 and IK Multimedia, but its simplicity makes it an ideal addition to a pre-existing pedalboard; as a centrepiece for a simple, no-nonsense live rig; or another preamp option in the studio.

The added bonus of onboard overdrive/preamp options, a noise gate and six cab sims make it a real space-saving solution to any setup. Universal Audio has another modelled hit on its hands.

MusicRadar verdict: The Anti is the best modelled 5150 emulation we've come across and it has way more up its sonic sleeve than the original, we're smitten.

Universal Audio Anti 1992 High Gain Amp pedal: Also try

Universal Audio Anti 1992 High Gain Amp pedal: Hands-on videos

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• How Universal Audio rewired the modelling amp pedal concept, and won the Edge over

Universal Audio LA-6176: What is it?

Universal Audio’s LA-6176 is a channel strip comprising three emulations of classic gear in one.

You get the 610 mic preamp, designed to give the warm, smooth tube sound of an original UA 610 console, as used by artists ranging from Van Halen to Frank Sinatra. The second device is an emulation of the classic 1176 FET compressor, known for its fast attack and release times, and great for adding punch to any sound.

The final piece of the LA-6176 is the LA-2A, a very different kind of compressor next to the 1176, an optical unit with a more gentle release, and ideal for adding a smoother, less aggressive feel.

So that’s three classics, all in one box, and potentially a heavenly combination of vintage gear you might have previously only dreamt about.

Why are the 1176 and LA-2A classics?

The 1176 compressor was released by Bill Putnam – famous for his Urei, Teletronix and UA brands – and one of the first transistor alternatives to tube compressors. It features attack and release controls, a novelty in 1967, plus four selectable threshold options offering ratios of 4:1, 8:1, 12:1 and 20:1.

Famously these could all be switched in at once for what became ‘British mode’ or ‘all buttons in’ and sounds great when used on drums. The 1176 has been used on many recordings and by producers including Bruce Swedien (Michael Jackson).

The LA-2A is another compressor that ended up (via a quite complicated history) under Putnam’s wing, but is very different to the 1176, and perfectly capable of adding a touch of magic dust just used as a preamp. It has hardly any controls but a very smooth and natural sound – with character, rounded lows, and added polish – and is great for bass and vocals. It has been used by everyone from Nirvana to Shakira.

Universal Audio LA-6176: Performance and verdict

Interestingly this is not the first version of a 6176, as a hardware unit exists but ‘only’ has the UA 610 preamp and 1176 compressor (hence the lack of an ‘LA’ before it). That is still available to buy new, but will cost you around £2,300.

Starting with the 610 mic pre and you have a selectable mic, line and hi impedance input control to give you the option of mimicking the cleaner line level input of the hardware, or getting an overdriven signal with more colour via the mic input. There are also high and low EQ dials with three selectable bands, a -15dB Pad button to reduce input distortion, plus a polarity switch (to invert phase) and a high pass filter (to reduce bass rumble). It’s pretty straightforward to use, and something that, as we’ll see applies to much of the 6176, works great with vocals, particularly driving them to that Garbage/Butch Vig style of saturation, with the mic input option offering the most drama and the Gain dial allowing you to control it, and make the saturation way more subtle. It’s good for drum loops too. The EQ here also does its job well, but not too dramatically.

Next up is the 1176, a unit well known for adding a certain pleasing distortion thanks to those fast attack and release times, and also the all-buttons-in mode – see above – which, as expected, sounds fab on drums. Of course, the unit was originally designed as a leveller, to reduce peaks and troughs and give a smoother result, and this can be achieved on vocals with a slow attack, fast release and medium to high ratio. We found these settings not only helped smooth out the dynamic but add a clear punch to the sound. There’s also a handy filter option to select a sidechain filter to emphasise low-end punch, which is great for drums and bass sounds.

Finally, the LA-2A. You only get a couple of controls here, as on the original, so it’s simple to get its silky sound on vocals or your entire mix. In fact it sounds good on most tracks, but the neat option here is to be able to switch between it and the 1176 (you only use one compressor at a time) to hear the different character they bring, with the 1176 noticeably more aggressive.

Does three go into one?

The LA-6176 is undoubtedly a great set of tools in one plugin, but it’s priced so that any owners of any of the individual plugins won’t want to spend $299 on getting the other two. And this is especially relevant as UA actually gave the LA-2A away last year, so a large number of those downloaders will not be queuing up any time soon.

The three plugins do complement each other well, though, each offering different colouration on the signal, and are particularly flexible on vocals and drums. You can get some wonderful and different textures, both subtle and more creative. But we do think the asking price of $299 is excessive for a set of tools you might either have individually under other brand names, or as plugins that work similarly. $299 will also get you a couple of years of UA’s Spark subscription which nets you an increasing number of the company’s plugins. Or grab LA-6176 in one of UA’s frequent sales.

MusicRadar verdict: A great combination of classic plugins – we’re surprised by how much we like the preamp. It’s a decent buy if you own none of them already.

Universal Audio LA-6176: The web says

"In use, the LA‑6176 plug‑in sounds just like you’d expect it to, and I mean that very much as a compliment! These are all classic circuits that we know and love, and the plug‑in emulations behave exactly as you’d hope."
Sound On Sound

Universal Audio LA-6176: Hands-on demos

Universal Audio

Mixing With Mike

Matty Harris

White Sea Studio

Universal Audio LA-6176: Specifications

• macOS 10.15 Catalina or newer.
• Windows 10 and 11.
• CONTACT: Universal Audio

Universal Audio has unveiled the latest amp modeller in its UAFX lineup and for fans of ‘90s rock and metal guitar tones it doesn’t get any more iconic, with the Knuckles ’92 applying the company’s dual-engine emulation technology on the mighty Mesa/Boogie Dual Rectifier.

For a generation of players, the Dual Rectifier was the ultimate tube amp. Many would argue it still is. High-gain, with a super powerful EQ section it defined an era of electric guitar tone, with the likes of Metallica, Tool, Foo Fighters and more having deployed it in their backline.

And, let’s face it, the Dual Rectifier looked damned cool with that diamond metal front plate and metal cage/vent grille.

Now you can access those tones from your pedalboard, with the Knuckles ’92 following the template set by its siblings in the UAFX lineup, with heaps of features all housed in a compact enclosure with some easter eggs for further shaping your tone.

UAFX amp pedals typically have a custom boost. The Lion ’68 Super Lead, for instance, has a boost based on the EP-III preamp. This, too, has a preamp boost but it is also paired with a Tube Screamer-style overdrive circuit that is the perfect complement to that Dual Recto gain, unlocking its versatility. We might know and love the Dual Rectifier for its high-gain tone but those cleans are hard to beat, too.

There is an onboard noise gate. You can switch channels on the pedal just as you would on the real guitar amp. But what makes these UAFX amp pedals so usable is how tweakable they are, especially once you connect them up to the app for deeper edits.

While the tube amp tones are hard to distinguish from the real thing, all dynamic and natural and musical, there is an ease of use and – crucially – zero maintenance required with the UAFX pedals. You can “swap out tubes” on this to custom-tailor your power amp to your liking.

Choosing between 6L6s and EL34s is something you can do at the touch of a button on your smartphone – likewise, toggling between tube-driven rectification or solid-state. And when you decide to go direct with this when recording you have all the physical room modelling features of Universal Audio’s flagship reactive load box and guitar recording unit, the OX Amp Top Box.

There are ample virtual microphone and speaker cabinet options, too. Knuckles ’92 arrives out of the box with an emulation a 4x12 British cab loaded with Celestion Vintage 30s, an oversized American 4x12 with V30s, and a 4x12 British cabinet with Celestion 75s. And there is a bonus trio of speaker cabs including the 1x12 EV12, 4x12 Celestion 80 and the 4x12 Brown.

Players can also play around with six mic and speaker options modelled on classic pairings from classic records, downloading artist-designed presets via the app. Inputs are mounted on the top of the pedal, including stereo 1/4” jacks and USB for updating for updating on your computer.

Priced £379/$399, the Knuckles '92 Rev F Dual Rec Amplifier is available now. For more details, see Universal Audio.

Bill Putnam Jr has a curious relationship to history. As CEO and co-founder of a reborn Universal Audio, he’s managed to preserve and expand a music technology brand whose legacy stretches back to the dawn of modern recording. 

At the same time, he lives and breathes innovation – spending over two decades at the cutting edge of studio hardware and software. “I’ve always felt a tremendous responsibility to do things right,” he concedes. “To honour the past, but to push it into the future.”

Of course, there is very little daylight between these two sides of Universal Audio. The original company was founded in 1958 by Bill Putnam Sr, a towering figure in music history who pioneered everything from artificial reverb and vocal booths, to still-essential hardware like the iconic 1176 compressor. Since its re-founding in 1999 under Putnam Jr’s leadership, the company has sought to build on its analogue foundations while retaining that early spirit of invention. 

“Our vision is all about bringing hardware and software together,” Putnam Jr remarks. “Bringing analogue and digital together in a well-integrated form where any one product works great, but, when you bring the products together, they work even better.”

It's an ethos that’s on full display in the company’s recent salvo of product announcements – the centrepiece of which is the second generation of their highly acclaimed Apollo X line. “These are the best sounding Apollos ever, in a number of ways,” Putnam Jr says. “We've long been known for vintage tones, but here we really focused on transparency and accuracy across the entire line. Noise, total harmonic distortion, dynamic range, and headphone monitoring are all seeing notable improvements.”

Beyond improving the analogue sound quality, Putnam Jr also points to a series of workflow and quality of life features, including a collaboration with Sonarworks to offer monitor correction running directly on the interface’s DSP,  a bass management system, an assistive auto-gain function, and new plugin bundles for the Apollo’s Unison preamp.

“Going back to the forties and the fifties, it was all about being quick,” Putnam Jr emphasises. “My dad made gear that was easy to use – you wanted to be able to reach over, find the knob, and turn it while looking at the musicians in the studio. So features like auto-gain, placed in that context, are just one more thing to make it easier for producers or recording engineers to focus on the music and less on the gear.”

In a similar vein, the company has simultaneously released its new Topline Vocal Suite, an all-in-one vocal processor that combines EQ, compression, pitch correction, and a selection of studio effects. “I talk to some folks who say ‘you're dumbing things down, you're letting them cheat,’” Putnam Jr says of the new plugin. “But, we aren't sacrificing any quality – we're just making it easier to use and putting it all in one place. I think it opens up an amazing palette of sounds for folks who maybe don’t have the experience yet to tweak ten different things in order to get it exactly right.”

While Putnam Jr sees value in offering streamlined tools for all ability levels, that doesn’t mean he’s lost interest in the nitty-gritty, nerdy details of audio gear – far from it. Over the years, he’s brought a near-obsessive attention to detail to Universal Audio’s pioneering software emulations of classic studio gear.

“I almost think of it as audio archaeology,” he smiles. “It's deeper than just picking out the unit, that’s just the start. We go into the genealogy of these devices, because a lot of times there'll be a certain tweak, or a certain modification that was used and we want to find out about that. So, whether it's guitar amps or a Fairchild compressor, we'll talk to artists and producers to hear how it was used or abused, and make sure we’re representing the sound it was known for.”

As an example of how far the team at Universal Audio are willing to go for an authentic sound, Putnam Jr cites the Hitsville Reverb Chambers plugin, which faithfully recreates the acoustics of three attic spaces built by Pop Gordy, father to the legendary Motown producer, Berry Gordy. “We went and found the engineers and producers that were there in the seventies, flew them in, met with them, and recreated the whole thing,” Putnam Jr recalls fondly. “It gives me goosebumps thinking about that. It’s what makes our industry so cool; it's not just about making gear or gadgets, it's about making things that were a big part of musical history.”

Putnam Jr’s palpable love of the industry’s storied past might be explained by the simple fact that he lived through it – but didn’t fully appreciate its importance at the time. “Right over there, I'm looking at an autographed picture of Duke Ellington,” says Putnam Jr, pointing to the back wall of his unassuming office. “He gave that to me when I was five years old. I treasure it now, but I didn't realise how amazing it was back then. Going to the studios, getting to meet artists, it just felt very normal.”

Frank Sinatra, Ella Fitzgerald, and Ray Charles are just a handful of the artists that Putnam Jr’s father regularly worked with during his heyday at the top of the recording industry. But it wasn’t only his father that brought music into the household. “My mom also came from a musical background,” Putnam Jr recalls. “She worked at Capital Records, she worked for Frank Sinatra, she knew how to edit tape with a razor blade, she could mix. Our whole family was musical.”

It was the unexpected loss of his mother in the early 1980’s that pushed Putnam Jr off the path to a PhD in physics, and helped him rediscover music for himself.  “My dad was kind of crushed,” he reflects. “He sold the companies, and I dropped out of school for a while and took off.”

During those wanderings, Putnam Jr began following the Grateful Dead as they toured across America. “I'd always grown up with music but I didn't realise how special it was until I went out on my own and rediscovered it myself,” he muses. “I saw this tribe of humans that was just captivated.”

That experience not only helped Putnam Jr appreciate the power of creativity, it also ignited his passion for music technology. “[Grateful Dead] really pushed the limits technically,” he emphasises. “From their original experiments with the Wall of Sound to using Hi-Fi amps instead of typical guitar amps, they really were at the forefront and were always pushing it further. I saw firsthand how really high quality sound could move people, and I came back from that just thinking, ‘I know what I want to do now.’” 

A week after returning from the tour, Putnam Jr says he switched his major to electrical engineering, eventually completing a PhD at the Center for Computer Research in Music and Acoustics at Stanford – the same institute that gave us FM synthesis, the DX7, and the foundations of virtual analogue modelling.

By the late 90’s, after dabbling in an internet radio company, Putnam Jr says he and his brother, Jim Putnam, began discussing the possibility of taking up their father’s legacy. “We were talking about what opportunities were out there, and it soon just became obvious –  let's restart Universal Audio.

“My brother was all about the analogue,” he continues. “He was an aficionado and purist at the time, and my vision was ‘why can't we get digital to sound every bit as good, vibey, and warm as analogue?’ The synthesis of those two points of view were the inception of the new Universal Audio.”

Naturally, it wasn’t quite as simple as all that. Putnam Jr says he initially underestimated the complexity of the undertaking – something that quickly changed when tackling the reissue of one of his father’s most famous creations, the 1176 compressor. “I wasn't mature enough to think that there were going to be surprises,” he says ruefully. “I thought we could hit the ground running and have 1176’s shipping within six months of starting to design it.”

From sourcing obsolete components, to updating custom transformers designed by Putnam Sr, to grappling with the oddities of the 1176s distinctive approach to feedback compression, the project very nearly hit a brick wall. “We were just having endless problems with this ringing sound,” Putnam Jr recalls. “We'd put a square wave through and you could see the ringing. One day, I was sitting at the bench with the engineer, we're looking at the ringing, and getting to the point of throwing our hands up, and along comes someone who had my dad's old design notebooks.

“Sure enough,” he continues. “I opened up the 1176 design notebook, and there are these polaroid pictures of an oscilloscope with square waves and the exact same ringing that we were seeing… and notes on how he fixed it. So it’s like he came back from the past to help us out.”

Since those first hardware re-issues started to ship, Universal Audio has moved in parallel to deftly define new frontiers in recording technology. Their UAFX guitar pedals, microphones, and Unison preamps offer a seamless blend of analogue hardware and digital emulation, and with the release of their own fully featured DAW, Luna, the company is increasingly offering a comprehensive music production ecosystem.

This kind of deep integration, Putnam Jr says, has been a company goal from the earliest days. “We've been doing this for north of 25 years, and we're just now really putting together some of the core elements of our vision. Luna and Apollo, the integrated features, the workflow benefits and the speeding up of creativity, these are the things we wanted to be able to do.”

Playing the long game is all part of how Universal Audio maintains its delicate balance between change and continuity, legacy and innovation. Putnam Jr readily admits that maintaining this equilibrium is a “constant struggle”, but a key ingredient to their success, he says, has been the decision to remain a private company rather than seek outside investors.

“No one gets to tell us what we need to do,” Putnam Jr says with clear satisfaction. “With external forces and investors, what can sometimes go wrong is your long-term ambitions and visions are sacrificed for short-term gains. You’re focused on a quarter rather than a decade.”

As Putnam Jr looks ahead to the next decade, the topic inevitably turns to the AI boom. Even though he studied neural networks back in his undergraduate days, and has followed developments in AI closely, the speed at which the technology has progressed stunned even him. “I really went through an existential moment about what it means,” he confesses. “It really begs the big questions about what creativity is. But, I realised that most of the people in this industry do it because they love it – and that the product companies like Universal Audio sell is not the thing that is used to make music, it’s the experience of making music. The experience is the exciting thing, and that's not going to go away.”

In speaking with Putnam Jr, it gradually becomes clear that his centre of gravity is not hardware specifications, not software innovations, and not even commercial concerns. These things are necessary, but ultimately exist in service to what really excites him: creativity.  “Ultimately, it's about the music,” he says. “The gear is just a tool to help music makers manifest their creativity and get to whatever that sound in their head was.

“It’s not about us,” he continues. “A piece of art that’s made with honesty, sincerity, and intention makes the world a better place. The fact that we can play a small part in that bigger picture of artistic expression, that's what makes it worthwhile. That's what makes us want to get up every day and come to work.”

Universal Audio Apollo x8 Gen 2 review: What is it?

Universal Audio’s Apollo interfaces have proved to be massively successful, and it’s not hard to see why. They offer a market-leading combination of audio interfacing, onboard DSP for UAD plugins (VST, AU and AAX), and DSP-supported Unison preamps. When you factor in UAD’s over 200 plugin library, and the broad choice of interfaces, it’s hard to think of another manufacturer that offers this range of options, or combination of features.

The whole range has now received a refresh and up for review we have the Apollo x8 Gen 2. This sits towards the upper end of the range and is a traditional 1U rack mount unit, offering 18-in / 24-out at up to 24-bit / 192kHz resolution, and HEXA core (6-chip) DSP.

On the input side, you get 8 analogue ins and 4 of these are mic inputs with independent XLR connectors. The first 2 mic inputs also have front-mounted Hi-Z instrument jacks. On the output side, you get stereo monitor outputs, 8 further analogue outs and a pair of front-mounted headphone outputs. ADAT and S/PDIF digital connections complete the I/O.

For both monitor and headphone outputs, the Apollo x8 Gen 2 includes improved D/A conversion with increased dynamic range (DNR) and lower distortion (THD). In our opinion, both sound excellent. The unit uses Thunderbolt 3, but is also Thunderbolt 4 compatible and for Mac users backwards compatibility with TB2 and TB1 using the Apple converter cable.

Two Thunderbolt 3 ports allow for chaining of additional Apollo devices (4 total) and UAD DSP units. On the plugin side Apollo x8 Gen 2 is available in the Essentials+ and Studio+ versions, offering a selection of over 20 and over 50 DSP plugins respectively.

Universal Audio Apollo x8 Gen 2 review: Performance

Apollo rack mount interfaces are extremely well made, and the weighty full-depth form factor is a bit of a rarity these days. The x8 Gen 2 moves away from the black finish of its predecessor, with a new thick metal face plate and slicker push button encoder knobs and soft buttons, and this offers a more modern look. Meanwhile, sticking with the existing panel layout keeps things familiar. As before the front panel offers direct control of input settings, monitoring levels and metering, and this is mirrored in the UAD Console desktop software. Here you can also access input and Unison plugins, monitoring plugins and cue mixes, amongst other interface settings and options.

Despite the familiarity, the Gen 2 release brings with it some significant extras. First up, auto gain. For Apollo x8 Gen 2, this is accessed via UAD Console, and not via the interface as we have seen from some manufacturers. That said, the implementation is more nuanced, with adjustable target and threshold levels, signal monitoring duration, and multiple preamp selection.

Bass management is an important aspect of multichannel monitoring and is now integrated into the UAD Console for both Gen 2 and Gen 1 Apollo X users. The bass management section of the Monitor Controller window allows for a separate LFE source or for a sub-split from a regular stereo output (Satellite Crossover). In both cases, you have a choice of LPF settings and thankfully these are to hand and not buried in the Settings page. Coupled with the Speaker Utilities tab, which includes speaker trims, muting and solo of individual speaker feeds, it’s all incredibly easy to use and suits both stereo and multichannel applications.

Finally, Apollo X Gen 1 and Gen 2 users now have integrated monitor and headphone room calibration courtesy of Sonarworks, and for Apollo x8 Gen 2 units upwards you can load up to 3 different profiles simultaneously (1 monitor and 2 headphone). This requires you to purchase the Apollo Monitor Correction add-on ($79) and also to have the Sonarworks SoundID Reference system.

