I have mixed feelings about this plugin.

I've been running the demo. I like some of what it does sometimes. Sometimes I like all of what it's doing. A lot, even! But I do find myself wondering, actually, what all the ecstatic hoopla is about. And I find seemingly everybody's credulousness about how "mysterious" the "Density" parameter is a little troubling. Since when did mix engineers stop asking what a plugin process was doing to their sound?

I don't mean to rain on anyone's parade. Honest. I've gotten good sounds with the UBK-1. I can see part of the attraction. I've also gotten not-so-great sounds with it. It's a tool, like any other, right? Caveat emptor, etc. If you don't dig it, move along, mac. I'm just trying to suss things out before I say yay or nay to purchasing this thing for $150 or $300 or whatever it may be.

I have to say, the saturation algo is okay, but...well...unremarkable. And only comes in one flavor, which actually IS kind of remarkable for a plugin these days. It adds harmonic content and it's not immediately unpleasant. So yes, after the dynamics processor has gone to work on it, the sound is quite transformed, wow — but no less so than it would be with many many other (configurable!) compressors if they had a (configurable) saturator plopped into the chain in front of them. And the latter arrangement would afford the mixer far far greater flexibility in shaping the tools to the actual sound one is processing, right? But it's true, that might require a bit more effort. So is ease of use the thing that's driving everybody crazy?

Everyone seems pleased that there are 5 compression algos, and curiously untroubled by the lack of access to basic compression parameters like release, etc. Curiously uncurious about what, if anything, actually differentiates these five algorithms from each other other than the preset thresholds and attacks and releases, etc. Five different compressors? Really? I got rather close to each of these modes with a rather ordinary compressor from my arsenal. And is it really worth so much loot to get a compressor locked in a sort of permanent demo mode with only five presets available to me? Yes, ye, LA2A yadda yadda yadda. But this is NOT 1955.

Well it's obviously worth it to a lot of people who have purchased it. Maybe I'm being a bit thick here. Perhaps someone could clarify that for me.

Is the much talked about "movement" the thing that's driving everybody crazy? Can I not get far, far greater control over movement, both rhythm and intensity, with great plugins like LFO Tool and Volume Shaper? I seem to be getting gigantic amounts of movement from those beasts, and that movement is far more responsive to my actual desires to shape the sound in question.

Again, I don't want to be what people used to call a "wet blanket" and I suppose today is referred to as a "buzzkill" or possibly some term even hipper to which I've not been hipped, but I would keenly appreciate a voice or two chiming in on what they love about the plugin, why none of the above is troubling to them. I'm totally happy to move on if this plugin isn't my cup of tea, but neither do I want my doubts to rob me of a thrilling piece of software, if I'm understanding the commentary correctly.

School me, boys. And blessings on you if you've slogged through this wacky screed all the way to he end. But then, that's sometimes the fun of working this side of the board.

Cheers to all, boosters and detractors alike!

Ok well I jumped onthis little beast before it was released and when I got it I was very similar. Another overhyped plugin, everyone says its great on bass, superb and magical in drums and so on. Not in my world. However, the secret is in the sauce with this one. What I have found is by using it on the drum buss, alongside other effects in the process change and when the mix comes together it works. Dont know how, I tweak it, here a difference as subtle as it may or may not be and bang.

I am very happy with it. At first I thought it was the "Emperors new clothes", actually on its own it does quite a bit on the extreme settings, once its nested in the mix...it works.

What the density does was explained somewhere as I recall, but I didnt pay much interest at the time (maybe over at GS forums).

Have fun

Thanks for the thoughtful reply.

I see, I see. Hmmmmm.

I'll give that serious consideration. Always a trick to keep an open mind on these things.


Cheers and thanks.

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Last edited by Aloysius on Sun Apr 22, 2012 9:03 am; edited 1 time in total

I think you're not missing anything. It's just a tool based on Gregory's vision and style, pretty much like all of his products. If you take a look at his UBK Fatso, for example, you'll realize why he conceptualized it like that. I think it's just a matter of seeing if it fits your workflow, how you like to process elements in your mix and how much it adds to your current set of tools.

When we're testing plug-ins (or hardware) we always realize that we can get similar or better results with our current tools but the real questions are, if you're working with clients and/or tight deadlines, how much time do I have to invest to get this sound? Does it really help me to get results quicker? It's not a matter of having it because it does cool stuff, it's the necessity of a particular sound which is achieved faster than before and helps our creativity.

LOL Youre welcome. Im not a technical guru unfortunately. More of a user than a techie dev

Ahh, thank you, Mercado. That is one thing I noticed, and I was remiss in not including the point in my screed, that, at least for particular kinds of sounds, it can get to something quite usable rather quickly. Definitely, as they say, a plus.

If that's the premise that guided design decisions, configurability was a delicate point, and in some cases a necessary casualty.

Good food for thought.

Cheers.

And it's hilarious because the guy behind them was forever known as pretty much hating digital compression and saturation, and then suddenly he turns tide and releases his own digital compressor and saturator.

I agree, it doesn't sound much different than what you can do with other plugins, I think it's mostly a workflow (and marketing) thing...

don't want to sound like asshole but i think this tool you need to be experienced to realize the benefit you can get out of it in the mix and it s also probably not for everyone taste

not many plugin saturator that i know smooth the transients nicely in a realistic way for example and it s also a lot about workflow like stated above.

It's not a matter of experience here, the op understands the benefit of the plugin. He's basically just asking for other people's thoughts about using it.

I agree with Mercado, if you think it fits your sound and can improve your workflow then you have to decide for yourself if it's worth the money or not.

if you start asking question like this to yourself ,in a pro studio you would be crazy !!lot of pro sound engeineers have no clue about whats going on in the gears, what matter is how it help them to archieve the sound they want.

i was under the impression he don't get why many like this plugin,maybe it s not his tastes or was expecting a lot but i think he need time to use it more in his mix to really get a idea if it worth it for him.

the point is not really about if you can get the same sound with some other plugins ,different workflow often leads to different sounds in the end

he stated it won't replace any of his analog racks, it's what most plugins manufacturers want us to belive .
it s a plugin it crap out in a non pleasant way and don't have the dynamic of some hardware gears ,it still a great tool to have for me

Totally agree...saying that I would love to be able to justify , for my own use, a UBK Fatso but here is humble I.

I agree with some of this. The plugin is a little hyped and limited - because we need a plugin to be so like hardware that its also limited like it. The EQ curve should decrease with increased headroom, and IMO there should be a tweaker page where you can adjust the compressor timings.