Featuring a simple GUI, discerning audiophiles choose Uhbik for wild effects with uncompromised audio quality. Uhbik is u-he's finest collection of effect plug-ins. Each surround-capable effect comes wrapped in a beautiful, streamlined interface. The entire bundle of nine effects is available now at an unbeatable price.
Four of these units (D, F, P, T) are modulation effects that include an ultra-slow to ultra-fast low frequency oscillator. LFO rate can be set to an absolute value (in seconds or Hertz), synced to host tempo (then scaled by a constant!) or swept manually / automated...
While most of the other effects in the Uhbik family are geared towards the more synthetic, radical effects, Uhbik-A is the master of understatement. Great reverb is seldom conspicuous, but if it's not there, something is missing from the sound. With its independant control over high and low-frequency decays, diffusion and modulation, Uhbik-A delivers the kind of reverberations that can turn a flat sound into a warm space, or evoke the widest of landscapes!
Imagine an echo that repeats every quarter note, although precise quarters are not part of the echo signal? Or ping-pong delay (no central tap) that applies the Haas effect for extra movement? Or 7.1 surround delays… Uhbik can do all this and more – once again, the simplicity of the GUI belies its power. Uhbik-D is the perfect playground for creative delays without the overt complexity of MFM2 (see there!)
Simulates two tape machines per audio channel, with recording and playback heads that can even occupy the same position if you want – impossible in the real world! Bass frequencies can bypass the effect ('bass sanctuary') to ensure LF-stability while the rest of the sound is swept around. Turn up the drive (2nd harmonic distortion), and your lead line will scorch its way through any mix!
Effectively cuts audio material into snippets ('grains'), then plays them back at a variable rate – even backwards. In the original tape devices, the radius of a rotating cylindrical tape-head determined grain size and the length of tape in contact with the cylinder determined the overlap between grains. But Uhbik-G is not bound by the physical limitations of rotating cylinders – you can make it huge or impossibly small!
Again, bass frequencies can bypass the effect ('bass sanctuary') to ensure LF-stability. Again, resonance accentuates the comb filter effect, but unlike Uhbik-F the distance between peaks is kept fairly constant. As the signal is phase-shifted each time it is fed back, frequencies are created that were not present in the original signal – the main reason why Uhbik-P is also great for wild metallic effects!
Maximum flexibility from a minimum of controls, low CPU without compromising transparency. Uhbik-Q combines freely tunable frequency bands (4-pole filters, not the usual 2-pole!) with presets for other options. Q-factors automatically adjust to gain, an optional 'mid' bell curve filter adjusts to the two main bands… judging by the simple GUI, you would never guess just how much this EQ can do!
Filters were always dramatic sound-shaping tools, one reason why they’re still so popular. But users today expect more than a simple resonant lowpass, so here's RUNCITER! For classic wah-wah, add low- and highpass together then control cutoff from a MIDI pedal. Or max out the resonance and drive the input from -48db to 48dB for a vast range of effects... instant glittering sweeps or absolute filter mayhem!
Movement in frequency shifters (no LFO required) is constantly downwards or upwards. In Uhbik-S, the barber-pole effect can even rise in one channel while falling in the other. Clever routines prevent otherwise inaudible sidebands from folding back into the audio range – Uhbik-S never compromises audio quality.
Our tremolo unit Uhbik-T is a general-purpose 'rhythmicizer' featuring linear or exponential (with 3 different strengths) gain modulation. But there's much more: You can morph between user-defined patterns in the 11 x 16 grid, apply rhythmic lowpass filtering, add vibrato or Haas-delay spatial effects.