Nevertheless, once you have this in place, SoundID Reference links with Console, so your SoundID settings (loaded profile, target and dry/wet blend) are applied to your Apollo and visible in the dedicated Monitor Controller panels. It’s planned for release in November, but we’ve tried it already and have to say it works well and is excellently integrated.

Universal Audio Apollo x8 Gen 2 review: Final verdict

The Apollo x8 interface already ticks a lot of boxes, and the Apollo x8 Gen 2 builds on this. The familiarity will be welcomed by many existing users looking to upgrade, as will the improved monitoring sonics. Meanwhile, the Sonarworks integration coupled with other UAD Console improvements bring some welcome new functionality. All round this is a very solid upgrade.

The Apollo x8 Gen 2 is slicker than ever and although some of the improvements are quite nuanced, the incoming Sonarworks SoundID integration and monitoring extras will no doubt be suitably welcomed by the unit’s target audience.

Universal Audio Apollo x8 Gen 2 review: Specs

• I/O: 18-in, 24-out at 24-bit up to 192kHz
• DSP: HEXA Core 6-chip
• Mic Inputs: 4 Unison with integrated DSP emulation
• Analogue Outputs: stereo monitor, 8 line, 2 stereo headphone
• Digital: S/PDIF, ADAT S-MUX 8 I/O up to 96kHz, 4 I/O up to 192kHz
• Mic input: DNR 123dB(A), THD -114dB (0.00020%)
• Monitor output: DNR 130 dB(A), THD -127dB (0.00005%)
• Headphone output: DNR 126 dB(A), THD -117dB (0.00014%)
• Software features: DSP UAD plugins, minimal latency monitoring, bass management, preamp auto gain
• Size: 483(w) x 44.5(h) x 346(d) mm
• Contact: Universal Audio

Having scored a home run with its UAFX amp modeller pedals, Universal Audio has taken the exact same algorithms from three of its vintage tube amp-inspired stompboxes and released them in as guitar plugins.

That means you have classic Fender, Marshall and Vox guitar amp tones at the click of a mouse button, with the Dream ’65 emulating a golden era Deluxe Reverb, the Lion ’68 doing that high-volume Plexi Super Lead thing, and Ruby ’63 on-hand for electric guitar tones ranging from Rory Gallagher blues through Beatles chime and Brian May-style harmonic crunch.

Now these are all available individually as UAD Native plugins. Simply add them to your DAW and you’re off, no need Apollo needed. And they arrive with their custom onboard boost options, plus a bewildering array of speaker emulations.

If you’re already down with the digitalisation of guitar hardware then you might even make the case that owning these is preferable to the originals. For a start, there is no maintenance required. Also, these can effectively be modded on the fly.

For those with the UAD Dream ’65, you can toggle Stevie Ray Vaughan and Steve Lukather mods on the amp, adding the an emulation of the original amp’s tube-driven spring reverb and vibrato to taste. A clean boost will give you the push you need when taking a solo.

The Plexi ’68 presents three classic Marshall amp sounds. There’s the the 100-watt Super Lead (model 1959), the Super Bass, and one named Brown, named after Eddie Van Halen’s “Brown sound” and emulating his use of the Variac to adjust the voltage going into the Marshall in search of sweet spots with more more warmth and saturation to them.

Furthermore, you have an emulation of the Boss GE-10 10-band EQ and the tone-sweetening powers of a ‘70s Echoplex EP-3 tape echo preamp at your disposal.

As for the Ruby ’63, it has onboard boosts modelled on the the ‘60s Dallas Rangemaster germanium treble booster and an EP-3 tape echo – which is where you’ll find that Gallagher/Queen mojo.

And as with the UAFX amp modelling pedals, all of these amp sounds can be paired with a formidable array of mic and speaker pairings. As ever, in the world of digital, it has never been easier – or cheaper – to browse vintage gear and put it to work.

The UAD Guitar Amp Emulation Plugins are available now, each priced $299. For a limited time only (well, until the end of the year) they are available at an introductory price of $149. Head on over to Universal Audio for more details.

As part of its Constellations launch event, Universal Audio has announced the release of a several new products, including the next generation of Apollo X interfaces and plugin versions of three of its amp emulation pedals.

That’s not all, though; today UA unveils a new vocal production plugin which it says offers everything you need to create perfect vocal mixes: Topline Vocal Suite.

At the heart of Topline Vocal Suite is its vocal tuner, which can handle everything from transparent pitch correction to robotic hard-tuning. UA tells us that it’s “never been so easy” to dial in vocal tuning: simply identify the key and scale of your track with Topline’s Key Finder, or set manually, and the plugin will take care of the rest.

Vocals can be tuned in close to real-time thanks to Topline’s low-latency Live Mode, so you’re able to experiment with pitch correction on-the-fly or even use the plugin for live performance. The plugin is equipped with over 150 presets designed by mix engineers known for working with Beyoncé, The Weeknd, and U2.

Topline Vocal Suite is much more than just a pitch correction plugin, though; UA has kitted it out with a variety of tools for vocal production and additional effects, including emulations of classic analogue hardware.

Vintage-inspired mic preamps and tape-style saturation are joined by a handy vocal compressor and an easy-to-use EQ, while a versatile multi-effects section with delay, reverb and modulation can be used to lend your vocals space, depth and character.

In other news, UA has announced that its software emulations of the famed SSL 4000 Series console, SSL 4000 E Channel Strip Collection and SSL 4000 G Bus Compressor Collection, are now available as native plugins.

Topline Vocal Suite is available now for macOS and Windows in VST/VST3/AU/AAAX formats, and priced at an introductory discount of $199.

Find out more on Universal Audio’s website.

Universal Audio Apollo x4 Gen 2 review: What is it?

Universal Audio’s Apollo series has been amongst the most highly rated audio interfaces for some time. I’ve seen many professional engineers use the smaller variants in their travel or home setups, but for some, they’ve been lagging behind other manufacturers in the more premium audio interface space. Having been initially released in 2012, it’s not unkind to say the Apollo series is getting a little long in the tooth.

Enter the Universal Audio Apollo x4 Gen 2, which aims to redress the balance back into UA's favour, putting them back at the top spot of the interface league table, at both the hobbyist end and the professional engineer part of the scale. Boasting a look reminiscent of the original units, improved D/A converters, and some brand-new usability features, I got hands-on before launch to put it through its paces.

Universal Audio Apollo x4 Gen 2 review: Features

The new Apollo desktop interfaces are now available with two tiers of plugin bundles, with a third for x16 variants. The first level is called Essentials+ and features 32 plugins covering everything from preamps and compressors to reverb and delay, as well as a single instrument in the PolyMAX Polyphonic Synth. You also get Auto-Tune Realtime Access for perfecting your vocal takes and UA’s Luna DAW.

Upgrade to the Studio+ Edition and you’ll get 50 plugins to choose from as well as 6 software instruments. Auto-Tune Realtime X is included alongside Luna, and it’ll cost you around $300 RRP to make the jump from the Essentials version. Tiered plugin bundles with audio interfaces aren’t something I’ve really encountered before as typically you’ll get the same bundle with each interface, but it could be useful for those who already have a stacked plugin collection to cut back here.

One of the headline features is the inclusion of Apollo Monitor Correction, which allows you to import Sonarworks profiles to run on the interfaces DSP in real-time. Unfortunately, this wasn’t available for me to test at the time of writing, but as soon as it launches around November time, I’ll update this review accordingly. It’s an additional purchase with various tiers for new and existing SoundID users, and you’ll need to buy a Sonarworks licence, measurement mic, and Apollo Monitor Correction Add-on to get up and running.

UA took us through a demonstration of it, and the gist is that you can easily open Sonarworks profiles within the interface to monitor stereo or multi-channel speaker arrays including a subwoofer-specific management system. It supports Calibration Target Modes so you can tune your own room or emulate other studio monitors to quickly check your mix will translate elsewhere. The process is deceptively simple, and this processing is always applied last in your signal chain to reduce latency.

Finally, there’s a brand new auto-gain feature which I’ve seen before on the Scarlett 4th Gen interfaces, allowing you to play your instrument during a brief ‘training’ window and automatically set a level. You can do this across all four input channels, making it great for getting perfect levels when using a multi-microphone setup.

Universal Audio Apollo x4 Gen 2 review: Hardware

As you might guess from the name, the Apollo x4 has four combi inputs, each of which is sporting UA’s famed Unison preamps. Next on the back panel are two monitor outs, and four line outs, all sporting 1/4-inch inputs. For additional connectivity you’ve got a Thunderbolt port, and an Optical in and out that allows you to connect up to four additional UA interfaces should you wish to keep the desktop functionality when expanding to a rack mount setup.

On the front panel, you’ve got two Hi-Z inputs which replace channels 1 and 2 on the back when plugged in and two headphone outputs make it great for collaborating with other musicians and clients. You can also bypass the preamps on the desktop versions, allowing you to utilise the mastering grade line-ins straight into the upgraded converters.

Apollo’s converters have had an upgrade to reduce their noise and distortion levels, abbreviated as THN+D, and enhance their dynamic range, referred to as DNR. We’re talking very small numbers here with increases in the single digits as we near the theoretical limit of what digital audio is capable of, but if you’ve heard of the 90/10 rule you’ll know that it takes a lot of effort to get push those last few points of performance.

Universal Audio Apollo x4 Gen 2 review: Software

Getting the interface is handled via UA Connect nowadays, which offers a centre point for all your UA plugins, hardware, and the Luna DAW if you decide to use it. If you’ve already had a UA device installed on your machine then with a quick update of the UA console software and quicker firmware installation you’ll be up and running in no time. If you’re new to the UA ecosystem then the installation process is quite convoluted, so just be sure to read all the dialogue boxes that appear properly and you’ll save yourself quite a few headaches.

The UAD Console looks remarkably like the original, but there are some subtle changes afoot. First up is the new Auto-Gain function which sits just below the input gain in your chain. Clicking it brings up a dialogue box that asks you how long you want to play for, your listening threshold in dBFS, and your peak target in dBFS. Once you’ve played for the duration required it’ll suggest the correct level for your instrument and you can click done to proceed. It’s very similar to the feature I tested on the Scarlett 4th Gen interfaces, and although I’d imagine most engineers and producers will like control of setting their own levels, it’s a viable option if you’re in a hurry.

The workflow is exactly as I remember it from previous UA devices. Much like you would work at a desk you go from the top of the channel strip to the bottom, adding preamps, EQs, compressors, and anything else you like before you start recording into your DAW. There’s a lot of flexibility within the software, and the Console is really the heart of the Apollo x4, or any previous Apollo device for that matter.

There's another new feature you'll notice in the bottom right of the UAD Console, which is integrated monitor and headphones correction. It requires a Sonarworks SoundID license and the accompanying measurement microphone to profile your room and studio monitors, as well as an additional Apollo Monitor Correction Add-on, so you'll need to spend more to gain access to it.

Measuring your room takes around 20 minutes, requiring you to first set up the measurement microphone in your listening position, then set it up close to each of your monitors, before finally placing it in different spots around your listening position in order for the software to learn your room. Whilst you're doing it your monitors play a clicking sound to determine the position before a sine sweep measures that particular point in your room.

With this built into the UAD Console software, you don't need to waste any processing power from your laptop or computer by running the plugin in your DAW session either. Instead, you can now run it straight from the Console, which gave me a very 'set and forget' kind of experience as once applied in the Console I didn't have to think about loading a plugin or applying it again afterward.

This is stuff that's done all the time in professional studios, and being able to do it for your own home studio is potentially a game changer. Listening to the differences between my HS5s pre-calibration versus afterward was an eye-opening experience for me, as was comparing them to the other references available in the software.

Universal Audio Apollo x4 Gen 2 review: Performance

I began my testing by plugging my Telecaster into the Hi-Z output on the front of the unit, and recording some basic DI guitar takes to see how it performed. Warming up the tone with a Neve 1084 preamp emulation and evening my playing out with the 1176 compressor plugin, the interface performed as expected, giving me a perfectly usable take to apply some HX Native amp simulation to.

With the sound of preamps being so subjective, I’m not going to say that the Universal Audio ones are better than anything else available at this price point. For me, it’s the ability to swap in and out various sounds for varying instruments that really takes the Apollo X4 above and beyond. Whether you’re going for a super simple Neve Preamp to just lightly boost and colour your tone, or you want to do full channel strip processing with the API Vision and compress, EQ, and gate your signal before it arrives into your DAW, the flexibility of the workflow makes it super engrossing process recording.

I found having a good selection of physical buttons on the front of the unit really useful, and as more music gear manufacturers start heading down the app-only route I’m glad that these have stayed from the previous iteration. Sometimes clicking away on your computer to bring up menus just isn’t as satisfying as turning a knob or pressing a button to perform an action, and the placement of these on the angled top of the x4 is super ergonomic.

Next up I tried stereo outs via a dual amp setup from the Neural DSP Quad Cortex I’m currently testing, applying separate processing to each channel and panning them hard left and right to create some humongous-sounding guitar takes. Even with separate preamps, compressors, and EQs doing some heavy lifting on the input, I didn’t come close to hitting the DSP limit of my unit, and the low latency performance was fantastic on my MacBook Air M1.

With a condenser microphone plugged in and my best impression of a topline again I found it similarly brilliant in its workflow approach. The huge array of presets built-in made it a breeze to dial in a great sound, applying preamps, compressors, and EQs to the chain that give you an excellent starting point to tweak from. Some even add reverbs and delays to the chain, although for me I’d rather use those just to help the performance and add my own later in the DAW.

Universal Audio Apollo x4 Gen 2 review: Final verdict

The performance upgrades with the Universal Audio Apollo x4 Gen 2 are evolutionary rather than revolutionary, but UA is building on a brilliant piece of kit that’s more than a match for the demands of the modern producer/engineer. The analogue style workflow of the UAD Console is still its best feature, and UA hasn’t done much to change this other than add a few usability features.

In my opinion, a four-input interface is a much better option for the producer/engineer who has experience already under their belt, allowing you to do more whilst still remaining relatively compact. So if you’re ready to make a step up from your beginner audio interface, the Apollo X4 might be pricey, but it’s totally worth the entry cost.

Universal Audio Apollo x4 Gen 2 review: Specs

• Price: $1999 with Essentials+, $2299 with Studio+
• Simultaneous I/O: 12 x 18
• A/D Resolution: 24-bit/192kHz
• Built In DSP/FX: UAD-2 Quad Core Processing, Realtime UAD Powered Plug-ins
• Number of Preamps: 4 x mic, 2 x instrument
• Phantom Power: Yes
• Analog Inputs: 4 x XLR-1/4" combo (mic/line), 2 x 1/4" (Hi-Z)
• Analog Outputs: 2 x 1/4" (monitor), 4 x 1/4" (line out)
• Digital Inputs: 1 x Optical Toslink (ADAT,S/PDIF)
• Headphones: 2 x 1/4" TRS
• Power Supply: 12V DC power supply (included)
• Contact: Universal Audio

It’s a big day over at Universal Audio HQ today, as the brand unveils a raft of new products in its Constellations launch event, both hardware and software. 

For many, the biggest announcement will be the second generation of UA’s Apollo X line of Thunderbolt audio interfaces, which have received a healthy upgrade and a host of new features such as auto-gain, bass management and onboard monitor correction. 

The new line of Apollo X interfaces benefits from a trio of new tools that’ll help you both streamline the recording process and set up a reliable system for accurate monitoring. Accessible through UA’s Console software, the newly-developed Auto-Gain system will automatically adjust input gain across multiple channels before you record, making it easy to quickly set your levels when recording a band or a podcast with multiple speakers, for example. 

UA has partnered with Sonarworks to introduce monitor and headphone correction to the Apollo line, helping you achieve consistent mixes while working across multiple systems or studio spaces. UA has integrated the brand’s SoundID software - which would typically run on your machine as a standalone app or plugin - into the Apollos, meaning that calibration for both monitors and headphones can be applied in real-time at the final stage of your signal chain, using UA’s proprietary EQ algorithms. As it’s still in development, this feature won’t be available until later in the year, and requires a measurement mic that’s sold separately. 

Like Apollo Monitor Correction, UA’s Bass Management tool helps you handle an aspect of studio set-up that’s essential for reliable monitoring: subwoofer integration. Bass Management can be used to integrate a subwoofer into anything from a standard stereo 2.1 set-up all the way up to an immersive 9.1.6 Atmos system, letting you adjust filter frequency and slope from within Console. 

The improvements to Apollo X aren’t only on the software side, of course: the interfaces’ aesthetic has been refreshed, while their 24-bit/192 kHz converters have been upgraded across the entire range, with a particular focus on the D/A converters, which UA says – along with redesigned monitor and headphone outputs – deliver "class-leading" monitoring, with lower noise and distortion than Apollo X’s first generation. 

As ever, the Apollo X interfaces ship with a bundle of plugins from UAD’s much-loved suite of analogue emulations, mixing tools and effects processors, which can be applied in real-time using the Apollos' onboard DSP. The plugin bundles are split into three tiers, but the Essentials+ Edition, included with all core Apollo models, comprises more than 20 plugins and instruments, along with Antares Auto-Tune RealTime Access.

In our review of the Universal Audio Apollo x8 Gen 2, we described the interface as a "solid upgrade", observing that "the Apollo x8 Gen 2 is slicker than ever and although some of the improvements are quite nuanced, the incoming Sonarworks SoundID integration and monitoring extras will no doubt be suitably welcomed by the unit’s target audience."

"We believe that the very best audio tools can 'disappear,' and feel like they are simply a part of the creative process," said UA‘s founder and CEO Bill Putnam Jr. in a statement. "The new Apollo X interfaces are about pushing that concept further - bringing the best of analog and digital sounds together in a way that's both inspiring and seamless, to let your music take center stage."

Find out more on Universal Audio's website.

Universal Audio Apollo X Gen 2

• Apollo Twin X DUO / 10-in/6-out desktop interface, 2 Unison mic preamps, DUO Core DSP / $1199 with Essentials+ Edition
• Apollo Twin X QUAD / 10-in/6-out desktop interface, 2 Unison mic preamps, QUAD Core DSP / $1499 with Essentials+ Edition
• Apollo x4 QUAD / 12-in/18-out desktop interface, 4 Unison mic preamps, QUAD Core DSP / $1999 with Essentials+ Edition
• Apollo x6 HEXA / 16-in/22-out rackmount interface, 2 Unison mic preamps, HEXA Core DSP / $2499 with Essentials+ Edition
• Apollo x8 HEXA / 18-in/24-out rackmount interface, 4 Unison mic preamps, HEXA Core DSP / $2899 with Essentials+ Edition
• Apollo x8p HEXA / 16-in/22-out rackmount interface, 8 Unison mic preamps, HEXA Core DSP / $3499 with Essentials+ Edition
• Apollo x16 HEXA / 18-in/20-out rackmount interface, 16x16 analogue I/O, HEXA Core DSP / $3999 with Essentials+ Edition
• Apollo x16D HEXA / 18-in/20-out rackmount interface, 16x16 Dante network audio I/O, HEXA Core DSP / $2999 with Essentials+ Edition

Universal Audio has added some unicorn tube amp tone to its UAFX lineup with the launch of the Enigmatic ’82 Overdrive Special Amp, a compact amp in a stompbox that emulates the holy grail tones of a Dumble – or as Universal Audio puts it, “the heavenly guitar sounds of Stevie Ray Vaughan, John Mayer, Robben Ford, Joe Bonamassa, and Carlos Santana”.

If this compact amp modeller is as successful in emulating the ODS as the UAFX series has been with other classic amps, then this could be the bargain of the century. 

Let’s face it. Most reading this and all writing this will never be able to afford a Dumble, and most of us will have come to terms with that fact. Besides, spending six figures on an amp seems a little OTT unless your day job involves headlining the Royal Albert Hall or Red Rocks Amphitheatre.

But the prospect of having that tone in a pedal format, with some modern functionality that the UAFX house style offers us is tantalising. This is a D-style amp pedal for the 21st-century, with nine onboard classic mic/speaker emulations, deep edits via the app, Jazz, Rock and Custom modes at the touch of a switch, and an intuitive control layout that is, yes, just like an amp. 

You need not be in deep with pedalboard culture to get to grips with the Enigmatic ’82 Overdrive Special Amp’s charms. Before you touch the knobs, the Jazz presents these D-style tones as “cloud-like cleans” with scooped mids for tightness, while Rock is all about “blooming overdrive”. 

Custom is where things can get very interesting; that’s where you design your own ODS, tweaking the circuit to your liking. Choose between Classic and Skyline tone stacks, add the “Hot Rubber Monkey” preamp mod. This is as close to an open-source Dumble in a box as you’ll find. 

As for manual controls, we have dials for Volume, Overdrive, Output, Bass, Middle and Treble. Like the others in the UAFX series, the Enigmatic ’82 Overdrive Special Amp is eminently tweakable, with many of these dials having secondary functions. It’s worth noting what they do here because it gives you an idea of just how much tone-shaping control is at your disposal here. There are a lot of electric guitar tones in this compact package.

