Universal Audio has been a name in recreations of classic studio gear for some time. But now, here’s something that will appeal directly to producers. Included in a slew of updates today, you get crunchy, wild 8-bit effects (emulating the now-discontinued boutique OTO BISCUIT hardware), Moog multimode filters paired with powerful modulation and filters, and a subharmonic synth from the disco age you can use to add booty-shaking low end to tracks.

In other words, it’s like Christmas for producers with UAD, with a whole bunch of delicious stuff you might want.

This isn’t a review, yet – will follow back up with that. But here’s a quick look at what’s in store.

And, look, I’m heavily biased in that this is exactly the sort of stuff I love to use, personally.



The OTO BISCUIT is one of the most unique bits of hardware to come out in recent years, a gorgeous boutique 8-bit effect processor packed with options. The problem is, this limited run French hardware is very difficult to find. The developer simply ran out of chips.


While “8-bit” may evoke thoughts of chip music, really this is about creating something sonically rich in the contemporary digital world. And while it may sound strange to think of a digital effect as rare and requiring specific modeling, the particularities of certain chips have actually made instruments and effects built on integrated circuits some of the most endangered among sound tools.

The Biscuit for its part was a digital/analog hybrid, finding unique elements of each technique. On the digital side, it’s an 8-bit bitcrusher with bit-by-bit control. On the analog side, there’s a nice-sounding stereo multimode filter.

In this version recreated by Softube, you get everything – even emulation of the diode clipping on input that gives the original its character. There’s Waveshaper, Delay, Pitch-Shift, and Step-Filter.

Have a listen:

See our original story on this hardware’s unveiling:

OTO Machines BISCUIT: 8-bit + Analog Filter Effect; Designing New Hardware

The only thing missing, actually, is a later synth firmware for the Biscuit. But I might have to dig up a friend’s unit and combine that synth with this modeled effects unit for some real good times.

This also seems ideal for live use, too, coupled with UA’s hardware.

OTO BISCUIT 8-bit Effects

Price: US$249


Moog Multimode Filter Collection

The Moog ladder filter is one of the most versatile out there, just in terms of breadth of applications. To be honest, sometimes in a synthesizer I think the ladder filter can feel a little boring – and we hear it a lot. So some synths actually benefit from something more specific and individual. But the point is its smoothness across the frequency range means that you can do a lot with it.

The cleverness of what Universal Audio have done here with the Multimode Filter Collection is to give you a complete set of tools. It’s not just a multimode filter loaded up with options – it’s also a multi-lane step sequencer, which can use to modulate each parameter. So endless Tangerine Dream-style sounds are very, very possible here – and you get a lot of the modular filter benefits without having to do anything. Paired with their hardware, I can even see this getting some live use – like routing outboard instruments and synths into a computer onstage for modulated effects.

And, oh yeah, this with something like Reaktor Blocks and/or Softube Modular mean your computer are an affordable, portable alternative (or complement) to Eurorack modular setups.

It sounds terrific:

Universal Audio Moog Multimode Filter

Price: US$249 ($99 upgrade from the legacy Moog Multimode version from UA)


Brainworx Subsynth

Sometimes it’s hard to describe the addictive appeal of Universal Audio’s platform. And, frankly, out of the huge range of tools they offer, for a lot of producers I talk to (and myself) it’s about coming back to a very small handful of tools and applications that you then use over and over.

So, Subsynth – made in collaboration with Brainworx, who have also done some of the nicest processor development lately in software – seems to be another in that category. It’s intended to solve a simple problem: how do you really bang the low end, without producing distortion or screwing up the track and mix?

It’s hard to describe, in that this leads to a lot of different, equally fun applications: saturation, adding bass, beefing up kicks, and so on.

But it does it in a way that’s really clever – by building on the classic dbx 120XP’s waveform modeling approach to synthesize additional subharmonic content. And Brainworx have added some thoughtful additions, in the form of an additional band and M/S processing. This will definitely need a review and … well, I live in the vicinity of the world’s favorite club sound systems where we can check it out definitely.

