. CLASSIC     . STABLE     . MUSICAL

TubeMUv2, It is a vintage compressor that emulates the density and the RMS generated in this type of device equipped with valves with a variable «MU» factor, initially designed for radio frequency. This one in particular is called “Variable - Mu” and it means that the amplification gain is variable by polarizing the “grids of the first two triode valves” with negative voltage. The higher the amplified signal, by the internal side chain circuit, the higher the control voltage and therefore the greater the gain reduction. The uniformity of the signal is given because its control circuit is of the “Feedback Compressor” type and for that reason this type of machine has the distinctive musicality.

Several new controls have been incorporated into this second version, achieving greater flexibility in adjusting any sound source. Now we can choose between the response of an older conventional compressor “CLASSIC” or another with greater precision “STABLE”. We can also select the compression upwards “UPWARD” or downwards “DOWNWARD”. The latter is the most similar to the response of variable mu valve compressors.

TubeMUv2, It retains some of the architecture of the first TubeMU, but is now tamer and cleaner for today's production demands. A second compression section has been implemented to free up the low frequencies, or simply make use of it creatively, depending on how STABILIZER is set. In addition, a quality control based on the number of samples per period has been implemented.  

With TubeMUv2, we will obtain a uniform compression, thanks to the emulation of the sidechain and the feedback curve of the MU-variable models, generating a smooth cohesion, to embellish any track or final master. 

 

Plugin formats:
AU, VST, VST3 64-bit Mac OS 10.11,  and above.
VST, VST3 64-bit Windows 8.1, and above

Checked DAWs: Ableton Live, Cubase, Logic Pro X, Reaper, Reason, Studio One, Bitwig Studio

 

Manual_es

Manual_en

AUDIO TEST SYNCHRONIZED

Compare the differences between (A) normal and (B) processed

JAZZ

GYPSY GUITAR

ELECTRIC BAND

PIANO – VOICES – GUITAR

MALE VOICES

DRUMS & FEMALE VOICES

JAZZ: Nicole Zuritas – Night In Tunisa / Caravan
GYPSY GUITAR: Carousel
ELECTRIC BAND: JMK+-+New+One
PIANO – VOICES – GUITAR: John McLaughlin – I Want You Anyway
MALE VOICES: Mipso – Caroline
DRUMS & FEMALE VOICES: Thana+Alexa+&+Antonio+Sanchez+DuoGYPSY

MULTI MICROPHONE DRUMS I

MULTI MICROPHONE DRUMS II

VIDEO INTRODUCCIÓN v2.0.0

VIDEO INTRODUCCIÓN v2.0.2

INPUT versus COMPRESSION


INPUT: We can observe in the diagram, the differences between the adjustment of “CONPRESSION (1” y “THRESH TRIM (2)”. The input control itself generates the compression, by having topology (Feedback). In this way, it collects the output signal and the reinjects the side channel, which provides enough negative voltage to bias the grids of the first MU-variable tubes.

 THRESH TRIM adjusts the amount of negative tension, giving a balance between the incoming signal and the side channel control tension. Thus, with very little input signal, we can generate a high compression, or on the contrary, adjust so that with a high input signal, we can reduce the compression level.

 

LIMITER X2

LIMIT: Toggles between two options. The first consists, in circuitry (VCA), soft. The second (SOFT CLIP), as a barrier for percussion, buses and complete mixes. It really always depends on the type of sound material and, of course, the production approach that we want. Either type can work fine. If we don't need a gimmicky sound, any soft limiting is more than enough.

Below the switch we have two lamps (“W” channel WET / “D” channel DRY), which indicate, long before the white area (Clip), the start of the soft limiting process. The red color indicates that we are forcing its entry.

Different limiters have now been implemented for "DRY" and "WET". With (Dry +limit) we have the option to activate the limitation in the dry channel. (Dry +gain) provides the ability to amplify the dry signal at its input.

LIMITER SQUEEZE

MAKEUP / POST LIMIT: Signal injection (Makeup) and output control (Post Limiter). Greater control on the "WET" compression channel. Mix controls the balance of the dry and wet signal. 

 

 

CURVES WITH GOOD RESPONSE

DOWNWARD: Emulate the smooth MU-variable curve. A very musical response, without ups and downs or oscillations.

 

UPWARD: much more abrupt and generating movement. 

 

 

I am a lover of acoustic sound and my style is a distillate of influences based on folk / pop, country, bossa and primitive jazz. In my compositions there is always a descriptive key, an atmosphere to portray, with texts that tell vital stories, with axes such as travel and metaphors about life. For this reason, the sound treatment of the work is decisive, so as not to lose its essence and primary warmth.
Comboi:   https://www.comboirecords.com/
Youtube:   https://www.youtube.com/channel/UCJLWxXIhC4wYaRu2tTt5JGQ

The alternative to get that heat, I found it a long time ago in these gbSoundlab plugins. Precise emulations of processors such as TubeMU, o EasyMix to quote some are the proof of transferring the soul of the compressors and tube preamps, to the computerized mute, preserving the heat of its origins.

My favorite developer!

Since 1980 I have been making my "noises" with stable formations, despite the fact that I started with the world of music much earlier. Since then I have been part of groups such as “Ultima Emoción” and I was a founding member of “MEGABEAT” and of course Interfront, with which I continue constantly both in terms of composition and live performances. I have collaborated in several productions and parallel projects, productions almost always related to electronics. And this is where I “stumbled” for the second time with Germán Bou (in 1990 we were part of the MEGABEAT label) and now gbSoundlab is the one who makes everything sound much better. 

Interfront:   https://www.facebook.com/Interfront/

No DAW should be missing a plugin gbSoundlab

I usually work ITB, composing orchestral and cinematic music in my DAW. For this reason, when I apply some effects, I try not to distort what might evoke the sound of a symphony orchestra. This is where the gbSoundlab plugins come into play.
Web:   https://www.javierquilis.com/
Youtube:   https://www.youtube.com/channel/UCl5e4a97KjDf-eAH5cSmMlw

From EasyMix, going by Clean Buss or EqPhonic, they all have one element in common: their musicality. This helps make mixing and mastering a natural process of enjoyment, where the little details make all the difference.
I highlight the recent plugin TubeMu, a precise recreation of the famous variable mu valve compressor, which adds warmth and fill to any sound signal that is applied.

Finally, highlight the "quality / price" ratio of your products. They certainly deserve to be in any production set-up.