In Amp mode, the Volume control adjusts the first gain stage of the amp circuit, which then cascades into the second. In Alt mode it is used to dial in Room ambience when you are using the amp with a speaker cabinet. UAFX advises starting with Room at noon and then adding or subtracting to taste.

Overdrive controls gain when in Amp mode, and Ratio when Alt mode, whereupon it sets the level of the Overdrive channel. Besides dialling in your low-end response in Amp mode,  the Bass knob also selects the Deep setting when choosing the Classic Tone Stack, and the Mid setting when using the Skyline Tone Stack, both of which can be selected from the UAFX App.

Middle doubles as a Presence control while the Treble knob’s Alt mode setting allows you to choose from four bright cap settings that have been modelled on original Dumble amplifiers (150 pF, 196 pF, and 300 pF, in ascending order of brightness).

Cabs can be selected via the onboard toggle and you there are artist presets to explore via the app. All in you are looking at 30 years of Dumble tones, in a small box priced £379/$399 street. 

“We wore out the rolodex to find Overdrive Special amps spanning three essential eras,” says UAFX. “From the 1970’s Santa Cruz models that brought the amp into the spotlight, to LA iterations from the ‘80s and ‘90s used on legendary sessions, Enigmatic ’82 gives you the sound of the most wildly expensive and coveted guitar amps in history.”

Yes, at just shy of 400 bucks, the Enigmatic ’82 Overdrive Special Amp is not cheap but then it does present you with over a million dollars of gear reproduced with UAFX’s dual-engine modeller. That, for many, is the holy grail. The Enigmatic ’82 Overdrive Special Amp is out now. Find out more over at Universal Audio.

Universal Audio is renowned for its top-tier software emulations of classic bits of gear like the Teletronix LA-2A and UA 1176, but the company has also developed some fantastic plugins that recreate the sound of vintage technology without imitating a specific piece of kit.

One such plugin is the Century Tube Channel Strip, a vintage-inspired recording channel that comprises a virtual tube preamp, three-band EQ and an optical compressor. Though it's priced at $199, UA is giving away Century Tube completely free for a limited time. 

UA says Century Tube will help you get "warm, vintage sounds" from sterile-sounding digital tracks through its analogue-modelled tube mic preamp, which should gift your recordings with the characterful tone of tube saturation. The plugin's preamp section offers low and high-gain settings for different microphone types and a 80kHz high-pass filter to remove any unwanted low-end. 

Alongside this you'll find a three-band EQ with two fixed bands at 10kHz and 110Hz - useful for quickly dialling highs and lows up or down by +/-12dB - and a third, sweepable band that covers the mid-range. 

Modelled on an optical compressor, Century Tube's Opto Leveller is a one-knob affair providing basic but effective control over dynamics; dial the compression amount up to 10 to imbue your signal with some analogue-style grit. Finally, a Master section gives you control over the levels of the output stage.

In our review, we described Century Tube as a "great tool for the recording novice" and a "fast, focused plugin with a convincingly analogue sound that utterly flattens the channel strip learning curve", praising its simple and intuitive "do-no-harm" workflow. 

Century Tube runs on macOS and Windows and is available in VST/AU/AAX formats. If you're intrigued, don't wait around - this one's only free until September 15th. Head over to Universal Audio's website to find out more.

Universal Audio Vibe Analog Machines: What is it?

Distortion comes in many shapes, sizes and colours, and while it immediately conjures images of rock guitarists, subtle degrees of distortion can enhance everything we hear, from the sound of a cool synth to an entire mix.

Many of the more desirable distortion-based effects reside in the hardware domain, costing a small fortune, even at secondhand prices. Thankfully Universal Audio has been on a plugin crusade for many years, providing the analogue colour we yearn to hear, in a DAW-based world.

Enter Vibe Analog Machines, a compendium of 10 differing but complementary models, each in the style of a particular piece of hardware. 

Universal Audio Vibe Analog Machines: Performance and verdict

The 10 options are selected via a beautiful graphic, which forms the central component of the user interface. It’s easy enough to work out the style of emulation from the picture, but the models breakdown to six different examples of tape machine, and four examples of solid state devices.

Unlike other Universal Audio plugins, there are no particular device names attached to the machines that you see in the plugin window. You can certainly make some educated guesses, but the description of your chosen effect is provided by way of an adjective. Most of these are obvious enough, but for further embellishment or clarification, you can visit the UA website for a more detailed critique.

One thing that all of the 10 models have in common is that each deliver a degree of graphical interplay, once engaged with a track. The tape machine reels whirr, while the solid state devices tend to display some form of response by way of a reactive light, to demonstrate signal strength. 

You activate a model by clicking one of the associated coloured buttons, from the top of the plugin window, or you can shuttle left and right, clicking on the next obtainable graphic.

The control you have over the outputted signal is relatively basic. Each of the solid state devices provides a Drive pot with an accompanying Tone control. There’s no input control, only metering, but you can change the outputted signal via a fader below the meter.

Mostly, the resultant tone is engaging and exceptionally effective. Like many similar plugins, you do have to be a little careful. The models described as Edge and Distort can certainly be driven to an unhealthy extreme. Pair this with the option of harsh high-end colours, which can be engineered from the Tone control, and Vibe can sound exceptionally overbearing. However this serves as an invite to pull back from the brink, settling on something that feels far more pleasing and refined.

The tape models, on the other hand, provide a Drive control and a Warble effect. The latter is associated with wow and flutter, and can induce substantial degrees of tape-based modulation, if required. With model descriptions such as Sweeten, Warm and Thicken, these models vary and contrast nicely against the solid state definitions, although there is a fair degree of crossover. The resultant second harmonic-style tape distortion is really effective and very workable, especially if used as part of a mastering or output chain.

Overall, Vibe Analog Machines is a beautifully compiled set of effects, which are perfect for applying at the individual instrument level, or better still, at the mix level. Combining subtle saturation on the output of your DAW with some back-end compression, could substantially enhance the quality of your emitted audio. In terms of outputted quality, this is a very plush suite, which could easily become a regular feature of a DAW template.

MusicRadar verdict: This engaging plugin is easy to use, with very desirable saturation-style effects. Just plug-and-go for instant analogue charm.

Universal Audio Vibe Analog Machines: Hands-on demos

Dom Sigalas

Audio Tech TV

Sweetwater

Universal Audio Vibe Analog Machines: Specifications

• macOS 10.15 Catalina or newer
• Windows 10 and 11
• CONTACT: Universal Audio

Honestly, there’s never been a better time to pick up a budget audio interface for yourself. The choice on offer is positively staggering and now even the biggest players in the world of studio gear offer something affordable enough for the beginner musician. Making music just keeps getting more and more accessible and whether or not you think that’s a good thing, it’s undeniable that technology has evolved to give us better and better tools to use at home.

The Universal Audio Volt 1 is the company’s lowest-price interface, costing just $139/£99 at most retailers. It’s the same cost as a full-price Scarlett Solo 4th Gen, undoubtedly priced to compete with that most famous of beginner-friendly red boxes. It’s up against many other similarly priced interfaces in the category from Behringer, Arturia, PreSonus, M-Audio, and others, so let's find out if it can make its mark in a stacked genre.

Universal Audio Volt 1 review: Features

Pulling the Volt 1 out of its box - one that feels similarly luxurious to that of the much more expensive Apollo Twin X - I was immediately taken aback by the look and feel of it. From the pictures online I'd been expecting a white, plasticky unit to arrive, but what I got was a silver, grey, and black metal box that feels a lot more premium than I was anticipating. It’s got a decent weight to it and is pretty small too, definitely rugged enough to be usable on the go.

On the left of the front panel, you’ve got a single XLR, 1/4-inch combi input. The grey front panel to the centre right features all your knobs and buttons. In terms of knobs, you have three options, one to set the gain of the input, one for your overall monitoring volume, and another for your headphone monitoring volume. They all feel nice and stiff for minute adjustments and the plastic is nice and grippy too.

There are four buttons on the front panel to interact with, the vintage button unlocks some tube emulation circuitry, designed to replicate the sound of a UA 610 tube pre. The inst button swaps between line and instrument input, 48V sorts your phantom power and there’s a dedicated direct button for monitoring your input signal. Completing the lineup are two, two-tier LED lights for monitoring your ins and outs, which look too small to do anything other than let you know if a signal is clipping or not.

Swapping sides, the black back panel reveals a dedicated on/off switch, which I personally love on an audio interface, a 5V DC power for a supply sold separately, USB-C for connecting to your laptop or computer of choice, MIDI In/Out, and two outputs for your monitors or sending a signal out of your DAW. It’s simple but not the simplest, and the inclusion of MIDI is a nice touch at this price point.

Universal Audio Volt 1 review: Installation

I’m already part of the UA ecosystem so installation happened at a breezy pace with UA Connect recognizing the Volt 1 immediately and asking me if I wanted to download the requisite driver on Windows. If you don’t already own a UA device, as I’d imagine most buyers of this interface will be, then you’ll just need to head over to the UA website and download UA Connect to get up and running.

On my MacBook Air installation was even simpler, you don’t need to install anything, and Volt 1 will just work straight away even without UA Connect being installed. Using it this way means you won’t be able to access the software bundle, which I’d imagine most beginners would want to, and it also stops you from getting any firmware updates should there be any.

Volt 1 features a nice software bundle as you’d expect of any beginner interface. You get a Softube-modelled Marshall amp, alongside some of their compression, delay, and saturation plugins. It also comes bundled with Ableton Live 11 Lite if you don’t already have a DAW - whether or not this will get updated to 12 remains to be seen. The Essentials version of Melodyne is included for basic vocal tuning alongside the Ampeg SVT-VR bass amp modeller and brainworx bx_tuner and bx_masterdesk plugins.

Reverb comes in the form of LX480 Essentials by Relab and you get both Virtual Drummer Deep and Virtual Bassist Dandy from UJAM. Finally - take a breath - you get Spitfire Labs selection strings, pianos, percussion, synths and more. It’s a hefty offering and certainly plenty of choice for the beginner creative to get up and at ‘em immediately.

Universal Audio Volt 1 review: Performance

My chosen DAW Pro Tools recognized Volt 1 straight away, so there was zero messing around getting the ins and outs set up and I was able to start recording immediately. Starting with my typical template I began by using my trusty HX Stomp plugged directly into the combi input, with a Jackson RRX24 Rhoads at the other end for some shredtastic riff writing.

The Volt 1 did everything I asked of it, allowing me to put down my guitar tracks with ease and all the clarity I’d expect of a modern interface. The vintage button is a nice touch for adding a little extra saturation and high end to the signal, great for making my Mesa amp model shine during a guitar solo. I also used it with a Taylor GS-Mini, pointing my Rode NT1 condenser mic at the 12th fret for some lovely balanced and warm acoustic tones. Again the preamp shined here, offering plenty of gain for really quiet picking, and delivering a clean and clear sound.

The headphone out is plenty powerful enough to drive my 250 Ohm studio headphones, and there's loads of volume on tap via the main volume out to power a pair of studio monitors, more than enough to annoy your neighbours if you want to. Despite initially fearing they’d be purely decoration, the two-tier LED lights are surprisingly useful, reacting quickly enough to the input and output that you can set your levels without resorting to software. That said, it would be nice to have a way of viewing this in the UA Connect App for real fine-tuning.

Universal Audio Volt 1 review: Final verdict

Although slightly more expensive than much of its competition, the Universal Audio Volt 1 is a fantastic option if you want a beginner or budget audio interface. It delivers solid and reliable performance, is easy to set up, and comes with a healthy software bundle to get newbies off on the front foot.

The addition of MIDI functionality gives you something to grow into and in my opinion, it’s perfect for the solo or beginner recording musician looking for a quality audio interface on a budget. The small size makes it great for recording on the go, but the single input will be limiting if you’re looking to do anything other than basic recordings. If you’re happy to mainly work with a single instrument or purely in the box, we can think of few better options than the Volt 1.

Universal Audio Volt 1 review: Specs

• Price: $139 / £99
• Computer Connectivity: USB 2.0
• Simultaneous I/O: 1 x 2
• Number of Preamps: 1 x mic
• Phantom Power: Yes
• A/D Resolution: 24-bit/192kHz
• Analog Inputs: 1 x XLR-1/4" combo (mic/instrument)
• Analog Outputs: 2 x 1/4" (L/R)
• Headphones: 1 x 1/4"
• MIDI I/O: In/Out
• USB: 1 x USB-C
• OS Requirements - Mac: macOS 10.14 or later
• OS Requirements - PC: Windows 10 or later (64-bit)
• Bus Powered: Yes
• Power Supply: USB bus powered / 5V DC power supply (sold separately)
• Height: 1.96"
• Width: 5.70"
• Depth: 5.11"
• Weight: 1.20 lbs.
• Contact: Universal Audio

Universal Audio Sound City Studios: What is it?

If you have even a passing interest in the recording of rock, there’s a very strong chance you’ve heard of Sound City Studios; Tom Petty and The Heartbreakers, Fleetwood Mac, Rage Against The Machine, Metallica are just a few of the artists who have holed up at Sound City. But, perhaps most famously, it was the studio used to record Nirvana’s Nevermind, and Dave Grohl himself immortalised Sound City in his documentary of the same name.

Now, those wizards at Universal Audio have captured the qualities of Sound City’s Studio A and made them available as a plugin for us to immerse our tracks in rock history. It’s available as a native plugin, and works on the same principle as UA’s other ‘room modellers’, offering two modes of use. First is Re-Mic, which virtually places your audio tracks in the environment. The second is Reverb mode, which blends the Sound City-effected signal back in with your original signal.

Universal Audio Sound City Studios: Performance and verdict

Inside the plugin, we’re presented with a ‘Studio View’. From here, you can select the source that you’re applying the room sound to (drums, acoustic, guitar, ensemble). Each of these is configured for the application, with multiple options per category using different parts of the room, introducing gobos and offering different microphone selections. 

At the bottom of the screen, there are controls for three virtual mic positions: Close, Room 1 and Room 2, with the ability to change the mic type from a top-class menu of models from AKG, Neumann, Shure, RCA, Beyerdynamic and more. These are pre-configured to their positions, based on tried-and-tested configurations used by engineers who have used Sound City. So while positions are swappable, you can’t go completely à la carte.  

The virtual mics can be moved on this screen by simply dragging them closer to, or farther from the source. In addition to this, where applicable, you can change the mic’s polar pattern, as well as the volume blend-all from the Studio View. 

There’s also a mixer section, which gives mic-distance control on a dial, plus the ability to time-align the three sets of mics, along with high and low-pass filters and phase-inversion per-channel. It’s also equipped with a set of processing modules including a three-band EQ, compressor, and an emulation of Sound City’s reverb chamber.

That’s a lot. But in use, it’s all very easy: select a mic, move it (or don’t) and blend them together. We tried it on a number of sources including acoustic drums, guitar and vocals, and while we’ve witnessed UA’s room-capturing magic before, it’s still mind-boggling when you load it up. Most impressive was the effect it had on our drum tracks, which, as is often the case, were captured in a small space without a lot of physical distance needed for a large room sound. Used in Re-Mic mode, it applies an entirely new shape to the sound, adding size and air, and a gloss of ‘big budget’ to our modest drum recordings. At times, it can be a bit too much – similar to having a reverb depth set too high, but this is easily alleviated via channel filters, EQ and time alignment (if you want to clean up the natural time distance between each mic position).

Overall, Sound City Studios is a huge weapon in the arsenal of anyone recording in small spaces. There are so many ways to use it: on individual tracks, stereo or group busses as an immersive replacement, or as a parallel bus blended in with your dry tracks, and that’s before you even start tweaking the specifics. UA offers a free trial, and we dare say that once it’s run out, you’ll miss it enough to buy it outright.

MusicRadar verdict: Dream of recording in a prestige studio? This easy-to-use software may be your ticket to the big time for a (relatively) attainable price.

Universal Audio Sound City Studios: The web says

"UAD Sound City Studios Plug-in is a stunning piece of software and modeling, and its ability to transform an ordinary track into something bigger and better makes it a most potent music production tool."
MIX

Universal Audio Sound City Studios: Hands-on demos

Universal Audio

White Sea Studio

Colt Capperrune

Andrew Masters

Universal Audio Sound City Studios: Specifications

• KEY FEATURES: Sound City room emulation with placeable vintage microphone locker, reverb chamber, EQ and dynamics processing.
• CONTACT: Universal Audio

Tore Mogensen and James Santiago head the team at Universal Audio that has big ambitions. They knew their effects and amp modelling pedals belonged on huge stages as well as in homes and rehearsal rooms, what they may not have imagined was that one of the best-known and most fastidious tone-hound guitarists in the world would embrace what they had worked on so enthusiastically.

MusicRadar has already heard from the Edge himself about why he chose to use Universal Audio's UAFX Ruby '63, Woodrow '55 and Dream '65 amp modelling pedals to replace the tube amps in his rig and supply Vox AC30, Fender Tweed Deluxe and Deluxe Reverb tones for U2's sets at the cutting edge Sphere venue in Las Vegas that have helped to change the perception on what is possible to achieve with live music in the audio and visual realms. What we didn't know was there was more.

By the end of the band's residency at the Sphere, Edge and his longtime tech Dallas Schoo had added a fourth UAFX amp emulation pedal; the Lion '68 – recreating Marshall Plexi Super Lead and Super Bass tones. Not only that, its sound had inspired him to swap out a vital tone in the set's intro that was traditionally covered by the AC30, and then Ruby '63 pedal.

For the first time we have the inside perspective from Tore and James on the news that brought their whole project with UA into sharp focus. 

"I have not talked about it all but I did see one of the last shows at Sphere," James tells us as part of an in-depth MusicRadar interview. "And I did go under the stage to meet with the guys right before showtime. They're like, 'You're here, come under this'. The venue was packed, crowded all the way to the front. So they snuck me under the stage right there, about 20 minutes before they went on, to show me the setup."

What struck Sound and Product Designer James wasn't just the setup but how it was being used. 

"I know I can't share any pictures or anything, but they showed me this little rack that basically had shelves that just had Rubys, Lions, Dream – every one of our pedals was on a shelf," James remembers. "Dallas was like, 'We use every one of these and when you watch the show tonight, the opening song, which is the Zoo Station intro that Edge plays to start the concert – that's the Lion pedal. He's not even using the Ruby. He loves the Marshall sound right now. We just got it this morning. And he was into it. He put it in the rig today.'"

The sense of pride was enriched further by how enthusiastic Schoo was about the pedals being added to the rig.

"They were just so excited to have consistent tones and for Dallas it was he got to not be pummelled by the amps, because under the stage used to be where the amps were," says James. "He had to live in this world of just the amps hitting his head and the craziness of keeping a whole locker room full of amps under a stage running during a show. He was so happy, he said: 'It's so great down here. Look at the shelves, and it works perfectly'".

"Then meeting the front-of-house engineer and then just seeing the show was great, because you saw what he had," James tells us. "And we talked about MIDI – Edge has a lot of programmed changes, a lot of timed delays. So he had this crazy amount of rack delays and post-effects stuff. And he goes, "I'm using the pedals exactly like I use the amps", because all he did was get rid of the amps and that cable that would have gone to multiple AC-30s and Tweed Deluxes just went into the pedals as a drop-in replacement for the rig. That's what we're doing."

It was the ultimate scenario of what James and Tore had envisioned when they were tasked with developing Universal Audio's amp pedals.  

"I was shocked to see it because that's what we wanted with someone," admits James. "And we had these discussions, me and Tore saying, 'We want somebody that if they had their pedalboard and their backline at a gig and if the amp went down, they could just take that cable, plug it into one of these pedals and it will do the exact same thing and go straight to house'. That's what they did. 

"And in fact, it was a full circle moment because I had talked to some of the [other UA] guys before we even did the stuff. So it was like, 'Hey, remember that thing you talked about trying to do? You did it and the pedals are here tonight, and they're onstage and you're about to see them go live in 10 minutes go live.

"It was a real live version of what Tore was hoping would happen, when this idea came up but he pushed us through to get this sort of team together to make these amp pedals."

Back in November 2023, MusicRadar reached out to the Edge after reports surfaced that he'd added UAFX amp pedals to his rig. He confirmed to us that was indeed the case and they'd replaced his usual backline of vintage amps for the Las Vegas shows.

"For various reasons at the Sphere I decided to switch from amplifiers to digital amp emulators," the U2 guitarist told MusicRadar. "I'm using UA Ruby, Dream and Woodrow amp pedals with some Fractal Axe-FX units handling additional amp emulation and FX. 

