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  1. Tech
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New compressor, EQ and "Mix Satellite" plugins announced for UAD systems

News
By Ben Rogerson published 11 November 2014

Universal Audio unveils version 7.11 of the UAD software

When you purchase through links on our site, we may earn an affiliate commission. Here’s how it works.

Four new UAD plugins

Four new UAD plugins

Universal Audio has released version 7.11 of its UAD software, which heralds the arrival of four new plugins.

These are the Manley Vari-Mu Limiter Compressor, which was co-developed by Universal Audio and Manley; the Vertigo Sound VSM-3 Mix Satellite and VSC-2 Compressor, which come from Brainworx; and a UAD version of the Massenburg DesignWorks MDWEQ5 EQ.

Click through to find out more about each of the new plugins, which are available for UAD and Apollo systems. Further information is available on the Universal Audio website.

Page 1 of 5
Page 1 of 5
Manley Vari-Mu Limiter Compressor

Manley Vari-Mu Limiter Compressor

This has been Manley Labs' flagship compressor since 1994, and is powered by a tube and transformer-driven design. Based on the “6BA6 T-BAR Tube Mod” unit, the UAD version promises to be a thorough emulation.

Key features

  • Transparent Variable Mu tube compression for master fader, sub-groups, and individual sources
  • Exclusively licensed by Manley Labs
  • Models entire stereo Class A circuit, including custom transformers, input gain, and gain reduction characteristics
  • Plug-in only features include Dry/Wet Mix, Controls Linking, and Headroom functions
  • Continuous Dual Input, Stereo Output, Threshold, and Attack controls
  • Side Chain Filter and L/R or M/S operation
Page 2 of 5
Page 2 of 5
Brainworx Vertigo Sound VSM-3 Mix Satellite

Brainworx Vertigo Sound VSM-3 Mix Satellite

Promising a “bounty of colourful saturation flavours,” the VSM-3 has controls for harmonic generation and balancing, and is said to be even more tweakable than the original hardware.

Key features

  • Two sophisticated colouration generators recreated from the Vertigo VSM-2 hardware and authenticated by Vertigo Sound
  • 2nd Harmonic FET Crusher for warm saturation or distortion
  • 3rd Harmonic Zener Blender for bright, clear, saturation or distortion
  • Crusher and Blender can each be applied to specific signal frequency ranges and then further filtered using the Shape control
  • M/S decoding and encoding for each circuit allows processing of entire stereo signal, or Mid or Side stereo channels
Page 3 of 5
Page 3 of 5
Brainworx Vertigo VSC-2 Compressor

Brainworx Vertigo VSC-2 Compressor

Vertigo's first product was this highly-acclaimed compressor, which offers four hand-built discrete VCAs coupled to a modern signal path and controls. The Brainwork UAD version is said to recreate this modern classic in plugin form.

Key features

  • Faithful recreation of the Vertigo VSC-2's all-discrete VCA compressor circuitry, authenticated by Vertigo Sound
  • Provides the rich tonal characteristics of classic compressors with modern mastering-grade audio specifications
  • Soft mode for a threshold-related ratio that automatically increases with higher input signal
  • Brick mode to operate the VSC-2 as a limiter, effectively cutting off signal peaks
Page 4 of 5
Page 4 of 5
Massenburg DesignWorks MDWEQ5 EQ

Massenburg DesignWorks MDWEQ5 EQ

Used by musicians, game developers and film/television engineers, the MDWEQ5 is a powerful EQ unit. We're told to expect crystal-clear processing, accuracy and precision from the UAD version.

Key features

  • Created by George Massenburg, the pioneer of parametric equalization
  • IsoPeak® function for finding problem frequencies quickly and accurately
  • Maximum bit-depth processing with zero coloration and distortion
  • Includes two plug-ins; the 5-band MDWEQ5 EQ and 3-band MDWEQ3 EQ
Page 5 of 5
Page 5 of 5
Ben Rogerson
Ben Rogerson
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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. 

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