UAD Software 9.6 adds a classic channel strip, mic emulations, a guitar amp and a mastering suite
More powered plugins for the Universal Audio platform
The UAD wagon rolls ever onwards, with the latest release of the UAD Software (v9.6) heralding the usual arrival of several new plugins.
The first-party headliner is the Century Tube Channel Strip, which is inspired by classic sounds and recording hardware from the middle of the 20th century. It includes a vintage tube mic preamp, transparent dynamics control and an EQ, and is designed to add that much sought-after analogue warmth.
Designed for use on vocals and instruments, the Century Tube Channel Strip keeps things simple on the control front; compression is set with a single knob, for example. It costs $149.
Three other plugins also form part of the 9.6 package, starting with the Suhr PT100 Amplifier. A collaboration between guitar amp designer John Suhr and renowned tone hound Pete Thorn, this is described as a hot-rodded version of the original PT100 and enables you to switch between three distinctive channels. It’s available for $149.
Next, we have the Brainworx bx_masterdesk, a complete chain of mastering tools in a single plugin. It includes multiple levels of EQ, compression, M/S processing, bass management and stereo enhancement. This one’s yours for $299.
Finally, there’s the Bill Putnam Mic Collection, which includes emulations of rare, vintage mics used by legendary engineer Bill Putnam Sr. Used throughout the ‘50s, ‘60s and ‘70s, these tracked the likes of Ray Charles, Frank Sinatra and many others, and include the likes of the Telefunken Ela M 251E, AKG C12A, Neumann U47 and RCA 44. The plugin costs $249.
UA interface and UAD 2 owners can download UAD Software 9.6 from the Universal Audio website.
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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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