"When you introduce radio leads and all the electronics involved it's never the same as a simple guitar into amp tone so it's a case of high-level complexity to make it sound simple,” Edge added. 

While UA's amp pedals have provided a solution that's seemingly without compromise for Edge, it's really interesting to hear how the Lion '68 actually inspired a change in the sound of Zoo Station live.

"It was totally, totally nuts," says James. "And then you realise that he talks to his other buddies and then you get a call from Joe Walsh going, 'Hey, man, I was talking to the Edge and he said I should try these pedals.' And then that guy talked to John Mayer. And then you realise all these guitar nerds talk to each other. Bob Weir talks to Mayer. That's how the natural growth happens. Because you can't just make somebody like a product or a sound. 

"I think any one of us know the same thing where you have a friend and they say, 'You should try this pedal', or, 'You should borrow mine and check it out'. And that natural growth of tone nerds sharing cool ideas and new products.

Check out our full interview with James and Tore as we talk about the process of developing amp pedals, the challenges so far and why they see them as passing the torch of classic amp sounds for a new generation to enjoy. 

This interview is a deep, detailed dive into the journey of Universal Audio and its guitar pedal adventure. Which is exactly what it needs to be because that's how UA Sound/Product Designer James Santiago, Product Manager Tore Mogensen and their teams approach the process of emulating vintage amps, cabs and effects. 

Universal Audio's history as a hardware company that went into software, before developing guitar hardware makes them an unusual proposition. That last stage started with the Ox Amp Top Box and was one founded on very clear ideas and grand ambitions.

It's led to where UA are now; one of the top names in amps and effects modelling, with much more planned.  

"I think in general we wanted to do the same thing that I think we do with pretty much all our products," says Tore of the UA perspective on entering the guitar hardware market. "With a few exceptions, a lot of what UA does is to really try to recapture the golden era of music equipment, dating back to the '50s and '60s, and later – to try to capture that with an accuracy that hasn't really been done before. And obviously, along the way, to provide some solutions for for musicians that haven't been available to them before. 

"I started right after Ox came out at UA," Tore explains of his move from TC Electronic to the Californian company after 16 years. It was more James's project than mine, but it was about really taking a very long, hard look at everything – speakers, microphones, everything that sort of goes into recording guitar – the speakers and microphones once you get out of the amp. Then providing a solution that basically makes it possible for any guitar player to get amazing recorded guitar, once you get out of the amp."

James Santiago knows amps – the more you speak with him and Tore, the more you're reminded of just how passionate and deep their knowledge of this side of the signal chain is. They're a professional team at UA but also musicians with decades of playing experience on stages and in studios. They're also the kind of unashamed gear nerds we feel right at home with. But it emerges they're just the tip of a very large guitar-shaped iceberg at UA. 

James:  "What people don't realise is that the building is full of guitar players," says James. "All the way down to to Bill [Putnam Jr, Universal Audio CEO] who restarted the company with his father's earlier innovations; he's a guitar player. You go to his house, and he's got a '60s ES-335 on the wall. He's got Strats, he loves Les Paul's – he plays jazz music and rock and pop. He's a guitar-playing nerd, honestly. And every other engineer or marketing guy's got guitars. So it was it seemed like a natural progression at some point for everyone to go, 'Well, we can make a guitar product'. 

Ox was the vital first step. It filled a need while staying true to UA's roots as a trusted studio equipment innovator, and it had to be embraced by recordists who were looking for a way to capture amps that was not just easier but delivered great results. 

"It's one thing to say that the studio environment goes from large format Neve consoles and tape machines," adds James. "And then you've got these plugins that can emulate that and great, I can take that home. What you can't do is still turn on a 100-watt Marshall at home, because you're going to rattle the neighbours. And it's not going to sound right unless it's on 10 or seven and an ungodly volume."

James was seen as the key figure UA needed to solve that conundrum.

"I was talking with Bill at some point and he said, 'You should think about coming to work for us'. Well, 'Yeah, but you're not making any guitar products. It's all studio stuff."

"We talked about this idea because I had all these Marshalls isolated in another room so I wouldn't piss off my neighbours," laughs James. "And then we started asking, 'What if we could do this? What if we could bring the UA workflow and get the old analogue historic sounds out of your guitar amps?' Get into this environment where it was fun and creative?"

This fun and creative emphasis is central to the UA guitar division's ethos, but the idea of Ox was about looking at the signal chain, not just the amp. And that bigger-picture perspective on guitar sound would eventually filter down into the effects and then amp emulation pedals that would come later when the UAFX line began to roll out in 2021 with the Golden Reverberator, Starlight Echo Station and Astra Modulation Machine. 

This industry-leading attention to accuracy in modelling that had become a hallmark of UA's plugins would now be showcased and explored in a more tangible way with pedals. Along with a curative and accessible approach to giving players the best examples of classic sounds.  

"I would say there's a lot of mystery behind the sound once it leaves your guitar cabinet," reasons James. "You know, it's one thing to be a guitar nerd and to love pedals and amps and guitars. But then there's this whole other science and creative force behind people who can take your sound and know how to EQ it. 

"Put the right microphone on it, use the room, compress it, blend the post effects… it's almost a whole other part of your brain to do that. So that product for us gave us the ability to give it the UA treatment of, let's make the studio workflow easy and fun and get to these historic sounds. And thankfully, it worked."

James doesn't say this lightly – the success of Ox wasn't a foregone conclusion by any means.  

"It was pretty dicey for a while during research and development," he admits. "How do we really do this and make this fun and easy? Because I just wanted to be able to use my Marshall and put it on seven, and all of a sudden make it sound like it was 1968 Cream or 1970s, '80s – from Nirvana to Jimi Hendrix and everything. And I think once we realised it worked, we probably should continue to do this. And then we entered into the world of bringing in someone like Tore who's got experience on the other side of that."

Tore Mogensen had already carved an impressive path in the field of guitar effects with TC Electronic in his home country of Denmark. During his tenure there were huge successes at the company including the development of the PolyTune and the equally forward-thinking concept of Toneprints that enabled the player to customise and expand their TC pedal via smartphone connection. 

TC Electronic's refocus on pedals again with series like the Flashback Delay and Hall Of Fame Reverb was embraced by players. So Tore's move to UA in 2018 to join James signaled a deeper investment from the company that went beyond the studio setup. The next stage was affirming UA as a go-to brand for guitar players. Not a simple step. 

"I think there's a real trust with brands," says James. "I have certain brands I trust – I like Fenders, I like Gibsons – I have certain pedals I like. You trust the brand, and you trust that company and its sound design. We've reached a point where a lot of people have known Tore for ages. Tore is legendary on forums, you know – there's a whole myth about Tore, the Pedal Jesus and the guy who does all this stuff."

But beneath the online identities are two people who are like the rest of us in a fundamental way – they love guitar. And they wanted to create gear they would use too. 

"We're all into this," agrees James. "Because we want to do something innovative and do something our heroes might have used, or some forward-thinking sound. And there's a real love behind it. And not just that we should make guitar products, there was never just a thing on a sheet." 

"I think it's a really good point that James made," adds Tore. "When you start out with a company, a lot of times what you do is start something that you're passionate about, and then you build that company. And then at some point, it's like, oh, we've got to grow, or we've got to expand our market or our customer share, or whatever it is. That's so not the case here, even though it's been 20 years in or 15 years in before really starting to make guitar products here."

The question then isn't why UA started making pedals, but perhaps why it took them so long. 

"As James said, it's ridiculous going to UA and seeing how many guitar players there is," Tore tells us. "And the funny thing is, once COVID hit and everybody went back home and we're communicating on Zoom, it became even more obvious. 

"Typically you'd be at the office you'd go in and you'd see one of the engineers have a guitar or two or you'd see one of the sales guys but then you watch everybody at home on Zoom. And it's just guitars everywhere you see.

"I worked at a few places in the music industry before and James certainly has as well, but I've never seen that amount of guitar players just permeated through the entire company."

Were you conscious about trying to bring players into the digital world who may have been previously turned off?

Tore: "Yeah, that's very much a conscious decision. Starting with Ox, but definitely also the pedals, there are two things. There's a conscious decision to ask what do we think the customer group tha trying to appeal to would like, but there's also just the other part of what would I like, what would James like?

"As much as I can appreciate the benefits and sort of the flexibility of a lot of the more feature-rich, multi-effects and digital products that are out there, honestly I just hate to use them. I think at the end of the day, what I really like when I have to work with gear is that I want to have fun, and I want to get inspired and I don't get inspired if I have to look at this display and browse through 19 pages of parameters.

"So we very much made a conscious decision to make the products fairly simple. Also sometimes take some hard but educated guesses on behalf of the customer in terms of what they want. 

"Again, you can look at Ox and say, 'Well, you have six rigs on the front. It's not 1000. It's not like there are 10 or 100 different Marshall cabinets. We try to make sure that the ones that are there are the best ones, and that they sound great. 

"But if your thing is, oh, I want to have four different or 10 or 20 different Greenback cabinets, you're not gonna get that with our products. The same thing goes for the amp pedals. You know, when we put cabinets and speakers into those, we try to pick the ones where they sort of make sense for that amp. 

"You're not going to find some sort of metal cabinet that you can put on your Tweed Deluxe because, at least to us, it doesn't make sense – even though it might sound good, you never know. But that's where we sort of try to keep things simple and easier for the customer."

The idea of option paralysis is a real issue for some players with gear now – especially in the modelling realm. And it feels with your amp pedals you changed the conversation and introduced this idea of focusing on modelling one thing, but very deeply and accurately. Have you noticed the influence that approach had elsewhere in the market?

Tore: "Yeah, I think we can see it a little bit. There are some other companies that try to look in our direction. And I think a lot of that came from, obviously, the simplicity of it. 

"The other thing just came from the fact that, and again not to point fingers at other companies – there are plenty of companies that do awesome stuff out there, but I always felt that it was kind of weird that if I go to a Tweed Deluxe emulation product from somebody, for example, and it has like a bass, middle and treble controls. I know Tweed Deluxes and that's not on my Tweed Deluxe. It might be nice to have a Tweed Deluxe that did that, but that's not where I came from. 

"I like to know that whatever I do and however I turn the knob I can sort of expect the same thing that I would get from the real product. And that's one of the real benefits of having one pedal do one thing – you can emulate the product down to a tee and not add or miss stuff that would have been in the original product or the original amp."

James: "I think when we're even when we're developing things, it can get very complicated. But towards the end of developing stuff, I can't wait until I get to stop messing with the 1,000 things I'm changing, just so I can turn it on and move the volume knob and have it do the right thing. 

"Because I kind of don't care about the 10 or 20 other things I might be able to do with it. If it just acts like the real amp, and I move the tone control here and put this here and put a silly little green overdrive in front of it, and it reacts like my real gear, I can go back to playing guitar and not worrying, does this sound right?

"Because I think maybe most guitar players are always looking at gear like, is it me or is it the gear? Can I trust what I'm hearing and that it's going to work?  

"None of this stuff shares anything when we make an amp model – it's not just the previous model tweaked for some other oddball things. Everything is actually a unique DSP engineer, it's completely from the ground up, so none of this shares anything. It's completely unique from top to bottom. 

"So anytime we plug into the Ruby pedal or the Dream pedal, different people worked on them with the different code. But I know when I plug into that pedal, even if I'm having a bad day, and I feel like I'm not playing very well, I can trust that the amp sounds right. 

"Maybe some other guitar players have that too; 'I don't sound good today', and it's probably not the gear. Sometimes it's you. And it at least we can calmly say, if you have that speaker with that amp setting, that's the right sound. Maybe it's not the right guitar, maybe you're not hitting it hard enough that day or something. And sometimes I find with other pieces of gear, I struggle to get the tones out of it. If I would reference something, it's not doing the right thing or it doesn't feel right. 

"And I don't know if there are any bad tones, there are just tones that don't work for you or don't work for a specific project you're doing. So hopefully when we put these products out, and someone is real fan of that British AC-30 sound, they'll use our stuff they'll go, 'Oh, that does all the good and the bad stuff those amps do'. 

"I think the one thing hopefully we're having an influence on is people realising that, unless you include all the weird quirks that these amps had, you can't clean them up too much – it has to have all the bad stuff too. Because sometimes the bad things about those amps at a certain setting is what makes the other settings brilliant. 

"Like, 'Oh this amp's really shrill at this setting'. Yes, but that shrillness becomes air and glassiness when you clean it up. And that becomes the greatest sound – maybe the U2 sound is that glassy clean sound that doesn't good at nine. It probably doesn't if you're trying to play metal. But what's bad for one thing makes another setting great. 

"We don't just model any vintage amp – we have to go find 10 examples of them because not all vintage gear is great either. And sometimes you have to call your friends and say, 'Want to come over and listen to a bunch of stuff, then pick the best one out of this pile?' So it's a slow process. 

"It's the care we take choosing each microphone too – a vintage mic, and we'll have a set too. So it's always this pile of stuff to find what is the best SM57 and the best use U-67. Along with the best Celestion Greenback we could find and the best set of tubes that could go in the Marshall. 

"I won't even tell you the pile of tubes I've got sitting in my office…. It has to be Mullard [capacitors] and it's got to be a British tube – it's got to have the real stuff. We get really freaky about all of it. And if anything, hopefully we can get people to appreciate all the little things that go along with vintage gear."

One thing that's been really interesting with digital modelling, and particularly these amp pedals is how they illustrate the importance of cabs and speakers as possibly the most overlooked part of the signal chain. Players can instantly audition different speakers in the pedal. How do you guys get together and select what speaker emulations end up on the pedals? Is there a trusted group of people?

James: "It's usually Tore and myself who take the lead, because I think we've both been around long enough that if somebody talks to us about a specific amp, it's always gonna be, 'Yeah, that amp really needs this V-type 30-watt speaker, we've got to make sure that's in there."

Tore: "There are certain amps where it's almost like a no-brainer, right? So if you take a Plexi Marshall, you've got to have your 25-watt Greenbacks, you've got to have your 30-watt Greenbacks. And then you start asking, what could be interesting as well? And that's where the discussions come in – there are lot of those. 

"Honestly, there's also a lot of trial and error. We're working on a new project right now, and I can't tell you what it is, but there is a little bit of discussion of what should those last couple of cabinets be. Because there's really only a couple that are like the no-brainers, and then what would be cool? What would sort of give us a different sound that could be useful? 

"I think the same thing goes for the combo amps as well where for some of them, there are no-brainers. So if you take the Dream, for example, it's a Deluxe Reverb so you've got to have an Oxford in there. But then you start talking. So James is like, 'I know that a lot of those LA studio guys put Greenbacks in the Deluxe Reverb'. Oh, cool, we've got to have that. And then all the Stevie Ray Vaughan fans most definitely want a 4x10 Super Reverb kind of thing going, and we know that the John Mayer types would like more of a 2 x 12 Dumble-ish kind of thing. 

"But then there are the Grateful Deadheads – of which Bill our owner is definitely one. So he wouldn't have seen us ship that pedal without a 2x12 JBL combination in there. So a lot of a lot of times, it's more like, yeah this just makes total sense. A few times, there is a little bit more discussion about what would be nice to have on top of the ones that that we need to have."

James: "The painful part comes because some of the speakers we talked about have to be of a certain vintage era, and then it becomes the issue of chasing 30 – 40-year-old speakers. So it becomes this game of eBay, Reverb, every local LA vintage store and my own stash of stuff. Then, ok,  which one of these specific Greenback 25s into specific cabs actually sounds good with that head.

"It is interesting where one cab is great on the 50-watt '71 Super Lead, but on that '68 one, I like this other cab a little better. That becomes the painful part of auditioning cabs. And I do have notes where I listen to each one, and I have a grading system, even with my own stuff when I get a new cab. I listened to each one of the four speakers with certain playing styles and certain microphones. And then I spend a couple of days evaluating and then I'll go back once my ears are rested and listen to the sessions. 

"You have to pick which one really sounds good, and what I've found is no 4x12 has a set of speakers that all sound the same – each one of them is doing something a little different. I will tell you that it took me forever to find a good vintage, new old stock EVM-12L that we used for the Dream. They're heavy speakers too, and I had to have the certain early '80s ones. 

"I can't tell you how many times I went down to my local USPS. I'd get speakers and they wouldn't be stock – somebody re-coned it, and used rubber cement to fix the tear. And it's like, no, I need new old stock. And not only that, maybe it's one that's been broken in a little bit and sounds good. Because I would put it in the real amp. 

"I'd lose a day, getting one, trying it, putting it in the Deluxe and miking it to find it sounds terrible. Take it out, buy another one. And that's painful. But I think that also shows you have to work on the real gear like it's yours – and sometimes they are my amps. I'm trying to find that speaker that I could take to a session and say, 'This is the real thing.' 

"All of these things that we put into pedals actually exist. So if you said, 'Hey, can you bring the amp with that speaker in it and really make it sound like that?' I 100%? can. If you call me and Tore we can grab all that stuff, show up somewhere, put the mic on it, and if you put the pedal against that, you likely would not be able to tell difference. Because it really does exist."

Tore: "Just to chime in – the EVs are not that bad but some of the other speakers are not really designed to play that loud. You want to find the perfect set of Greenbacks, and just crank a Marshall all the way up –  because we emulate the cone cry and everything. So when we need to we need to blast through, you also run the risk of just blowing speakers up that you just spent a fortune on on eBay to get the perfect vintage sample. So that's a whole other part of that that's happened a few times in the past."

James: "I have definitely borrowed gear from some friends that had better sounding gear than I owned or we bought. And I can give you one good one that most people don't know. The Marshall Lion pedal was a hard one because I really wanted us to have a specific '68 cabinet. And to have the Tolex ripped off of it like Van Halen used to do back in the day. And that was a big ask. 

"I was sitting around with a buddy and said I really needed a '68 stock and it would be cool if it was Van Halenized – the Tolex ripped off is supposed to make a difference. He said, 'I have one of those and you can take it'. That's one of those weird things where sometimes our asks are a little quirky. 

"As Tore said, we put a specific era of JBL in the Dream pedal. And it wasn't just that it had to be that model. I went and found an actual '68 amp that they called the Drip Edge Silverface Twin that had the original F version logo of the JBLs that went in those, that supposedly was the first time Jerry [Garcia] started using Twin Reverbs. 

"So I went on the hunt in Los Angeles to find the '68 Drip Edge JBL officially installed set, just to find one I could put in the Deluxe amp [we modelled]. Because why not do it right? If somebody gave you a corporate card and said, 'Go buy some cool gear' –that sounds like an awesome job!"

Gear forums can obviously be interesting places for opinion and critique, and UA staff are active on them – they're reading and responding to some questions that come up. But looking back on the UAFX pedal releases so far, there's been a common criticism about the lack of MIDI. How do you feel about that now – do you think that the MIDI crowd is a vocal minority, or is it something that you are possibly reconsidering in the future?

Tore: "To be honest, I think to a certain degree that the MIDI community is sort of a very vocal minority. When we designed the pedals originally, I actually spent a bunch of time, mostly on The Gear Page, going through… there are certain threads where people basically just post pictures of their pedalboards. 

"So I was just going through it and looking at how many people actually use MIDI out of all these boards that you see. I think they're probably up to thread number 20. And they get filled up, so they have to start a new one. So it's literally thousands and thousands of posts and thousands of pictures of pedalboards. And [MIDI] was very much a minority. 

"With that said, it's definitely on the rise. It's definitely something that's happening more. People are getting more used to buying, say a GigRig or a [Voodoo Lab] Commander kind of thing. Or even using a multi-effects unit to control additional pedals. So I'm not saying that it's not a valid comment. 

"I think our thought with these pedals was that, as we talked about before, they're supposed to be simple, they're not giving you a million different options. 

"So there's a certain point when you have a product without a screen on it. There would be no problem for us to basically have a row of LEDs and you get seven segments and say, you get 100 presets. But there's no way to tell what setting you're on. And I find that at some point, it just gets too confusing. 

"Whereas if you have two sounds that you can switch between and you know what they are that's, at least to me, that's very reassuring. I'm not stepping through preset number nine and then have no idea whether it's one thing or another. 

"I think if we were ever to do anything bigger than what we're doing right now, we will probably add MIDI to that. But that would also entail that there would be some way to actually have a little bit more visibility about, what is this sound about? Where are the knob positions? If it was an amp pedal, what cabinet have I chosen? Is there a boost on or not? 

"If you're just having something that's simply a pedal, at least to me, it becomes too hard to remember and sort of confusing more than actually helping."

The Bluetooth-enabled pedals use the UAFX Control app to access features and some artist and factory preset sounds. You've released it for iOS and Android – does that pose a challenge with the different versions of Android on smartphones being rolled out at different times?

Tore: "In numerous ways, to be honest. So obviously, there's the constant churn of just making sure that everything works with the latest version of whatever. And the challenges with Apple and Android are actually two different ones. 

