UVI’s Rotary plugin is designed to put a new spin on the Leslie speaker

The classic sound of the rotating speaker is one that’s been emulated numerous times, but UVI thinks that it’s put a new spin on it with its appropriately-named Rotary plugin.

This is said to be an evolution of the original design that not only gives you the iconic cab’s sound, but also boasts the greater level of sophistication demanded by today’s producers. You can make precise mic placements and there are multiple tonal controls, giving you plenty of flexibility when you’re processing guitars, keyboards and other instruments.

Multiple speaker cabinets were modelled in Rotary’s creation, and the fact that all parameters are automatable gives you the option of creating evolving tones.

Find out more on the UVI website. Rotary is available for PC and Mac in VST/AU/AAX formats and you can download a 15-day trial version. The full price is $79/€79, but it’s currently available for the introductory price of $49/€49.

UVI Rotary features 

  • Custom microphone placement (hemispherical)
  • Intuitive macro controls (width, distance, skew) and independent click-drag microphone placement
  • 3D real-time ray-traced early reflections, simulating up to third order
  • Shape sounds naturally (metrics based on original horn / drum directivity measurements)
  • Precise angular Doppler effect
  • Realistic sound diffusion for open and closed box configurations
  • Precise tone reproduction (measured horn / drum impulse responses)
  • Amplifier Drive: faithful reproduction of even / odd harmonics
  • Amplifier Pre-Emphasis control (compensates horn frequency response)
Get over 70 FREE plugin instruments and effects… image
Get over 70 FREE plugin instruments and effects…
…with the latest issue of Computer Music magazine
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.