FM|FILTER
Control up to three DAWs simultaneously with a single fader
>The idea that you can take “comprehensive” charge of your DAW using a single fader controller might seem illogical, but that’s the claim that SSL is making on behalf of the UF1.
This new controller might be the UF8’s (much) smaller sibling, but it’s still said to pack in the features. As well as the 100mm motorised fader you also get dual high-resolution displays, soft-feel rubber keys and a weighted jog wheel, all wrapped up in a metal chassis.
You’re also able to control your DAW’s pan settings, sends and plugins, and customise the 46 soft keys to suit your workflow. Plus, the UF1 integrates tightly with the new SSL Meter plugin and existing 360° software.
The device can actually control up to three DAWs simultaneously, and comes with profiles for Pro Tools, Logic, Cubase, Studio One, Ableton Live, Luna, and Pyramix. Your projects can be navigated with both the jog wheel and dedicated transport controls, and you can also access your DAW’s automation modes.
Displays can show track names, parameters and time, or feedback from the SSL Meter plugin. A copy comes in the box; it can display Peak & RMS levels, K-System, stereo balance, phase correlation bar, Lissajous phase scope, 31-band RTA, VU and PPM metering.
As well as being suitable for use alone, the UF1 can also function alongside the aforementioned UF8 and the UC1 plugin controller. It’s available now, for £600.
The RX1200 plugin could be the closest you’ll get to having an E-Mu SP-1200 in your DAW
>Released in 1987 and famed for its crunchy, lo-fi sound, E-Mu’s SP-1200 is widely considered to be one of the greatest and most influential samplers in history. In fact, it’s still highly sought-after, but if you can’t afford a second-hand original or creator Dave Rossum’s $4k 2021 reissue, Inphonik is offering a ‘next best thing’ alternative in the shape of the RX1200 plugin.
As you’d expect, the RX1200 is all about that sound, promising to put the SP-1200’s unique sonic signature into the hands of today’s producers. The 12-bit resolution, 26.041kHz sample rate and SSM2044 low-pass filter have all been carefully emulated, as has the aliased pitch tuning. At the front end of the signal chain, you get an input amp emulation, too.
Although the RX1200 has the same look as the SP-1200, Inphonik has made some changes to the interface and workflow, simplifying things a little to make it more accessible. The focus is on sample performance, experimentation and happy accidents: you get four banks of eight pads, and you can move the faders to tweak note tuning, volume and the decay envelope. There are eigh