"The problem with Android is that there are so many different versions, there's so many different implementations that being able to sort of promise that you can support everything is not really feasible. We have to pick our poison and basically say that these are the models we support. And then with everybody else we have a pretty good feeling that it'll work as well. 

There might be some quirks and there might even be some phones that will not work. So that's sort of the plethora of the Android universe makes that hard. The problem in the Apple universe is more that Apple is very… they're not shy of changing things that potentially could break things or would entail engineers like us and people tied into their sort of ecosystem having to spend like six months getting something to work.

"Often you don't really get an alert in due time. So that's definitely an ongoing thing. Right after this we have our weekly app meeting where we go through all these things. So those are two things. 

"The last thing that's just tricky, and that's a whole other thing, is just the Bluetooth sort of implementation. And we're aware that Bluetooth for us hasn't been working ideally, to be honest. It's not really an excuse, per se, but it's something that a lot of companies sort of dabble in. I have a lot of products from other companies, for all sorts of stuff, where Bluetooth is something that sometimes works, and sometimes it's a little bit more tricky. And that's something that we continuously work on improving. Basically to make sure that people can access their pedal and do the tweaks that they want to do. 

"As cool as it is to have that ability to be able to deep dive, have presets, tweak pedals more deeply than you could on the [physical] product itself, it's definitely a pretty big chunk of the development. And typically when you put out a pedal, it's like, oh, we finally did it, it's done. Let's move on to the next thing. 

"With the app side of things, it's very different. You have to constantly be on your toes and keep churning on it."

Another awkward question now – the lack of headphone output on the amp pedals, was it ever a consideration to have them and is it something you now regret not including?

Tore: "I don't necessarily think that we regret not including it, because it was very much a decision from the get-go. And honestly, part of it was more of a consideration about how people would use it, I know that some guitar players like to do more of the vintage style. James is like that where he will put all his pedals in front – all his delays and reverbs in front of the amp. But I do the opposite, I always like to crank my amps quite a bit. I'll get most of my dirt from the amp. 

"So, if you do that, and then you have your delays and reverbs afterward, it really doesn't make any sense to have a headphone out on your on your amp pedal, because you'll be playing without your delay and reverb. So there is a little bit of that. Whereas if you have a separate solution, if you need that, you can put it anywhere you want to put a little headphone in there, or headphone preamp wherever you want to afterward. 

"The other part is also just the fact that the platform is not really born with that and it would be really, really hard for us to fit it in there without making it quite a bit bigger. And also quite a bit more expensive. Which at the end of the day would get back to the to the customers in terms of how much the product would cost.

"With that said you can actually, if you really wanted to, and we tried it, it's not the ideal solution, but if you plug in two quarter-inch jacks and then to stereo headphones you can actually play through the pedals. They have enough power, it's not going to blast your ears to death but it's it's going to be loud enough for you to jam at home I think. So there is there is a possibility but it's not the ideal solution. I totally get that."

I've found mini modelling amps like the Spark Go are a good workaround too, with the amp set to a flat response.  

James: "Headphones are just not that much fun, honestly, unless you're being quiet. We've had this discussion with players who just want to practice and then musicians who use the fancier version of which are essentially custom moulded in-ears, because you need to play on a quiet stage. It's just not a whole lot of fun unless you really have to have that. 

"For me, if I do have to use headphones, which is very rare, I try not to only because you damage your ears typically with headphones without noticing it because you turn up louder than you think you are. So I try not to do that I'd rather use monitors very quietly. 

"I always ended up having to sub-mix something because I was always wanting to practice over something, which means I really needed to take that also to a little mixer and then mix in a little iPod player or my laptop sound, so my headphones could actually hear the thing I needed to practice on top of with the guitar. 

"I can't really just plug into my pedalboard because I still need to get something to work so I can practice to or learn somebody's songs. So I found that that was one of the things where I don't really miss it, because when I always had to learn a song I needed to mix [the guitar signal and streamed audio track] into in-ears or headphones. So again, if we were to do we'd have to make a whole lot of crazy changes so it would actually be useful.

"I hate to say but I've been down that road before, where you're like, man, once you do a little bit of something, you need to take it all the way and finish it. Because you can't just give people a quarter of that feature, then it just looks like a bad feature. Well, you gave me a headphone out, but why can't I use my phone and turn the Bluetooth in the other direction to stream a song into there? And that's a different product. 

"You mentioned the Go product –  so there are products that do that really well where you can stream to a boombox, get a decent guitar tone and just practice. Nothing wrong with that, but it is a different thing. That's a practice tool as opposed to, this my recording and gig tool. And so sometimes they're not the same. 

"So I do feel that when someone's like, 'Oh, man, I have to use this other thing in my hotel room'. It's like, 'Dude, I'm bummed for you too. But here's 25 bucks. Let's go to Amazon and order you a little headphone amp'. And that's a terrible thing to say out loud. I'm sorry."

That's a fair point, and the pedals are good for playing at low volumes at home too. But as you say, these are completely viable solutions for recording and playing live. With that in mind, what have been your proudest moments learning about players using them – The Edge using them with U2 at the Las Vegas Sphere must be right up there? 

Tore: "The Edge is a big one."

James: "I have not talked about it all but I did see one of the last shows at Sphere. And I did go under the stage to meet with the guys right before showtime. They're like, 'You're here, come under this'. The venue was packed, crowded all the way to the front. So they snuck me under the stage right there, about 20 minutes before they went on, to show me the setup. 

"I know I can't share any pictures or anything, but they showed me this little rack that basically had shelves that just had Rubys, Lions, Dream – every one of our pedals was on a shelf. Dallas [Schoo, Edge's tech] was like, 'We use every one of these and when you watch the show tonight, the opening song which is the Zoo Station intro that Edge plays to start the concert – that's the Lion pedal. He's not even using the Ruby. He loves the Marshall sound right now. We just got it this morning. And he was into it. He put it in the rig today.'

"And they were just so excited to have consistent tones that were in for Dallas it was he got to not be pummelled by the amp, because under the stage used to be where the amps were. He had to live in this world of just the amps hitting his head and the craziness of keeping a whole locker room full of amps under a stage running during a show. He was so happy: 'It's so great down here. Look at the shelves and it works perfectly'. 

"Then meeting the front-of-house engineer and then just seeing the show was great, because you saw what he had. And we talked about MIDI – Edge has a lot of programmed changes, a lot of timed delays. So he had this crazy amount of rack delays and post-effects stuff. And he goes, "I'm using the pedals exactly like I use the amps," because all he did was get rid of the amps and that cable that would have gone to multiple AC-30s and Twead Deluxes just went into the pedals as a drop-in replacement for the rig. That's what we're doing. 

"And I was shocked to see it because that's what we wanted with someone. And we had these discussions, me and Tore saying, 'We want somebody that if they had their pedalboard and their backline at a gig and if the amp went down, they could just take that cable, plug it into one of these pedals and it will do the exact same thing and go straight to house. That's what they did. And in fact, it was a full circle moment because I had talked to some of the [other UA] guys before we even did the stuff. So it was like, 'Hey, remember that thing you talked about trying to do? You did it and the pedals are here tonight, and they're onstage and you're about to see them go live in 10 minutes go live and that along with and so that was in toward great idea.

"It was a real live version of what Tore was hoping would happen, when this idea came up but he pushed us through to get this sort of team together to make these amp pedals."

It's incredible that the Lion has actually inspired The Edge to change his amp choice on Zoo Station.

James: "It was totally, totally nuts. And then you realise that he talks to his other buddies and then you get a call from Joe Walsh going, 'Hey, man, I was talking to the Edge and he said I should try these pedals.' And then that guy, talked to John Mayer. And then you realise all these guitar nerds talk to each other. Bob Weir talks to Mayer. That's how the natural growth happens. Because you can't just make somebody like a product or a sound. And I think any one of us know the same thing where you have a friend and they say, 'You should try this pedal', or, 'You should borrow mine and check it out'. And that natural growth of tone nerds sharing cool ideas and new products.

"I started seeing that happen with that crew of folks, or the technicians on those tours telling other techs, 'Dude, you need to get one of these'. And we've started to notice that when we get calls going, 'Hey, I was talking to this guy's tech and he said, I should use this in my thing. And we have a TV show we're going to do when we have to have a quiet stage, can we try the Lion thing and try the Ruby thing?' 

"It's really nice to finally see – the people that we thought were the benchmark when we were working on the pedals. The Ruby has to sound like the Edge, Tom Petty and Rory Gallagher – all these vintage players, and then you start seeing some of those actual players using the product. It's very weird."

The tube Vs modelling debate seems to be a bit of a distraction now. It's really about what's suitable for the situation you're in as a player.

James: "That is the exact thing. And this was another discussion. Some of these players who have basically created these classic tones, benchmark tones, they [think], in the financial and the physicality of, 'Well, I can't take this amount of gear to a gig, well, I can't be this loud on stage'.
"These players can be any volume they want, can buy any gear they want – they can take anything they want to a gig. That's what freaked me out too. We're like, 'Man, you can use real amps, you can use anything you want, and you're still using the pedal'. Even that kind of messes with my mind. 

"They have all this gear, they can throw it on a plane and fly it to the middle of nowhere and do a show and no one would bat an eye. So that's when you realise for some of these players, they got that sound because when you look at it, they were experimenting and chasing the tone in their head and whatever the best tool for them to get that tone was what won. 

"With these players now some of this is vintage stuff now, but at the time, it meant like someone like the Edge was using the newest Eventide Harmonizers that were brand new in the '80s and '70s. Or the early bucket brigade Memory Man delay that was new in 1977, whatever. 

"They were searching – they were using those new tools. Now they're vintage, but then they weren't, so you realise this is their mindset – they have this tone. And if this gets them there, they'll use whatever whether it has a tube in it, a chip, a transistor – it doesn't actually matter. Because to them, writing a great song and having a great guitar sound that's inspiring will always be the winning part of that. 

"I've had to learn from that too. I'm sitting here with a sunburst Stratocaster – ooh, I'll play better because it's sunburst. It's got a maple neck and it looks cool. Then you realise like, well for me, is it the best-sounding one? Maybe not, but I feel better. 

"Sometimes you have to disconnect the look of the gear because sometimes you hear with your eyes – ooh it's vintage, oooh it looks pretty. These people don't care. How many people used the Whammy? Edge is one of the first guys to grab a Whammy and use it. That was a brand-new product. Some of these players did groundbreaking stuff already are still trying to do that. And doing that. 

"So I feel very lucky that somebody's willing to try a broken down tube amp that's hiding in this high technology little box that we put together. Essentially these amps are falling apart. And you might have said earlier Rob that there are a lot of people who have heard the sounds but will never have the chance, or haven't had the chance to use the real thing. Because it's very rare to walk into the guitar store or even have a friend that said, 'Hey, I've got a really good working AC-30 Top Boost from 1963'. To find one that's in working order, that doesn't have the speakers replaced or isn't going to fry after 10 minutes, it's becoming harder and harder to find that. So I even feel bad. I wish everyone could sit in a room with vintage AC30s or vintage Plexi Marshalls and have that experience, and a lot of people won't – I'm happy we're trying to do that."

Tore: "Obviously, we're extremely thrilled that sort of the highest profile players choose to use our products and choose to use it over 'the real thing' for various reasons. But I think the other part of that, which James also sort of touched upon, is as you can probably tell, James and I are pretty passionate about this thing and vintage gear, the whole history and everything about this whole sort of ecosystem that we're talking about. But there's a lot of young folks out there who don't really know all that much about it. 

"So for us, one thing is the amazement that somebody like the Edge, who has been playing AC30s forever, actually thinks that our model of an AC30 is good enough for him to play at the Sphere – that's mind-blowing. But for me, there's sort of an education of bringing the baton along to a newer generation and saying, yeah we know that modern amps are also great. I'm not saying that everything has to sound like the old stuff. But there is something about these old amplifiers, or these old delays, or these old reverbs that help define an era. 

"For better or worse, they also help define the sounds that we know in our head, because it's really hard to explain sounds. What's that sound? Well, it's sort of chimey. And it's sort of mid-rangey, and it has a little bit of a piercing treble, but it's not too much. And people go, 'Yeah, I don't quite get it.' Well, it's an AC30. And then people say, 'Oh, I know what you mean'. So, for better or worse, we all use these vintage pieces of gear as reference points for what sound is. Even modern amps. What's a Friedman? Well, it's sort of like a Marshall with some extra stuff added and some changes. But at the end of the day, it's sort of a Marshall. 

"So it becomes easier for people to talk about sound because we have these common reference points. And being able to do these pedals at this level of accuracy and quite honestly, stupid nerdery – at least if you look at it from just sheer time spend and effort perspective. 

"You know, being able to do this with this level of detail, honestly makes me proud because I feel like we're passing a little bit of music history along to younger people who might not have ever tried or had the chance to play a Plexi Marshall cranked all the way up, with an Echoplex in front of it and a vintage 10-band EQ – all these things that went into some of these classic sounds that we all know and love."

I think the form factor is really important too – and being able to focus on one amp with its controls. It's akin to having an album instead of a massive choice on Spotify. To really explore that one thing and appreciate its versatility – I found that especially with the Dream. 

James: "What's odd is when you play that pedal I just think about how that specific amp [that it models] is real, it sounds just like that pedal and literally came from a collection 10 minutes from my house called Norms Rare Guitars –  the famous guitar store. And again, everything has a story. You're playing an amp that was a session guy's – he wouldn't tell me who, but a session guy's in the '70s that Norm had bought and he was hiding it in his store, in his back closet. I said, 'I need the best Deluxe Reverb. He said, 'You really need the best one? Because I've got one back here you should hear'.  

"It was hiding back there amongst all these '59 Les Paul's and '50s Strats – all this expensive gear. He pulled it out and I played it in the store on ten. That had the best clean, the best lead… and the pedals all have this little history of finding the gear, trying it out having friends play it. And so I'm always happy to tell someone like me, 'Trust me that if you had a room full of these amps, you probably would have said, 'Well, I don't need those other nine. That's the one'. And that's the excitement we get. 

"I like grabbing the pedal and playing going, 'I know that's the right amp'. And I remember that amp, and it's doing the right thing. So that's the excitement, and I like the tone and the form factor; treble here, volume here, reverb. Cool. I'm done – time to play some guitar. So I'm happy you had that same experience, because it's fun for me to hear that."

Do you feel or know that you're at the end of an era for the pedals now, and on the precipice of another stage – can you tell us anything about the the vision is for the future?

Tore: "I think that there are still amps out there that we would love to do. I think that, without going into too much detail, and you can't see it, but I have this little pedalboard – a little Pedal Train – with all four amp pedals sitting here. And it's like the greatest hits of '60s guitar tones. It's ridiculous. And it's so much fun doing little sessions. Before I'd end up probably just playing everything through my Super Reverb down here. But now it's like, 'Oh, maybe I should actually put a little AC30 in here for a little bit'. Creatively, it's a lot of fun. 

"But at the same time, there are definitely still amps out there that I think that we would need to say that we've fulfilled the archetype sort of collection of killer guitar tones. You can always keep adding more, but there are definitely a few that I still feel, maybe not from like a product standpoint, but almost more from a music standpoint – what are what are classic guitar tones?  The sound of the '90s or the sound of the early 2000s, or whatever it is. And without going into detail, there are definitely still amps we're missing. 

"We're missing a few from different eras…  I don't think we've hit the ceiling of what we can do and what we want to do on this platform yet for sure."

James: "If you ask me, Is there stuff coming? I can't tell you. But I can parenthetical out a wink. Because as long as I'm still working here, and Tore is, there's always going to be stuff coming and we're going to try to push the envelope. I'm just saying things are getting interesting. Very interesting right now with where we're going."

And the road is open with regards to future effects pedals too?

Tore: "Most definitely."

James: "Absolutely."

Are you never say never when it comes to a Universal Audio big box unit like the Neural Quad Cortex? 

Tore: "We don't want to say never, ever. And there are certainly a lot of interesting aspects to having something like that. It's not something that's in the immediate future. Again, honestly, this is not trying to point fingers at other companies, but if we just look at the sheer processing power of what's in one of these amp pedals, and you sort of compare it to some of the high-end multi-effects products that are on the market now, they certainly have more processing power than we do. But they also run multiple amps, sometimes in wet/dry/wet setups with two different reverbs that they can toggle between in any given sort of rig or scene or whatever they call it. Multiple delays – basically full pedalboards with multi-setup amps all running at the same time.

"They need to be able to run at the same time too, because preset changes take too much [time] for a Helix or an Axe-FX or a Quad Cortex or whatever it is. So, the way most people use these now is that you build a scene or a rig, and you stay on that. The only time you change is if there's a song change, and you need something radically different. But typically you'd stay within that one scene, and just run everything within that. Quite honestly, our algorithms are so detailed, and they take up so much space that we could never run anything that we do on the multi-effect product platforms that are there right now. 

"So for us to do that would require a much more powerful processor to even start thinking about something like that. Otherwise, the other option would be to drastically scale down on the details of the algorithm. And with that comes scaling down on the quality of the algorithm and the sounds, and we don't want to do that."

James: "There was a running joke for a while when we first started this. Our previous UAD platform, it still runs on a SHARC processor. And typically when people run plugins, if you have a really expensive plugin, you have to eat the whole shark – you can run so many things off the shark. And as we were early developing, working with our guy Dave Berners, who's the doctor [algorithm co-designer for Universal Audio's entire plug-in line] said, 'I think I got the first Tweed Deluxe running – we just need six SHARCS. And then he was actually serious. And then as we developed it was, 'It's running – but four sharks'. 

"It's engineering humour but to do it right you basically say, well, how much processing power do I have? Because I'm going to use every single thread of that thing. I'm going to use everything we can. And that's the real pain of it. Any one of us would like one of these boxes – throw it all in one giant box. It sounds like fun, honestly. Then comes the reality of, yeah, but then it would be like $4,000 and it would be crazy. 

"But yeah, you can never say never. I'm looking forward to the next 2,3,4 years – how we can innovate as platforms change. Even things like an ARM processor – the compute power. There are the physics and law of how you design these chips, and every three years things double in speed and get half as expensive to create. So even right now, in three years, who knows where we'll be, and what what amazing processor is going to come out that will let us run all this stuff that just barely fits on what we can get right now. I'm excited to see where we land as well, honestly." 

• For more information about the Universal Audio UAFX range, visit uaudio.com

Universal Audio has announced two new plugins that each have a number of retro saturation effects – or Machines – included. Vibe Analog Machines is the headliner but the support act, Vibe Analog Machines Essentials, might be the main attraction as it's free until the end of April.

With Vibe Analog Machines you get 10 'Machines', saturation effects of various colours that give creators everything from "subtle tape warmth and hi-fi tube saturation to full on distorted textures and more". It costs $199.

The cut-down Vibe Analog Machines Essentials includes four Machines but is just $99. However, both Vibe Analog Machines and Essentials are just $99 and free respectively until April 30.

The fuller Vibe Analog Machines features controls like Drive, Tone, and Tape Warble. The Machines are all analogue in nature (although obviously digital in delivery), all utilising the same kind of component level modelling employed in the rest of UA's plugins.

The 10 Machine effects are Sweeten (reel-to-reel tape machine), Edge (analogue console), Glow (harmonics via a tube preamp or channel strip), Warm (older tape machine), Thicken (lo-fi tape), Vintagize (old tape), Distort (driving analogue preamp), Overdrive (fuzzy tape tone), Fire (searing analogue tape), and finally Sputter (broken distortion).

Vibe Analog Machines Essentials is all of the above but with just four machines and has just the Drive control included (so no Tone or Warble).

"We really want people to get creative with true-to-life analogue tones," says Ryan Wardell, UA's Director of Software. "Vibe Analog Machines gives music producers and beatmakers a sleek, fun collection of machines to experiment with everything from gentle warmth to sonic obliteration."

You can get Vibe Analog Machines on the standard UA subscription ($19.99/month or $149/year) which gets you close to 40 UAD Spark plugin instruments and effects, most of which are pretty amazing.

Or buy it for a one off fee of $99 until the end of April, or (do we really have to say it again) download the Essentials version now for free while you can. Get it now!

You can do that, and grab more information on both Vibe Analog Machines bundles here.

Despite Cyber Weekend having come and gone, plenty of great deals on music gear are still knocking around. One such deal that caught our attention comes courtesy of Plugin Boutique which is offering a selection of Universal Audio’s world-famous analogue gear emulations from just $29. Perfect for last-minute gifting - whether that’s to yourself or the music lover in your life - there’s up to 86% off select plugins available until December 31st.

Like many producers out there we were overjoyed when Universal Audio finally began releasing native versions of their plugins that didn’t require the costly, albeit still excellent, UA audio interfaces to run them. Suddenly a world of authentic emulations of analogue gear could be used in our home studio without having to fork out thousands for the privilege.