It’s one of those magical mastering tools that’s just lovely to have. I can’t wait to try this one out … even if I’m afraid I may never leave the studio once I do.

Here’s the original, in case you’re interested (discontinued, but often rented for this very purpose):


Then again, this is easier to get at US$149:

bx_subsynth Subharmonic Synth

Note that this is the one plug-in here that’s non-exclusive. I hope to get my hands on the native version, too, to compare. But I think there is some advantage for live and live tracking use to having DSP hardware integration.

Plus more updates and additions

There are, as usual, other OS/firmware/plug-in updates and offerings bundled into today’s release.

Mac users get fully-qualified macOS Sierra support, plus a new console for multi-unit FireWire. And Windows 10 continues to look better, with support for Thunderbolt chaining (up to 4 audio devices, up to 6 DSP devices) for adding extra horsepower and up to 64×64 I/O.

On the plug-in side:

The SSL 4000 E is arguably the signature channel strip among UA’s offerings, one modeled on a classic original. The key here is it gets a ground-up rewrite and support for Unison, which integrates the channel strip behavior with the hardware. That’s a pretty big deal for hardware owners looking to fully exploit Unison in their recordings:

SSL 4000 E Channel Strip Collection

Price: US$299

So, that’s the no-latency, hardware-integrated channel strip. For guitarists and instrumentalists, look to the new model of the Fuchs Overdrive Amp, a boutique amplifier:

Fuchs Overdrive Supreme 50



  • Armando

    $99 upgrade from the legacy Moog Multimode version from UA


  • Max

    God that stuff has stiff prices. Iirc the biscuit was a 500€ box and the subharmonic thing a 300€ box. And now they want half the price for a plugin?

    • No, absolutely … though on the OTO front, I’m talking to that hardware dev.

      • The biscuit itself has given me a bit of thought about considering UAD.. So sad it was a short run.

  • thie1210

    What frustrates me with the latest UAD stuff is not the price, because they always have promotions, it’s the DSP usage. A single stereo instance of Biscuit comes in at 45.2%. The new SSL is 70.1% of single core! It feels like either the previous generation was really crappy or they are now slacking on optimisation. To me, the whole Precision series sounds good—I love the Precision Maximizer. But there is a serious jump in the DSP consumption from the previous generation—how much of it is audible? I guess I’m just naive as they are in the business of selling more DSP chips.

    UAD-2 Instance Chart

    • Fair point. I’ve noticed this has actually been a growing problem, both on native and DSP — the newest modeling techniques are just damned *expensive*. I know some of the people who have done the research, I may needle them on … why that is.

      That said, at least we’re getting more DSP cores in Apollo Twin (on the DSP side) and … so long as you buy a PC rather than a Mac (cough) you can load up on CPU power for this fancier stuff from, say, Native Instruments. 🙂

      I really do want to give this a fair shake, though, and see how the bx plug above compares in its native version. (The Biscuit and others are exclusive, so no such comparison possible there.)

      • Max

        I wonder why nobody is figuring out how to do the numbers on the graphic-chips …

  • Chryst

    As good as they are, I feel UA pricing is too high. Having promotions is also not an excuse. 249 dollars almost buys me a shiny new Moogerfooger LP filter. I’ve bought a Biscuit secondhand for 270 euros a while ago.

  • Kristoffer Lislegaard

    “This also seems ideal for live use, too, coupled with UA’s hardware.”

    Yes! This is why midi control over the Console app is long overdue =(

    • Agreed. 🙂 I’ll … remind them. Though to be fair I tend not to find I miss using that specific feature of it — these plug-ins are just as useful in a host, and then control is mappable, with some work. I’ll take another look at that …

      But yeah, I agree re: Console.

      • Kristoffer Lislegaard

        But wouldn’t using the plugins in the Console app get down latency? So let’s say I am doing a set with Ableton Live. Then I could route f.ex. a few drum loops to one set of viritual tracks with the Oto on it and maybe my synths to another stereo viritual track with the moogfilter on it. And then use midi to control parameters live.