NAMM 2017: Softube's Console 1 is now more affordable and compatible with selected UAD Powered Plug-ins

NAMM 2017: It's always nice to get some completely unexpected news at a NAMM Show (providing it's good, that is) and the revelation that Softube's Console 1 - the company's hardware/software mixing system - will soon be able to control certain UAD plugins certainly counts as that.

Console 1 MkII will be available in the spring, adding the UAD compatibility, and the good news is that this will also be available to version 1 owners as a software update. We're told that, with the addition of the UAD offerings, more than 60 plugins will now be on offer, including ones that emulate classic gear from the likes of Chandler Limited, Fairchild, Teletronix, Tube-Tech, Abbey Road Studios and more. These come pre-mapped and can be selected from within the Console 1 software.

The new hardware is pretty similar to the original, but has some minor layout changes and more visible LED markers. What has changed significantly is the price, which drops from $849 to $499.

Greg Westall, Vice President of Sales and Marketing for Universal Audio, states: "Softube and Universal Audio share a lot of core values, like the importance of sound quality, ease of use, and a love for good music. Seeing that Universal Audio and Softube are longtime partners, and that Console 1 is a super intuitive control surface, it all just makes so much sense."

Oscar Öberg, President of Softube, comments: "The concept of Console 1 has been extremely popular, and we haven't been able to keep up with the demand. I'm excited that we finally are able to manufacture larger quantities of a Console 1 that's not only better but also a lot more affordable."

Find out more on the Softube website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.