There are a lot of different plugins available in the sale, so we’ve had a look through and picked out our personal favorites for you in case you were suffering from any option paralysis. 

More plugin sales

• Avid: Get 20% off Pro Tools
• Native Instruments: Up to $800 off
• Positive Grid: $165 off BIAS FX 2
• Waves: Plugins just $29

This month, we've been looking into how you can capture the sound of classic analogue hardware using modern software. Today, we turn our gaze to analogue-modelled compressors, surveying five recreations of vintage greats that will bring colour, bite and attitude to your audio.

1. Softube Tube-Tech CL1B Collection

Platforms: Mac/PC | Price: €225 | Buy

As one of the few emulations of the original hardware – designed in
conjunction with the original makers Tube-Tech – Softube’s take is an
exacting emulation. It’s capable of both subtle containment and excellent
audible colour, so use it as a standard compressor for taming signals or get some lovely vintage character. 

2. Universal Audio Teletronix LA-2A Collection

Platforms: Mac/PC | Price: £149/$184 | Buy

The official emulation of the original LA-2A is one of UA’s oldest and best plugins and now comes as part of a bundle with two other versions. The original kept the signal character while performing dramatic compression, and these superb emulations also run native so no UA hardware required.  

3. IK Multimedia Black 76

Platforms: Mac/PC | Price: €79.99 | Buy

A great emulation of the original UREI 1176, Black 76 works in IK Multimedia’s T-RackS ‘shell’, and as a plugin in any VST/AU/AAX-compatible DAW. You get everything on the original including four ratios (plus the famous ‘all buttons in’ mode) and it also sounds as good. One of the best compressor emulations out there. 

4. Waves CLA-76 Compressor/Limiter

Platforms: Mac/PC | Price: £249/$249 | Buy

Rather than a standard 1176, Waves’ emulations take two specific models owned by engineer Chris Lord-Alge which have a more aggressive character thanks to years of use and repair giving them a very distinct sound that is highly sought after. As of writing, this is currently on sale for $29.99, so if you're interested, grab it now. 

5. Universal Audio Fairchild Collection

Platforms: Mac/PC | Price: £149/$184 | Buy

Like the EQ collection, it’s hard not to recommend this bundle, which also now runs native without the need for UA hardware. You get three versions of the Fairchild compressor made famous at Abbey Road, and it’s particularly good for achieving the Beatles’ drum sound. They’re more transparent but the ‘later’ units still yield that much sought-after sound.    

• Read more: Fantastic (stock) plugins and how to use them: Logic Pro Compressor

As we discovered in our recent deep dive into software that recreates vintage gear using modern techniques, there's a wealth of tools at the modern producer's disposal that deliver the sound of legendary (and expensive) gear at an accessible price point.

Here we round up six of the best EQ emulations on the market, perfect for adding an analogue-inspired sound while shaping your frequencies. 

1. Universal Audio Pultec Passive EQ Collection 

Formats: Mac/PC | Price: $186/$149 | Buy

Not one but three classic EQs. You can do the famous low-end trick with the EQP-1A, make mid-range tweaks and enhancements with the MEQ‑5 and surgically remove unwanted frequencies (or even add a lo-fi effect) with HLF‑3C. Or just run your audio through any of them for that classic analogue sound.

2. Waves PuigTec EQs

Formats: Mac/PC | Price: $35/£35 | Buy

And while we’re on a Pultec tip we should include Waves’ version, their bundle of two ‘Puigtec’ EQs. As with the UA collection you get the MEQ-5 for your midrange but not the HLF-3C. However, this collection might boast a higher dollar price in RRP but Waves plugins are so often on sale that the original price is pretty meaningless. It’s just 30 bucks as we write this, for example! 

3. IK Multimedia T-RackS EQ 81 

Formats: Mac/PC | Price: $99/$99 | Buy

The sound of original Neve mixing desks is sought after and, like many classic consoles, has been emulated in software either as a channel strip or individual elements. This IK plugin takes the EQ from the 1081 console and beautifully recreates it for a DAW near you, including all the punch and presence of the original desk. A beauty.

4. Universal Audio Neve 1073 Preamp & EQ Collection 

Platforms: Mac/PC | Price: $149/£149 | Buy

There’s little that UA hasn’t touched in the world of vintage gear, and we just had to include an emulation of the original British Neve 1073, so why not just include a bundle that not only gives you that original EQ but a preamp too? The original 1073 is less about adding saturation or colour but more about lift, clarity and presence and it’s all here in this fantastic emulation.  

5. Waves API 550

Platforms: Mac/PC | Price: $35/£35| Buy

Another entry for Waves, but these plugin experts do like taking a legendary piece of studio hardware and replicating it in exacting detail. This time it’s the iconic ’60s API EQ which was developed with the original company and delivers a 10-band graphic equaliser for more precise control over your frequencies. With switchable distortion, you also get optional vintage colour on tap.

6. Brainworx Mäag EQ4

Platforms: Mac/PC | Price: $39/£39 | Buy

One of the less vintage and more modern EQs here, the original is found on recordings by everyone from Madonna to Black Eyed Peas. EQ4 is not transparent, it’s an additive EQ that’s used to add sparkle and ‘air’ to your tracks, with vocals in particular benefitting from its sweet character. Not cheap but currently on sale for just $40 here…

Pedal-based amps have been around for a while but the last couple of years have seen them take off with companies including Universal Audio, Blackstar, TC Electronic, Walrus, Strymon and Victory all getting in on the action. And that's great news for us players because every company is offering something distinct, and with that comes options on how to use and take advantage of their potential on your pedalboard.

Pedal amps are distinct from multi-effects pedals and combined modellers in that they're primarily preamps or preamps combined with a power amp stage with cab simulation. The idea is you use them alongside the effects pedals on your pedalboard. But the lines can blur; some amp pedals now offer a few effects alongside their core proposition, and there are valve-driven amp pedals as well as those using solid-state modelling technology. The market has now become rich with choices in a relatively short time.

None of these choices have to be approached as a permanent replacement for traditional guitar amps; they can be, but they can be used as an alternative in scenarios where an amp isn't practical or possible; recording, headphone-based practice and jamming… and jumping on the train to a gig or band practice with a very light rig. Overall, amp pedals give us options but getting the best out of them or choosing the right amp pedal for you needs some consideration. 

1. IRs are important 

These can make the difference between the great and the good. While some preamp pedals are fine to plug into your existing guitar amp, if you want to go fully mobile you'll need to consider an amp pedal with its own speaker Impulse Responses (IRs). These are digital sonic snapshots of a specific mic'd amp and cab setup and are vital to recreating some the feel of a real amp's sound in modelled form. Having an onboard IR on your pedal amp will enable you to plug into a PA (no more carrying heavy cabs!) or your own FRFR (full range, flat response) active cab. 

Giving players a choice out of the box is always a positive. Victory's V4 range are tube amp heads (the preamp stage anyway) in pedal form with six onboard IRs supplied by French company Two Notes. Universal Audio's UAFX amp emulator pedals feature up to six speaker simulations that were captured by the company in-house. 

Other options like Strymon's Iridium enable you to upload third-party IRs – this offers players the chance to audition different options to suit their tastes. In the case of Walrus, it's taking IRs and ongoing support very seriously indeed; it's just offered a free firmware update for owners of its ACS1 amp pedal to use new custom IRs created by Tone Factor – and it's also redesigned the three amp models on the pedal "from the ground up." Impressive stuff.

Having more than one virtual cab option on the amp pedal is preferable because options are always welcome. But it's not the only way to get options; TC Electronic offers one with its Ampworx models but as some of the most reasonably priced amp pedals around, the money you save could go towards a separate IR loader, such as the excellent Boss IR-200 and Two Notes Torpedo CAB M / M+ models. The latter even offers four tube amp models too! 

2. One amp… or three? 

The phrase 'pedal platform amp' may seem a bit silly to some of you; because surely all amps are? But what it really means is how good an amp performs as a foundation; the option of high clean headroom for your overdrive pedals to thrive on without being overly coloured by the amp's own gain stages.  But do you want that? 

If you do, you'll want to gravitate to specific pedals; the Fender Deluxe Reverb apeing UAFX Dream '65 and TC Electronic Combo Deluxe 65 focus on a legendary studio amp with a wonderful clean tone and spring reverb. But both offer drive options too. The TC Ampworx JIMS 45 (seeking to emulate the legendary Marshall Bluesbreaker) also surprised us with its impressive clean capabilities and the Blackstar Dept 10 Amped 1 is a powerful lower gain platform that can also power your drive pedals too with 500mA of power draw capability to play with. 

But why narrow your options? The Strymon Iridium and Walrus's ACS1 both offer three different models each, based on classic amps with specific tonal flavours including the Vox AC30, Fender Deluxe Reverb and iconic Marshalls.  

3. Pedal placement 

Some amp pedals (including Blackstar's Amped Series and Victories pedal amps) feature effects loops to enable players to place their time-based effects after the preamp circuit and this can allow time-based effects like delay and reverb to sound clearer. It's a matter of taste and some players may prefer not to use it. But what if your amp pedal doesn't have an effects loop?

You could experiment with placing your delay and reverb before and after your pedal amp in the signal chain. But there's a snag – if you're using an onboard IR cab simulation in the pedal itself you'd be placing those effects after it, which is not the same thing as an effects loop. But it's absolutely not necessarily a bad thing. Try it either way and judge for yourself with your effects – it's as easy as moving a couple of pedals and plugging them in again.  

4. Extra features can change the way you use them 

The usability of an amp pedal can hinge on the additional features it offers beyond the essentials. For example, the TC Ampworx, Strymon Iridium and Walrus ACS1 all offer dedicated 3.5mm headphone outs that makes them great for silent practice with your pedalboard (although you'll need to have your delay and reverb placed before them to get the full pedalboard experience).

Elsewhere, Universal Audio's Dream '65 incorporates three different boost modes, alongside its inspiration's vibrato and spring reverb; potentially saving you a couple of extra pedals on the board. Some amp pedals, including the UA pedals and TC Electronic Ampworx, offer the ability to save the settings for one switchable channel; and then switch to a 'live' mode. This is great for a setup for second guitar – such as one channel for humbuckers and another for your single-coil guitar – but also an alternative tone within a song. 

On the IR side, Blackstar's Dept 10 Amped and preamp pedal series has taken the concept even further with its CabRig software; enabling you to go in-depth editing everything from mic type to room size and storing three of your own CabRig presets to switch between on the pedal. Or you can switch it off if you want to use an external IR or go into an amp.  

Four recommended amp pedals to try 

Universal Audio UAFX Dream '65 

We keep coming back to this because it's not just the most authentic modelling of a Fender Deluxe Reverb amp that we've tried, but UA's treatment makes it work so well as a pedal alongside our other effects.

Alongside a benchmark rendering of Fender's spring reverb, you have a lush vibrato but it's the three distinct boosts and six speaker options that make this such a great stage and recording tool. We especially like the option to have switchable vibrato or reverb, but we prefer to use the preset switch for a whole second channel and different boost. 

Universal Audio UAFX Dream '65 review

Blackstar Amped 3 

All Blackstar's Amped series are recommended but the sheer amount of gain options here, alongside genuinely useful extras make the Amped 3 an easy win for those who want to go all-in on this format.

We've already mentioned CabRig, and the ability to power other pedals but the solid state Amped 3 also boasts the choice of different emulations of power amp valves, onboard reverb and three channels with two voices each. There's a lot of gain capability here with Clean, Crunch, Overdrive channels and a switchable boost. 

Blackstar Amped 3 review

Walrus Audio Mako Series ACS1 Amp + Cab Simulator

Walrus's ACS1 is three amp models (AC30, Deluxe Reverb and Marshall JTM50) in one pedal, along with cab IRs but the company has decided to completely overhaul the amp models, while adding Tone Factor IRs on its Update 2.0. Walrus's willingness to support its products with firmware has always impressed us, but this takes it to a new level. 

The result isn't just an improved all-round experience with the amp models but the consensus suggests the ACS1 stacks with drive pedals better now. Plus, this pedal has one significant ace up its sleeve for us: you can use two different amp and cab models in stereo if you want! 

Walrus Audio Mako Series ACS1 Amp + Cab Simulator review

TC Electronic Ampworx JIMS 45

The reasonable price here and simplicity make this JTM45-inspired model a great entry-point in the world of amp pedals, but this is a serious contender too. Its clean tones impressed us as a platform but the overdrive capabilities did not disappoint. 

The onboard boost can be set pre- or post-preamp and there's a presence dial too for added tweaking. Players can set one channel as a preset as well, with a headphone output rounding out a value-packed pedal.  

• Always-on compression: is a compressor pedal the missing link in your guitar tone?

Whilst we live in the digital age of DSP and modelling, musicians are always utilizing these modern technological achievements to hark back to the age of analogue recording. Whether it’s a plugin that models a vintage compressor or a floor modeller that recreates the warmth and sag of a tube amp, many of the old ways still reign supreme over modern music.

The Universal Audio Apollo Twin X does the whole amp modelling and classic outboard gear recreation very well, but so does pretty much every other audio interface. Where the Apollo Twin X stands out from the crowd is it’s ability to imitate the workflow of an analogue studio, which could be just the thing to liven up the modern engineer’s mix.

For the purpose of this review UA sent us the Apollo Twin X Quad Thunderbolt Heritage Edition, which features some additional plugin collections from Teletronix, Pultec, and UA themselves. It’s a pricey bit of kit, especially given the current economic climate, so we’ve set out to find whether or not it justifies the hefty price tag.

Universal Audio Apollo Twin X review: Features

Our version features four SHARC DSP chips, hence the Quad moniker. There’s also a cheaper Duo version but apart from the difference in processing power, both units are identical. The Apollo X is designed for desktop, so there isn’t loads of connectivity here. You get two dual XLR/jack inputs on the rear, alongside L/R monitor outputs and two line outs which can be used for a second set of monitors or configured as outputs from your DAW. On the front panel, you have a Hi-Z input for electric guitars and a studio headphone out for easy access.

There’s also an optical connection, designed to allow you to expand further into the UA ecosystem should the need for more inputs arise. It’ll operate in both S/PDIF or ADAT mode and offers up to eight additional inputs at 48kHz. You can run it at higher sample rates, but this will lessen the amount of inputs available.

Universal Audio Apollo Twin X review: Hardware

When you take it out of the box you’ll feel straight away that it’s a weighty unit, much heavier than the Focusrite Scarlett 2i2 we’re used to. It’s not quite as compact as the aforementioned unit, but you’ll definitely be able to sling it in a backpack and not feel worried about it taking a few knocks on the road.

Thankfully UA has replaced the old power supply with a laptop-style one. Version one of the Apollo had a bundled power supply that was way too short to offer any flexibility for setting up on the desktop, so we’re happy to see this issue has been addressed. If you do find you need a bit of extra room, you can just buy another ‘figure-eight’ or ‘shotgun’ connector to extend things further.

Whilst this has been improved upon, annoyingly there’s still no Thunderbolt cable included, which seems a little stingy considering the investment amount required. Five years ago we could see the argument of the cost being an issue for the manufacturer, even if they are buying at a bulk discount.

Today, however, that doesn’t really stand with Thunderbolt cables available for £10/$20 or less on Amazon. The other argument is that when you’re spending upwards of £1,000/$1,500 on an audio interface, are you really going to baulk at paying an extra £10/$20 for an included cable?

Proselytising on penny-pinching aside, the look doesn’t appear any different to the previous iteration of Apollo interfaces, no doubt a case of if it ain’t broke… The large dial handles a few different tasks but is mainly there to adjust preamp and monitoring volumes. The long travel of the large knob makes it a lot easier to dial in than the traditionally smaller knobs on the majority of audio interfaces.

The buttons below the large rotary knob also provide handy, workflow-enhancing features. In preamp mode, they offer a quick low cut, phantom power on/off, pad, polarity, and channel linking features. In monitor mode, they offer talkback, a ‘dim’ feature which drops the output by 20dB, mono, and mute modes. These aren’t fluff either, they’re super useful when working alone or with a client.

Universal Audio Apollo Twin X review: Installation

We’ve installed plenty of audio interface drivers in our time, but never have we come across an installation as convoluted as this one. Thanks to the M1 chip in our MacBook Air, there’s an absurdly lengthy installation process to get up and running once we’ve plugged everything in.

We have to shut down our Mac, reload it with start-up options enabled, change the startup security policy, and then go through the regular rigamarole of allowing background item notifications and accessory connection requests. The lesson here is don’t think you’ll have the Apollo installed in minutes and be ready to rock.

Annoyingly during the software install it also installs all of the plugins you don’t have access to, meaning many of the shiny new plugins in your list are actually redundant. Shuddering at the thought of having to go through everything and sort the ones we can use from the ones that won’t go past a 14-day trial, we move it to the back of our mind for a later date and proceed onwards.

Universal Audio Apollo Twin X review: Performance

After some final firmware updates and well over an hour later we’re finally up and running. Our first test is the same as always, which involves playing some of our favourite tunes through it to see how things sound with our trusty Yamaha HS5 studio monitors. The first thing we notice is that the Apollo drives the speakers hard. With 5 notches lit up on the dial, we’re already well above our usual interface volume at just under halfway.

Playing some classic test songs like Radiohead’s ‘Paranoid Android’ and Dr Dre’s ‘What’s The Difference’ gives us a revealing sound on the former with its complex instrumentation and a punchy, lively timbre from the latter. We’re already impressed even with just a cursory listen and the Apollo’s dynamic range on output is immediately obvious. It sounds glorious.

Moving on to actual recording, we load up our copy of Pro Tools and commence to set things up there. Thanks to the UA Console program, it’s astonishingly easy to get your I/O in the right place, as everything is handled from the app. Our version of Pro Tools picked it up immediately, allowing us to get recording straight away.

Most of the music community is aware of the quality of UA’s Unison preamps, but for us, the UA Console is the real show-stopper here. Just like in an actual studio, it encourages you to get the sound right at the source. You can add EQs, compressors, whole channel strips or whatever else you like to your signal before you commit to tracking. We start with some guitars, getting the DI signal clear and articulate thanks to the UA 610-B preamp,1176 compressor and Pultec-Pro EQ.

AB-ing with the direct input there’s a clear difference in quality, and once we load up our favourite guitar VST and impulse response into the DAW the track we’ve laid down roars appropriately back at us. Having never journeyed into the world of DSP recording, we’re instantly sold on it and move to the next instrument excitedly. Our short-scale bass guitar goes through the classic combo of an LA-2A and another Pultec EQ, which delivers us a full and fat tone that has our head nodding instantly. The lack of discernable latency is really quite amazing too.

We don’t get close to the DSP limit on a single track, although as a tester we load up two of the Fender Tweed amp emulation presets side by side to see how far up the DSP meter we can go, hitting 91% with some channel strips, compressors, delays, and reverbs thrown into the mix. We can’t see many situations where you’d want to use two inputs simultaneously this way with the Apollo Twin X however, so for most home recording uses there’s plenty of power available here.

Universal Audio Apollo Twin X review: Verdict

The workflow takes some getting used to coming from outside the UAD ecosystem, and it’s a while before you’ll get things set up exactly how you want them but in our opinion, it’s totally worth the time and financial investment. It’s clear why many pro engineers we know use these in their home or travel setups, from the solid build of the hardware, to the ingenious way it promotes an analogue workflow.

Sometimes it’s really annoying having to review gear because you end up not wanting to send it back. Which is exactly the case with the UA Apollo Twin X. The experience has absolutely left our previous workflow in the dust, with just the urge to purchase yet another expensive bit of studio gear remaining.

Universal Audio Apollo Twin X review: hands-on demos

Sweetwater

Universal Audio Apollo Twin X review: Specs

• Simultaneous I/O: 10 x 6
• A/D Resolution: 24-bit/192kHz
• Built In DSP/FX: UAD-2 Quad Core Processing, Realtime UAD Powered Plug-ins
• Number of Preamps: 2 x mic, 1 x instrument
• Phantom Power: Yes
• Analog Inputs: 2 x XLR-1/4" combo (mic/line), 1 x 1/4" (Hi-Z)
• Analog Outputs: 2 x 1/4" (monitor), 2 x 1/4" (line out)
• Digital Inputs: 1 x Optical Toslink (ADAT,S/PDIF)
• Headphones: 1 x 1/4" TRS
• Software: UAD Realtime Analog Classics plug-ins (VST, AU, AAX 64), 5 Heritage Edition plug-ins
• OS Requirements - Mac: macOS 10.12 or later, Quad Core i7 Processor or higher
• OS Requirements - PC: Windows 10 Anniversary update or later, Quad Core i7 Processor or higher
• Power Supply: 12V DC power supply (included)
• Weight: 2.35 lbs.
• Contact: Universal Audio

Firmware 2.0 update (November 2025)

November 2025 saw a significant update to all compatible UAFX pedals with the headline addition of MIDI functionality.

