Universal Audio Plugin
Universal Audio is designed to be a seamless solution to working with audio in precomps, so you never need to break your creative flow when timing to sound, it provides one button to give you audio reference where ever you are by making your selected audio layers flow throughout all your comps, as well as maintaining all markers from your audio. Universal Audio is the world's leader in Thunderbolt audio interfaces, analog recording hardware, and UAD audio plug-ins. Explore products and shop now.
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Guitar-amp plug-ins are nothing new, and the concept is pretty straightforward: Much like you’d use a software compressor, EQ, or other processor plug-in on a recorded track while mixing in your DAW, for example, you record your guitar track dry via DI, then insert an amp plug-in on that track’s channel strip to transform it to the type of tone that the production demands. The amplifier plug-ins on review here from Universal Audio will also function exactly so, but they really shine when used during the recording process, as Unison plug-ins accessed via one of UA’s own Apollo recording interfaces.
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As such, you not only hear the selected amp as you record it, you also feel the interaction between guitar and carefully modeled amp via the Apollo’s Hi-Z input, and all with zero latency. And that, UA reckons, should make a marked difference in the feel and dynamics of your performance. In a bid to discover how well that premise holds up, GP checks out UA’s Unison plug-ins for the Marshall Legends Bundle ($399 direct), ’55 Fender Tweed Deluxe ($199 direct), Fuchs Overdrive Special 50 and Train II ($149 direct, each), and Engl Savage 120 ($149 direct). Comprising models created exclusively for UA Unison by Softube, the Marshall Legends Bundle includes the Plexi Super Lead 1959, Silver Jubilee 2555, and Bluesbreaker 1962 (also available individually at $199 each). All were modeled from rare original amps in Marshall’s own collection, with mic and cabinet IRs voiced and captured by Tony Platt (who was part of the recording/mixing team for AC/DC’s Back in Black and Highway to Hell albums). In addition to the amp controls themselves, opening each plug-in’s “Channel Strip” accesses a mixer where you can select between multiple setups comprising several classic studio mics each, and mix them to taste. Initial impressions?
Universal Audio Plugins
Naturally, I went to the Plexi first, plugged in, and before any tweaking, the “default” preset was thick, raw, and ballsy, with telltale elements like that visceral 4x12 thump and edgy Greenback clack that tell you you’re playing a well broken-in Brit rock monster. Note: It might all sound and feel a little “once removed” to players not familiar with studio setups—keep in mind you’re hearing an amp as captured via studio mics, so it’s what you’d expect to hear in the track, not from a bare amp in the room—but to me it sounds entirely like I’m sitting in the control room listening via the monitors while tracking a great amp miked up and raging in the live room next door, and spookily so. The Bluesbreaker and Silver Jubilee plug-ins also hold their own extremely well, sounding entirely in character. Crank the former and you get a warts-and-all Beano-era bluesfest as the amp and 2x12 kick out creamy ghost-note inflected goodness, or dial it back for sublime KT66-fueled edge-of-breakup—or plug into the 2555 for a heathy fix of godlike late-’80s arena-rock lead tone.
Universal Audio Plugins Torrent
Designed entirely by UA and fully endorsed by Fender Musical Instruments Corp., the ’55 Tweed Deluxe was derived from intense R&D based around two highly regarded original 1955 Deluxes. To this foundation UA adds the ability to select between three speakers—the original Jensen P12R, a Celestion G12M Greenback, or a JBL D120F—and to capture the sound via two independent high-end studio mics, which can be selected from among five classic options and mixed and/or repositioned via the plugin’s Mic Mixer.
In use, the first surprise from this tweed classic might be how utterly gnarly it can sound, which of course is vintage-correct and just one of the loveable characteristics of the breed. From raw, farty blues or Neil Young-style lead freakout, it’s a mean rock ’n’ roll machine, but also impressively sweet when you dial it down. Get it into a mix, and even its raspiest settings sit surprisingly well, helping your tracks punch through. FUCHS ODS 50 AND TRAIN II It’s fun seeing contemporary makers giving their blessings to the modeling arena, and having tested several Fuchs amps in the flesh for GP over the years, I’d say these emulations created exclusively for UA by Brainworx sound and feel extremely good. From the creamy, sweet leads and buxom cleans of the Dumble-esque ODS to the muscular crunch and punchy rhythm tones of the Train II, these models admirably dish out the notable characteristics of Andy Fuchs’s excellent designs. And—yeah, they’ve all got bonus features—just click the “FX Rack” button to reveal user-tweakable Noise Gate, Pre-and Post-EQ, Delay with tap-tempo, Power Soak (aka post-power-amp attenuator), and Cab and Mic IR selection panel. Powerful stuff.