One of the biggest criticisms of the UAFX dual-fotswitch pedals has been the lack of MIDI compatibility to allow effects tweaks and parameter presets with a MIDI host. That is now a feature of the Max, alongside the Woodrow '55, Dream '65 and Ruby '63, Knuckles '92, Anti 1992 and Lion '68. In addition, the UAFX Astra, Starlight, Golden Modulator and Del-Verb all benefit from the new MIDI compatibility with the firmware 2.0 update too. And that's not the only improvement.

UAFX 2.0 now lets players store four presets on their pedals and switch between them on the hardware. Universal Audio has also improved connectivity with its app via Bluetooth and a new hardwired USB-to-Mobile connection option. The combination is a significant enhancement for these already excellent pedals.

Universal Audio UAFX Max Preamp & Dual Compressor: What is it?

Does any effect confuse, delight and bemuse guitarists like compressor pedals? For some a good compression box can be an always-on effect – something that makes everything just sound better. For others, they seem like the dullest, most inconsequential pedal they could possibly spend money on. Plenty of us don't know what they actually do (this can help with that). And dual compression? Don't even get us started!

But whether on a pedalboard or in the studio, compression matters, and the popularity of Keeley's four-knob model and premium pedals like the Origin Effects Cali76 series tells us more than enough guitar and bass players agree to prompt UA in adding it to its ever-growing UAFX line. And it's going big; models of three classic compressors, along with its own popular preamp, that can be stacked and run in series and parallel options. A one-stop recording and stage solution for your needs? A perfect pedal for dialling in for two different guitars? $375 and 400mA of current draw overspec'd overkill?

The Max offers digital emulations of the two most popular vintage compressors around with the tube-driven Teletronix LA-2A and solid-state FET-based 1176 Peak Limiter designed by original UA founder Bill Putman Sr and produced in 1976. UA has already made successful and popular plugins based on both to bring to this pedal, so if anyone has bragging rights and the expertise on modelling these units for your 'board it's UA. Indeed, these plugins have proved so popular that we wonder why it's taken this long for compression to appear in the UAFX line.

The third compressor model here is based on the MXR Dyna Comp pedal. While the vintage units can be used subtly for an always-on effect, the Dyna is a squashier, more aggressive affair traditionally – think country chicken pickin' guitar and long sustain you can really hear.

Added into the mix is a preamp based on UA's 610 tube preamp, itself derived from another piece of Putman engineering magic from the '60s; the LA-610 console module used on countless records. Origin Effects recently made this the focus of its own $319 DCX Boost. Here there's the prospect of it being part of a much bigger package.

Because while some premium compressor pedals, and racks, have chased the LA-2A and 1176 separately, here they're brought together in a pedal where you can place them on either side. And the 610 adds the attraction of it becoming, in effect, UA's first drive pedal to that combo. Something that can be part of your gain stacking in the pedal itself and with other overdrives, as well as enhancing your clean tones.

For some this plugin selection in a pedal will be enough to justify the asking price here, because we already know how well UA has recreated these units. But others will be asking why they would want multiple compression options and a preamp going into your guitar signal chain. There's no XLR input here, in case you were wondering if UA might be trying to attract vocalists too. But there's nothing stopping someone from using a dynamic mic via an XLR-to-1/4" jack converter. In this review, we're focussing on the intended guitar market.

Universal Audio UAFX Max Preamp & Dual Compressor: Performance and verdict

With the UAFX pedal format of six knobs, 2-3 mini toggle switches and two footswitches remaining rigid so far, it turns out the Max is well suited to it – probably the best example so far for ease of use in its hardware, next to the Dream '65 amp emulator, Starlight Echo Station and Golden Reverberator. Compression 1 and 2 are assigned to each footswitch, the red knob is the preamp and two mini toggles switch between compression models. Another then selects the model you're dialling in parameters for.

It's very much a hands-on hardware affair that quickly makes sense, and with two compressions, each with their own settings, the preset issues (namely lack of them) that undermined the Galaxy '74 tape echo and reverb's usability for me aren't really an issue here. How many compression presets do you really need at the flick of a switch?

While the MXR Dyna Comp was one of the big successes of early compressor pedals designed to go into the front of a guitar amp, the LA2A and 1176 were not designed for that purpose, being studio-based hardware aimed at mic processing. Origin has already proved how persuasive the 1176-influence can be in its analogue Cali76 compressors, and this is where digital modelling can shift the influence of the past to new areas by putting multiple emulations of this vintage tech in a pedal for a new usage scenario.

While the Dyna Comp is very much still a compressor suited to single-coil pickups, both the clarity of the 1176 and smoother LA2A can be used for great always-on, tone enhancers. The increase in noise-floor associated with compressors in your signal chain is still in evidence when pushed, especially when stacked. But one of the Max Compressor's greatest strengths is the options available.

Before I could explore this potential I had some obstacles to overcome. Once again as an Android user with a Pixel 7 Pro and the latest version of Android 13 at the time of review, I experienced issues connecting to the Max to register and access its additional routing options through the Bluetooth UAFX Control app. An old iPad Mini 2 had no issues. It's also important to check your UAFX pedal has the latest firmware as the first port of call – and this is done via the UAFX Control desktop app.

Now, we acknowledge all users' experiences will be different but at this point, it seems obvious to us that users should be given the option to access the pedal's expanded controls through the desktop app as well as the app that is completely reliant on Bluetooth connectivity to access core features. And we'd really like to see UA do this in future updates.

In addition to running two compressor models in Series (compressor 1 feeds into compressor 2) or Parallel (input goes into each compressor separately with a combination created at the output), and individually in Exclusive mode (only one compressor can be activated at any one time) for dialling in settings for two different guitars or compression requirements, it seems at first that UA has overlooked a couple of things. The first is being able to run a parallel setup to blend a dry signal with one compressor. But this is actually possible, because of the way the Parallel mode works – it's just not blatantly signposted in the options.

Choose to run the pedal in 'parallel' mode in the Control app and set one model's compression parameter to zero and there you have it.

Another missing routing path is the option to use two compressors individually; such as placing one compressor model before and after an effects loop, or one for guitar input and another for a mic. However, UA is reportedly planning to add a Dual Mono mode in a future update, which is very good news for the pedal's future flexibility.

Out of the box, there's still a lot of potential to explore if you are a player that sees the appeal in multiple compressor options. The preamp's emulated tube saturation really adds avenues here in terms of setup scope in your gain palette; for example, a compressor for clean and another set up for some warm but gritty overdrive. Though you'll have to use the Control app for EQ changes to it.

The app allows low and high EQ adjustments for the 610 preamps applied to each of the two compressors chosen, as well as an option sidechain bass filter for the FET 1176 to remove some low frequency if required. And on the hardware, the five-stage ratio control options (the higher the Ratio the more frequency squash) extend to the LA2A – going far beyond the original unit's two (so too with the Release control for it here with 12 o'clock reflecting an LA2A's release speed). The Ratio, Attack and Release settings have no effect on the DYNA model, in a more authentic reflection of the MXR pedal's streamlined OupPut and Sensitivity controls.

And in all these multiple compression options lies the fork in the road; how many players want or need a compressor to do all this, especially when some aren't sold on adding just one compressor to their pedalboard? The Max isn't for everyone, but it doesn't need or set out to be. It presents a combination that isn't available anywhere else.

And as far as pricing goes, highly-rated analogue compression pedals from Origin Effects and Effectrode (PC2A) that seek to recreate the two big draws of this pedal with the 1176 and the LA-2A cost up to £279 each – and without the ability to combine them with the different routing options and preamp that the Max represents. In this light and even considering the digital proposition, the asking price here isn't unreasonable for the high-quality results, though the 400mA power draw might require a rethink with your pedal power supply.

MusicRadar verdict: This isn't a pedal for casual compressor users but it offers authentic recreations of some classic studio hardware together for the first time in one stompbox, with enough options for using them that could be great for multi-guitar and gain-staging needs on your pedalboard.

Universal Audio UAFX Max Preamp & Dual Compressor: What the web says

"There’s really nothing to dislike about this pedal; the only issue is that, for most guitar players, it’s colossally over-specced. When many of us don’t even have a compressor on our board, who really needs one with switchable circuits, stereo outputs and app control? The Max would surely have made more sense as a smaller, simpler, more affordable unit with the same three algorithms in a single mono circuit – if only the UAFX design template were flexible enough for that to be possible."
Guitar.com

Universal Audio UAFX Max Preamp & Dual Compressor: Hands-on demos

Worship Tutorials 

Corey Congilio

Vintage King

Reverb

Universal Audio UAFX Max Preamp & Dual Compressor: Specifications

• TYPE: Digital compression pedal and premp
• ORIGIN: Designed in the USA, made in Malaysia
• CONTROLS: Preamp gain, Compression, Output, Attack, Release, Ratio, compression model mini toggles 1 and 2, Compression select for parameter editing; ; Comp 1 and 2 bypass footswitches
• FEATURES: Mono / stereo inputs and outputs, USB-C input for firmware updates via UAFX Control desktop app, Bluetooth connectivity to UAFX Control mobile app
• BYPASS: Buffered
• POWER: 9V centre-negative power supply (400mA minimum draw, power supply not included)
• CONTACT: Universal Audio

Firmware 2.0 update (November 2025)

November 2025 saw a significant update to all compatible UAFX pedals with the headline addition of MIDI functionality.

One of the biggest criticisms of the UAFX dual-fotswitch pedals has been the lack of MIDI compatibility to allow effects tweaks and parameter presets with a MIDI host. That is now a feature of the Galaxy '74, alongside the Woodrow '55, Enigmatic '82, Dream '65 and Ruby '63, Knuckles '92, Anti 1992 and Lion '68. In addition, the UAFX Astra, Starlight, Golden Modulator, Del-Verb and Max all benefit from the new MIDI compatibility with the firmware 2.0 update too. And that's not the only improvement.

UAFX 2.0 now lets players store four presets on their pedals and switch between them on the hardware. Universal Audio has also improved connectivity with its app via Bluetooth and a new hardwired USB-to-Mobile connection option. The combination is a significant enhancement for these already excellent pedals.

Universal Audio UAFX Galaxy '74 Tape Echo & Reverb pedal: What is it?

It's typical isn't it; you wait for a Space Echo reissue and then four come along. Ok, two of those aren't even Roland (Boss) units but we really are spoilt for choice right now.

Before anyone can cause UA of being a Johnny-come-lately in this arena, it already had a plugin version (originally the RE-201, later renamed the Galaxy Tap Echo).

We know that's very good, but how does the hardware version fare; especially now it's up against the acclaimed digital replications of the Boss RE-202, compact RE-2 and Nux Space Echo-inspired NDD-7 Tape Echo?

The original Space Echo unit of the '70s answered the call of echo enthusiasts tired of fragile, temperamental machines with a customisable dream machine that still casts a legacy of influence that continues to win favour for its cosmic, warm and versatile multi-head tape delay and spring reverb combinations.

It's beloved by Jonny Greenwood, Pink Floyd, Brian Setzer and was a go-to for dub and reggae pioneers including Lee Scratch Perry and Bob Marley amongst many others.

The black and green livery is an undeniably strong link to the Galaxy '74's inspiration, as well as a sleek look with the blackout control knobs. The size is bigger than the RE-2 but smaller by a considerable margin than the bells and whistles of the RE-202 – a pedal that offers four onboard presets while this has… none.

Deja vu strikes from our experiences with the preset-less Del-Verb delay and reverb; part of UA's third wave of UAFX effects pedals alongside this and the Max Preamp & Dual Compressor.

The RE-202 also comes in around the same price as this. The Galaxy '74 has tough competition beyond its slimmer size there.

Universal Audio UAFX Galaxy '74 Tape Echo & Reverb pedal: Performance and verdict

It's not quite as intuitive on the control side as the Del-Verb, but that's because the Space Echo format dictates more from the UAFX layout.

The Alt switch that doubles up the three of the six control knobs to activate secondary tape echo parameters of Tape Age, Dwell and Treble suggests Boss was wise to go with a larger physical size for its flagship pedal.

The Galaxy '74 is packing a lot in here into a smaller footprint so it's an understandable workaround bearing in mind UA is sticking with the user-friendly idea of a six-knob / two-switch format.

At its heart this pedal is a high-end, detailed digital recreation of lo-fi sounds; the reverb sounds decidedly so to my ears… which is a good thing.

It can be set in the UA Control mobile app to be independently switchable on the second footswitch, but the rub is you'll lose tap tempo and the ability to hold and ramp up (or down if you set it that way on the app) feedback-pushing self-oscillation for full freak-out intros and outros. A choice you don't have to make on the three-footswitch RE-202.

The reverb here can be viewed as a bonus to the main event – it's also been updated from the plugin – but it's a very usable and attractive one indeed. With two controls via the level and Dwell, it's a refreshingly streamlined affair in this era of deep-diving reverb pedals but can provide a pleasing range.

Dwell is the key to that lo-fi element and a really welcome feature here; adjusting the level of drive into the virtual reverb tank to bring in some frayed edges as required. Not just great for rock n' roll excursions but also adds a sense of dimension to moodier parts.

As a simple, authentically vintage-sounding go-to it's a success. And the lack of the Spring '65 algorithm's surfy Fender 'drip' (as found in the excellent UAFX Golden Reverberator and Dream '65 Amp Emulator) may well be preferred here by some players.

That's a tasty side order, but the main dish here digitally modelled is multi-head tape delay to combine with it (or not). And, it's not really a surprise to us to find UA has served up a treat.

A mini toggle selects virtual Heads 1, 2 and 3 with seven total combinations of them that can be cycled through by continuing to switch up or down with green LEDs letting you know what heads are activated.

On the original Space Echo, the different heads are added to the spinning tape and combined to create different types of delay and quirks; short to long delays with multi-tap too.

That's exactly the case here in the digital realm. The Input Volume control is like the Dwell for the reverb; turn it up and it drives the tape echo harder. The alt Bass and Treble controls allow you to EQ the repeats, as well as adjusting Tape Age (the higher the setting the older the tape for increased warmth and warble).

The primary controls you'll probably head to first are the Echo Rate, Feedback and Voume. Set the Feedback low, Echo Rate at midday on the first Head for rockabilly slapback thrills.

Moving to the second head lengthens your delay time, with layered repeats, and you can explore why reggae artists like Bob Marley loved the original Space Echo. To lock in on the rhythm you'll need to set tap tempo in a way the original unit couldn't and for Head 1 that equates to dotted 16th notes, Head 2 Dotted 8th notes and quarter notes on Head 3.

Combining the heads can take you into the progified lands of Radiohead and Floydian soundscaping and glitches, with the response of the virtual tape responding to your changes and sounding eerily real.

UA has clearly put a great deal of focus on the changing character of wow and flutter tape modulation (there is no 'modulation' control on a Space Echo but the Boss unit uses a Wow & Flutter knob for injecting more or less of this) moving between and combining heads, with the treble and bass allowing you to fine-tune it all in the maelstrom.

It shows yet again how far modelling continues to develop and why UA is at the forefront with its years of plugin prowess paying dividends.

It's this kind of thing that reminds us how much Space Echo-influenced pedals often encourage you to orchestrate and manipulate them via the controls, and this is no exception.

Especially with that 'performance' hold function to ramp up or down the oscillation on the second footswitch when you're in tap tempo mode. It's good to see it all in a smaller unit compared to the Boss RE-202, but with more expansive controls than the RE-2.

UA has gone even further for those using the Galaxy in stereo mode; something few of us will take advantage us but an unexpected feature all the same.

The one-page overview in the box doesn't mention it but the Galaxy '74 runs separate stereo instances of each reverb and delay.

This means you can get some contrasts in character within the stereo field, just like you would with two Space Echoes, as each does its thing.

With the lack of any onboard presets and MIDI you'll be tweaking between songs or/and tap dancing if you really want to explore the scope here.

There's also none of the additional preset Voicings available via UA's mobile Control app – sounds we enjoyed so much on the Del-Verb and helped negate the lack of footswitchable presets – that bring in extra effects into the mix that you can download onto the pedal.

What you see is what you get. And this being a Space Echo-inspired pedal, there's a lot to explore in the box.

Of course, not everyone is out there gigging, but most of us players appreciate having a go-to favourite sound (or four) to access quickly - especially in a digital realm where tech can be authentic while expanding in ways the original technology couldn't.

The launch price here is slightly cheaper than the two series of pedals that preceded it – and we can't help noting the packaging quality is less premium in this third wave – but I think at least one preset option should be present on a digital pedal with this much nuance and usability. It's a headscratcher.

UA keep knocking it out of the park in the key area of tones and the instant gratification of plugging in their pedals and finding inspiration, but we think the preset question hanging over this release is more conspicuous than for any pedal it's put out before.

Still, the bottom line remains; this is still a fantastic-sounding reverb and echo pedal that captures so much of the Space Echo's charm for the modern pedalboard (just don't mention MIDI, ok?).

MusicRadar verdict: Despite the frustrating lack of any onboard presets available, the care and passion UA puts into capturing the classic sounds of the last 60 years are very much in evidence again here in its own homage to the Roland Space Echo.

Universal Audio UAFX Galaxy '74 Tape Echo & Reverb pedal: What the web says

"Given the piggybank-shattering prices, it’s no wonder the UAFX angle up to now has been impeccable audio quality. That’s a little harder to judge when the effect in question is slightly lo-fi by nature, but the Galaxy certainly picks up where the Starlight Echo Station left off."
Guitar.com

Universal Audio UAFX Galaxy '74 Tape Echo & Reverb pedal: Hands-on demos

Pete Thorn

Corey Congilio

Vintage King

Sarah Longfield

Reverb

Universal Audio UAFX Galaxy '74 Tape Echo & Reverb pedal: Specifications

• TYPE: Digital stereo multi-head tape delay and reverb modeling pedal
• ORIGIN: Designed in the USA, made in Malaysia
• CONTROLS: Echo Rate, Feedback, Echo Volume and Input Volume / Tape Age, reverb Dwell / echo Bass, Reverb Volume / echo Treble; Head Select mini toggle switch with seven combinations, echo bypass and Tap/Hold/reverb bypass footswitches
• FEATURES: Mono / stereo inputs and outputs, USB-C input for firmware updates via UAFX Control desktop app, Bluetooth connectivity to UAFX Control mobile app
• BYPASS: Buffered
• POWER: 9V centre-negative power supply (400mA minimum draw, power supply not included)
• CONTACT: Universal Audio

Firmware 2.0 update (November 2025)

November 2025 saw a significant update to all compatible UAFX pedals with the headline addition of MIDI functionality.

One of the biggest criticisms of the UAFX dual-fotswitch pedals has been the lack of MIDI compatibility to allow effects tweaks and parameter presets with a MIDI host. That is now a feature of the Del-Verb, alongside the Woodrow '55, Dream '65 and Ruby '63, Knuckles '92, Anti 1992 and Lion '68. In addition, the UAFX Astra, Starlight, Golden Modulator, Galaxy '74 and Max all benefit from the new MIDI compatibility with the firmware 2.0 update too. And that's not the only improvement.

UAFX 2.0 now lets players store four presets on their pedals and switch between them on the hardware. Universal Audio has also improved connectivity with its app via Bluetooth and a new hardwired USB-to-Mobile connection option. The combination is a significant enhancement for these already excellent pedals.

Universal Audio UAFX Del-Verb Ambience Companion pedal: What is it?

We've never had it so good with reverb and delay pedals. Yes, they can be pricey but the sounds! Lush, cavernous… celestial goodness. So why is it few pedal companies have ever combined classic reverb and delay algorithms in one easy-to-use compact-ish stompbox?

The cynic in me suspects they may want to sell us two effects pedals instead of one. But in a market responding to the demand for increasingly complex and involved creative stations for our pedalboards, combining so much time-based wonder in one pedal surely means compromise. Well, up steps the might of James Santiago and his Universal Audio team to take on the challenge with the Del-Verb Ambiance Companion. What a reassuring name for a pedal, but can its performance reassure you and your $350 investment?

We've already heard the sounds of the Del-Verb; they are found in two of the models in UAFX's 2021 launch into the pedal market; the Starlight Echo Station delay and the Golden Reverberator. In effect, pardon the pun, the Del–Verb is a greatest hits collection; taking three of the delays and reverb algorithms from each of those aforementioned pedals for each side of this new one. Canny move. Because both the Starlight and Golden Reverberator were up there with the best from Strymon and Walrus Audio in their fields.

So it's a done deal then, we can just give our score and be done with it? Not quite.

The menu here is a delicious decade-straddling proposition; echo from the '60s based on the Echoplex EP-3, Bucket Brigade delay from the '70s based on the EHX Deluxe Memory Man and Universal Audio's own Precision digital delay. On the reverb side we're offered a chambered smorgasbord of Spring '65 (as also featured on the excellent Dream '65 Amp Emulator pedal based on the Fender Deluxe Reverb amp). Alongside it is the Plate 140 modelled on the 600lb EMT 140 studio unit, and the Hall 224 capturing the Lexicon 224 Digital Reverb from the late '70s. Phew!

It's tempting and understandable to ask, what more could you need? And for many the answer will be, 'That will do nicely!' It's also easy to see these as conscious pairings from the UA team; echo and spring, BBD and plate, digital delay and hall. It's certainly a good place to start.

Universal Audio UAFX Del-Verb Ambience Companion pedal: Performance and verdict

We can't help noticing that after its first six pedals, Universal Audio has changed the knob design from silver and black here, and for the other two pedals in this third wave – the Max Preamp & Dual Compressor and Galaxy '74 Tape Echo & Reverb. They're a plainer, bronzey plastic here with the contrast on metallic blue. We like it – UA has delivered another classy-looking addition to your pedalboard.

A cursory glance over the controls starts to reveal the compromises UA has chosen/had to make in order to combine its delay and reverb tech into a single pedal. Most controls are for the delay side of things with only the reverb selection mini toggle and a wet level. That's either worryingly limited or refreshingly streamlined depending on your needs and expectations. The Golden Reverberator is waiting with its Predelay, Mix, Bass, Treble and Modulation parameters for you deeper divers. But yes, it's quite a contrast between the two, and the lack of a Decay control on the Del-Verb is surprising. But Universal Audio has offered a way to address this to some degree, and we'll get to that later.

The delay side of the Del-Verb features the essential Time and Feedback (repeats) that any self-respecting delay pedal requires. That's supported by a Mix control with Color and Modulation parameters that change different elements depending on the reverb model in question. On the face of it this could all amount to a more gig-friendly option for players than the more involved separate delay and reverb pedals Universal Audio offers.

In keeping with the UAFX tradition so far, there's two footswitches. One for Delay and the second for Reverb / Tap. Originally it was an either/or choice when it came to having reverb on and tap tempo for the delay, but this has now been addressed by UA with a firmware update that allows users to choose always-on reverb, freeing up the right-hand footswitch for tap-tempo if required.

The app is available for Android and iOS and, just like it did on the previous UAFX pedals, opens up preset options but most importantly, assigns the footswitch functions. As we found with the Dream '65 pedal, this is crucial to fully customising and exploiting that pedal's potential for your rig. Here it's a source of disappointment.

The Del-Verb pedal doesn't have an onboard preset and this is the first UAFX pedal for us where those two footswitches present a glaring issue at the outset. With the Astra Modulation Machine even one preset didn't feel like enough with all the great sounds it offered. Here you'll have to kneel down and do the changes yourself as there's no quick switch. But that's not the issue we're getting at; where does tap tempo come into play, and are there workarounds?

The answers all lie in the UAFX Control mobile app – paired with the pedal via Bluetooth. Successful connection (and we found the app on an Android smartphone much more temperamental when it came to detecting the pedal compared to iOS) reveals switching options and the ability to turn trails on and off, alongside a huge array of preset 'Voicing' tones that can be attributed to each of the six algorithms – a way of personalising the Del-Verb's delay and reverb choices to your tastes that go beyond the onboard controls. They are the next best thing to user presets and showcase what this pedal is capable of – from gorgeous EP-III echo (and one preset even includes the much-loved preamp) to gigantic ambient Lexicon 224 reverb. More on this soon.

First up, you can have the two switches set to select reverb and delay on/off or you have reverb and delay activated together and the second switch as tap tempo. Universal's update to the pedal now allows players to choose a third option to have always-on reverb, with tap-tempo delay. Hurrah! A boost for this pedal's usability for me, and I have amended its review score to reflect this improvement

If tap tempo isn't something you use much, you'll be keeping this pedal in stock switchable delay and reverb mode anyway. And this is where it's at, especially when you start perusing those Voicings that bring in extra effects, such as bucket brigade chorus on the EPIII delay, higher octave repeats on the DMM and ambient modulation on the reverb side.

There's lots of extra goodness going on here, and suddenly the scope of the Del-Verb becomes much deeper and wider with these Voicings. It combines wonderfully with the ease of use of the hardware controls.

There's a dizzying stack of stunning sounds on tap – and predelay built into some of those reverb voices – to make your ultimate trios of delay and reverb sounds. The price in this mode feels right for what you get in terms of quality and quantity, and for us it eases the lack of footswitchable user-generated preset/s to some degree.

Just select a Voice and it's automatically added to the pedal, or just switch back to your previous choice. For the range and standard of delay and reverb sounds the Del-Verb is the best delay / reverb combination pedal we've played to date; a high-end set it-and-submerge ticket into gorgeous tones.

As great as the experience is, we can't help but cast our weary eyes into the future and wonder if locking so many integral features behind a Bluetooth mobile app for a pedal could be a slippery slope when it comes to futureproofing, especially compared to your trusty old Memory Man Deluxe. It's a digital conundrum.

We've seen Universal Audio compared to a musician's version of Apple on some guitar forums; in that it's undeniably in the premier league of hardware and software solutions in its fields, but it also comes with a 'this is how we do it, take it or leave it' approach to that proposition. And the two-footswitch with an app approach worked very well for the Dream '65 – and actually expanded on the amp it modelled with its boost modes and presets – but we're not sure about it working so well for everything else. But user presets aside, this is a fantastic pedal that's worth the price for the premium sounds it packs in. As we said with the Starlight and Golden Reverberator we will repeat; these are top-tier tones.

MusicRadar verdict: The greatest selection of reverb and delay sounds in one pedal currently on the market. Onboard user presets would be nice but this gets so many things right it might just be UA's best value pedal.

Universal Audio UAFX Del-Verb Ambience Companion pedal: The web says

"Distilling the best bits of two other UAFX pedals into one simple unit, the Del-Verb makes so much sense for ambient soundscapers."
Guitar.com

Universal Audio UAFX Del-Verb Ambience Companion pedal: Hands-on demos

R.J. Ronquillo

Corey Congilio

Andertons

Rabea Massaad

Reverb

Universal Audio UAFX Del-Verb Ambience Companion pedal: Specifications

• TYPE: Digital stereo delay and reverb pedal
• ORIGIN: Designed in the USA, made in Malaysia
• CONTROLS: Reverb level, Delay time, Feedback, Mix, Color and Modulation, three-way delay and reverb type selector mini toggle switches; Delay and Reverb or Tap (tempo) bypass footswitches
• FEATURES: Mono / stereo inputs and outputs, USB-C input for firmware updates via UAFX Control desktop app
• BYPASS: Buffered
• POWER: 9V centre-negative power supply (400mA minimum draw, PSU not included)
• CONTACT: Universal Audio

If you’re looking to harness the power of your tube amp for home recording then you won’t want to miss this deal. Over at Guitar Center the Universal Audio OX Amp Top Box has got a massive $300 discount, giving you pristinely recorded guitar tones for less. Packed with top quality guitar cabinet and microphone emulations as well as a whole host of studio effects, this brilliant bit of kit lets you get high volume, and great tube tone without disturbing your neighbors. 

If you’ve not encountered one before, a reactive load box replaces your guitar amplifier’s speaker or cabinet, allowing you to use that super-loud tube amplifier without having to max out the volume control. The Universal Audio OX Amp Top Box isn’t just your average load box though, it responds to every nuance of your playing dynamic just like the real thing, enabling you to both use that ridiculously loud tube amp at normal volumes, as well as capture some phenomenal recorded tones.

The OX will take 4, 8, and 16ohm loads, allowing you to use it as a pure attenuator via the speaker out. Simply place it in between your amp and speaker and enjoy the full tube amp saturation experience without any hint of mud or fizz that’s often present in other load boxes when operating with a huge input at low volume. Not many guitar players to get fully unleash their 100-watt tube heads, and even fewer have the ability to record them at home, which makes the OX Top Amp Box an invaluable tool for the studio.

You get a range of 22 studio-quality speaker cabinet models, giving you enough choice for pretty much any recording project. All of them have been painstakingly modeled after the real thing, giving you some beautiful tones to work with. You also get a bunch of classic microphone emulations, including dynamic microphones and condenser microphones, so you can mix and match different tones, placing them wherever you want in the room to capture your perfect tone. You can even customize the room sound by removing the rug the simulated cabinet is on top of to adjust the sound, which shows the level of customization available here.

Just to top things off, you also get a bunch of EQs and reverbs you can use to further sculpt your tone, all controllable either from your computer or wirelessly via an iPad or iPhone through the dedicated app. If you need more convincing, then go have a look at our Universal Audio OX Amp Top Box review, for an in-depth look at this excellent studio tool.

This offer is available until March 31st, so you’ve got a limited time to grab yourself a deal on this amazing bit of kit. 

Universal Audio has revealed that its native plugins are now available to purchase individually and as part of three new bundles: Diamond, Mix and Creative editions. The announcement also coincides with the launch of a brand new plugin effect, the Waterfall Rotary Speaker.

The Diamond Edition is Universal Audio's flagship collection of 28 UAD plugins and instruments, including compressors, channel strips, EQs, reverbs, delays, synths and more. 

The Mix Edition is a slightly paired-down affair with 23 plugins. It's essentially the Diamond Edition without the synths and instruments.

The Creative edition is a combination of the synths and instruments – including the Minimoog, PolyMAX and Opal – paired with the effects, so you can imagine it as the Diamond Edition minus the mix tools.

See below for a full list of plugins available.

All three bundles feature the brand-new Waterfall Rotary Speaker plugin, which is touted as "the world’s most authentic emulation of the legendary Leslie rotary speaker cabinet".

The particular model in question is the Leslie Type 147 and UA's aim was to go beyond other Leslie emulations. As well as capturing the complete circuit and tube power amp, UA has also encapsulated the 147's unique three-dimensional movement and tonal range.

Waterfall Rotary Speaker is now available natively as a UAD plug-in for $199, and on subscription with UAD Spark.

As for the three new bundles: the Diamond Edition has an introductory offer price of $699 (normally $999), the Mix Edition is currently $559 (normally $699) and the Creative Edition is on offer for $349 (normally $499). All versions include both an Apollo Realtime & UAD-2 version for Apollo interfaces and UAD-2 hardware, and a UAD Native version for Mac and Windows.

For more information on UAD plugins, check out the Universal Audio website.

Reverbs, Delay & Modulation

• Lexicon 224 Digital Reverb
• Hitsville Reverb Chambers
• Pure Plate Reverb
• Galaxy Tape Echo
• Studio D Chorus
• Brigade Chorus
• (New!) Waterfall Rotary Speaker

Preamps, EQ & Tape

• API Vision Channel Strip
• Studer A800 Tape Recorder
• Pultec Passive EQ Collection
• Hitsville EQ Collection
• Century Tube Channel Strip
• Oxide Tape Recorder

Compressors

• A 1176 Classic Limiter Collection
• Teletronix LA-2A Leveler Collection
• API 2500 Bus Compressor

UAD Instruments

• Moog Minimoog
• PolyMAX Polyphonic Synth
• Opal Morphing Synthesizer
• Ravel Grand Piano
• Waterfall B3 Organ

Universal Audio Volt 4: What is it?

The Volt 4 is at the smaller end of UA’s Volt series. Released in late 2021, the Volt range was devised to offer simpler interfaces than the Apollo series – which is known for its DSP-powered emulation effects – while still offering high-quality, low-latency recording. 

While the Volt 4 does not have quite as many ‘analogue’ sounds and multiple interfaces can’t be centrally controlled so easily, it does offer one analogue simulation function. The integrated preamp for each input has two modes: normal and vintage. The vintage setting for each mic input nicely resembles the quality of an analogue tube amp.

The two front inputs are both TRS jack and XLR and sit on the front left of the device, with volume dials for each directly beside. Two more inputs for synths and drum machines sit at the back, so four instruments can be used simultaneously for recording. Here there is also MIDI in and out and USB power in. Fully bus-powered, there is no external power plug, so all it needs is a laptop, although there is also the option to use mains.

Universal Audio Volt 4: Performance and verdict

Each of the two front inputs has two monitor LEDs, green and red, so keeping an eye on the level is easy. The yellow vintage light shows when we are playing in the vintage mode. The green light signals that an instrument is playing. This setting ensures the preamp is powerful enough to bring the signal up to the level needed for transmission. The 48V phantom power key is also on the front as well as the mono key, which sets all inputs to the same monitoring output, for easy, centralised listening back. 

Four line outputs mean users can listen on multiple speaker setups or output into four different tracks on a mixer. Low latency stereo monitoring at the back is great, as is the headphone monitoring output on the front of the device. 

The Volt 4 has lots of software included: a Marshall Plexi Classic Amp Softie Time & Tone bundle, Ableton Live Lite, Melodyne Essential, Ampeg SVT-VR Classic, Ujam Virtual Drummer and Virtual Bassist, Spitfire Audio LABS, a 30-day free trial of UAD Spark and Relab’s LX480 Essentials; further advantages of the Volt range. A security lock on the back is also a nice touch for those wanting to kit out a studio securely.

Especially useful for producers recording both digital and acoustic instruments, four-track recording capability and vintage preamp mode make this stand out. It weighs 1.2kg, is a similar price to other affordable interfaces at £225, and is one of the best out there for musicians and producers on the move.

MusicRadar verdict: With its four-track recording and vintage tube amp simulation, the compact Volt 4 is one of the best affordable interfaces.

Universal Audio Volt 4: Hands-on demos

GAK

Sweetwater

Alto Music

Universal Audio Volt 4: Specifications

• KEY FEATURES: Desktop 4 in/4-out USB audio interface with class-leading 24-bit/192kHz audio conversion, Vintage Mic Preamp mode, USB bus powered, 1-in/1-out MIDI, Studio-quality headphone amplifier.
• CONTACT: Universal Audio 

Universal Audio entered the effects pedal market and proved they meant business with a trio of jaw-dropping units. The Starlight Echo Station might just be the pick of the bunch; a delay pedal connoisseur's dream. And over at Thomann right now it's got a rare saving of £44 this weekend. 

Universal Audio have modelled three classic tape, analogue and digital units with UA's industry-leading approach to tonal detail. The vintage Memory Man Deluxe and EchoPlex EP-III originals they accurately model would cost far more than this metal-bodied beauty of a pedal. 

Classic vintage sounds with old school controls and cutting edge modelling make an irresistible combination here. The Starlight Echo Station is simply one of the greatest delay pedals you can buy right now and an investment that pays dividends with its huge variety of delay tones.

More Black Friday guitar deals 

GEAR 2021: Universal Audio has unveiled a premium guitar pedal range that the Californian company promises will offer “sonic authenticity beyond all other stompboxes“.

The UAFX line comprises the Golden Reverberator, Starlight Echo Station, and Astra Modulation Machine, with each featuring a dual-processor UAFX engine and three core sounds. The UAFX pedals have Live and Preset modes for saving tones, you can download more UA-designed effects and choose whether to run your effects in mono or stereo.

• NAMM 2021 is cancelled, but we'll be covering all the big January gear announcements right here on MusicRadar.

Universal Audio has a reputation for high-quality gear, with the California-based company's audio interfaces among the best on the market, and its analogue hardware such as its Ox Amp Top Box marrying great design and sound with style. 

As you might expect, the UAFX series looks incredible. The pedals have silent switching and are built to last. But all that doesn't come cheap. The asking price, $399, is a lot of anyone's money for one pedal. 

Let's take a look at what that buys you.

Golden Reverberator

Like the others in the series, the Golden Reverberator has a classy enclosure with six knobs controlling standard-issue reverb parameters such as decay, pre-delay, mix, and some no-so-standard, such as bass and treble, and modulation.

You can select from Spring 65, Plate 140, and Hall 224 reverbs via toggle switch, with another two toggle switches and second footswitch on hand for setting up your presets.

The Spring 65 reverb emulates vintage tube-driven spring reverbs, the Plate 140 reanimates studio plate reverb, while the Hall 224 has a vintage digital flavour.

Starlight Echo Station

The Starlight Echo Station's three modes of echo and delay were inspired by 60s hardware units and include the Tape EP-III, Analog DMM, and Precision.

Alongside the standard controls for wet/dry, feedback and delay you can adjust preamp color, tape wear and modulation. Again, the type of delay and presets are selected via mini-toggle switches, with the dual-footswitch design accessing preset modes and tap tempo.

Astra Modulation Machine

The Astra Modulation Machine has arguably the coolest logo. It looks like a tie-in with SEGA. Universal Audio describes it as “a complete sonic workstation“ that offers a wide sweep of classic modulation effects.

Here we have got 70s studio flanger tones, bucket-brigade chorus and opto-tube tremolo. The Chorus Brigade, Flanger DBLR, and Trem 65 modes have secondary modes such as vibrato and doubling accessed via a two-position rotary dial. 

The Astra has controls for speed, depth and intensity of the modulation, with Shape and Shade controls presumably on-hand for adjusting the waveform and brightness of the modulated signal.

You can switch between true or buffered bypass on each of the UAFX pedals via the bundled software, while both the Golden and Starlight are equipped with a trails mode.

Expect these to be with retailers in Spring 2021.

What is it?

Universal Audio’s range of audio interfaces has always provided a twin approach to sound recording and processing. In addition to the high-end preamps and I/O you’d expect of a top-end audio interface, they’ve also provided access to UAD’s extensive effects collection. 

They use native processing to reduce load from your computer’s CPU and provide near-zero latency in the process. 18 months ago, the rackmount range of Apollo interfaces was updated with improved audio specifications and Thunderbolt 3 connectivity. 

At that time, the desktop Apollo Twin interface remained untouched by the upgrades afforded to its brothers, but it now gains many of the new specs offered by the rackmount Apollo units. More intriguingly, a new desktop module enters the Apollo family – the Apollo x4.

Like the other units in the revamped Apollo range, the x4 is a Thunderbolt 3-enabled interface and it’s a little less than twice the size of the Apollo Twin, offering a similar desktop, wedge-shaped design with a prominent rotary dial on its upper surface. The front edge provides twin guitar inputs on its left-hand side, whilst two, independent headphone outs feature on the right. 

Round the back, you’ll discover four Unison-enabled preamps from which the x4 takes its name. Unison is the proprietary emulation technology Universal Audio have developed to model the input behaviour of a range of classic preamps and channel strips, each of whose input levels and settings can be selected and adjusted from the rotary dial and top-panel buttons.

Output-wise, you’ll find six round the back. If your mind has leapt to the possibility of surround-sound configurations, you’re going to be disappointed, as the ports can’t be arranged this way. Instead, a Monitor stereo output pair is flanked by additional Outputs 1-2 and 3-4, which does mean that both effects loops or three pairs of monitors can be driven directly.

Performance and verdict

Specs-wise, the Apollo x4 offers 127dB of dynamic range and -117dB THD+N, which is a significant improvement from the previous generation of Apollos. UA’s interfaces have long held an entirely justified reputation for an open, warm recorded sound, befitting the company’s origins. That reputation is further enhanced here: the sound is sumptuous.

And, of course, it’s aided further by UAD effects provision. The x4 comes with a Quad processing chip onboard and bundles some classic effects, including the Teletronix LA-2A and 1176 compressors, 610-B Tube Preamp and Pultec EQs. Many more effects can be ordered, individually and in customised bundles from UAD’s store directly.

The x4 is an excellent addition to the Apollo range. If the Apollo rackmount modules offer more spec than you need, it should prove head-turning and as a desktop front end to a larger system (up to four Apollo units and six UAD-2 devices in total can be daisy-chained), there’s an awful lot to like here.

MusicRadar verdict: With a seductive feature set, it will provide ample I/O for many and, at a lower price than its bigger brothers, will prove justifiably attractive.

Hands-on demos

Universal Audio

Andertons

The web says

"Despite its compact size, the X4 is a grown-up audio interface with excellent features and superb audio quality. Having the Unison preamps on all inputs is fantastic, and sets the X4 above some of its larger, rack-mounted stablemates..."
MusicTech

"There is clearly a growing market for premium interfaces that can handle critical recording tasks, and if you have that sort of money to spend, the Apollo x4 is a heavyweight contender."
Sound on Sound

Specifications

• KEY FEATURES: Desktop 12 x 18 Thunderbolt 3 audio interface, Mac/Windows compatible, 4 Unison mic preamps, UAD-2 QUAD Core Processing, 2 Unison-enabled Hi-Z instrument inputs, 2 headphone outputs, built-in Talkback mic, up to 8 channels of digital input via Optical ADAT/SPDIF input, ‘Realtime Analog Classics Plus’ UAD bundle
• Universal Audio