Review: Uhbik FX Suite 2 by u-he

u-he’s FX suite was recently upgraded with a new GUI, preset browser, modulation matrix, an additional family member, and lots more. NoiseQuest’s Josh Turvey takes a look at Uhbik 2.

Summary

Overall

Uhbik 2 is a comprehensive effects suite that fuses utility with unlimited creative potential. True to u-he’s reputation, the effects deliver superb performance and pristine audio quality, culminating in a user experience that will delight veterans and newcomers alike.

Pros:

• Uhbik is an elite suite of ten creative effects.
• Exceptional audio quality and sonic performance.
• The design follows an intuitive, navigable layout.
• The effects are versatile, suiting a broad range of traditional and experimental use-cases.
• The onboard modulation system is innovative and transformative.
• Excellent range of MIDI modulation sources adds expression and playability to the effecs.

Cons:

• The Modulation Matrix is limited to eight modulation slots.
• No inter-plugin communication capability.
• A broader selection of presets throughout the ecosystem would better showcase the immense potential of each effect.

Intro

Released in 2009, Uhbik originally launched with eight effects. Billed as being a comprehensive effects suite capable of experimental sound-design and general effects processing, Uhbik established an ardent following among u-he enthusiasts, thus cementing a cult status that has persisted for nearly two decades. Aside from the later addition of Grainshift, the collection has received minor updates over the years, upholding u-he’s impeccable reputation for continuously supporting their products. The release of Uhbik 2 adds a Compressor to the lineup, bringing the total to ten effects that can be deployed both creatively, or for conventional mixing purposes.

Channeling Philip K. Dick’s mind-altering science fiction masterpiece: Ubik (1969), the eponymous effects bundle aims to deliver a sonic experience that pushes traditional effects processing into new realms of exploration. Below, we explore the highly awaited update to this remarkable collection.

Design & Features

Plugin Anatomy

u-he maintains a consistent design and layout across the effects in the Uhbik suite. Using the Compressor module as an example (see image above), the design adheres to the following layout:

1. Control Bar (Blue Box): Contains essential features and settings relating to the navigation and behaviour of the effect.
2. Main Panel (Green Box): This panel is the only section that changes depending on the chosen effect. It contains the core parameters of the effect, most of which can receive modulation.
3. Modulators & Scope (Purple Box): This section houses Uhbik’s modulators: 1 x Envelope, 1 x Mapper, and 1 x LFO. These can be assigned via drag and drop, and demonstrate an extended range of features when compared to typical implementations.
4. Footer (Orange Box): This section is further divided into the Source Bar and an eight-slot Modulation Matrix.

Control Bar

The Control Bar (see image below) navigates through different aspects of the plugin, but it’s also equipped with some surprising features that can massively influence the audio output.

Basic navigation cycles through Uhbik’s three windows: Main, Mapper, and Presets (orange box), and an experimental Key Control feature (blue box) enables users to control the effect parameters directly with the computer keyboard.

The Data Display (green box) lists the currently selected preset, but also functions as a contextual display, listing the name and value of the currently selected parameter. The orange LEDs in the lower portion of the display are simple metres that represent the effect’s audio output routing. With provision for up to eight channels, the Uhbik suite provides a streamlined solution to working with surround sound.

To the right of the Data Display, essential functions are provided for preset saving, as well as basic editing (Undo/Redo). Finally, Uhbik effects are equipped with a simple Clipper and Output dial (red box) to control the overall audio output of the module. Given that each effect can be pushed to extreme limits, these are vital additions that help to keep levels safe and manageable.

Main Panel

The main panel (see image below) contains the core parameters of the module. This section differs both visually and functionally depending on the chosen effect, offering a range of features and parameters that maximise the utility of each plugin, with most parameters capable of receiving modulation.

Although u-he has ensured that each effect can be used for traditional processing tasks, the Uhbik modules really shine when deployed as creative sound-design tools. This is reinforced by the extensive range of modulation capability, which pushes the boundaries of convention for commonly used effects such as Compression and EQ.

Modulation

The Modulators & Scope panel (see image below) furnishes users with an internal Envelope (blue box) and a Low Frequency Oscillator (LFO-orange box).

Both modulation sources are highly customisable and contain features that stretch the boundaries of convention. For example, the envelope has multiple modes of operation, and is capable of acting as a continuous modulation source. It also accepts internal and external input signals to trigger the envelope.

The LFO is equally versatile, with multiple parameters to affect the shape and timing, as well as a selection of waveforms that can be deployed as independent modulation sources simultaneously. It’s also worth noting that the modulators can be assigned to modulation parameters (including themselves), which is an excellent way to inject additional movement into a patch.

The display section (green box) switches between a customisable Scope and a minimised view of the Mapper (discussed below). The Scope is capable of displaying the audio output of the plugin, or up to four modulation sources, both options of which are useful for technically minded users who prioritise visual feedback when creating complex presets.

Due to the complexity of the Mapper (see image above), u-he has created an enlarged interactive view (green box) to accompany the aforementioned display in the modulation panel. This mode is accessed from the control bar (blue box), and it grants the user full control over the Mapper’s functionality.

Essentially, the Mapper is an advanced modulation source that translates and transforms input data from other modulation sources. It works by interpolating the signals from these external sources and mapping them onto the customisable values that can be determined by the user. These values are represented by the bidirectional blue vertical bars in the Mapper’s display (green box), of which any number between 2-128 can be engaged at any given time.

How these values are interpreted depends on the Mode and Source selection (red box). The Source functions analogously to a trigger that drives the Mapper through the defined values. Uhbik’s internal modulation sources are available for selection here, including the MIDI controls. Once a Source has been selected, the Mode determines how the Mapper will flow between the defined values. Uhbik provides options for smooth and stepped movement, so users are free to create custom LFOs and Step Sequencing patterns according to taste. Finally, multiple drawing tools are accessible via a context menu. The menu is accessed by right-clicking on the display and is useful for creating common shapes such as ramps and lines, with many more options available.

The Footer (see image above) is divided into two sections. The Source Bar (orange box) contains a selection of MIDI controls that can be assigned as modulation sources. This also includes a noise source, which adds randomised ‘flutter’ to the modulation target.

Particularly noteworthy are the four customisable controls (Control A, B, C, and D) which can be configured in the plugin settings. Easy to overlook, these provide exceptional versatility by enabling users to assign MIDI CC values as modulation sources – a feature that’s especially expressive when assigned to the various axes that MPE (MIDI Polyphonic Expression) controllers provide.

The Modulation Matrix (blue box) contains up to eight modulation sources, which will populate this area after an assignment has been made. Once connected, users can customise the individual modulation settings, including modulation depth, and a series of modifiers that profoundly influence the behaviour of the modulation source. This last feature ensures that the same modulation source can output different values and behaviours to separate modulation targets, thereby greatly extending Uhbik’s modulation capabilities.

Understanding Uhbik’s modulation system is crucial to unlocking the suite’s full potential. Whether one’s aiming for subtlety or extreme sonic manipulation, the modulation capabilities elevate each effect via unique and complex animations that cater to every use-case.

Modulation Assignment

Uhbik utilises a convenient drag-and-drop system for modulation assignments (see GIF below, click to play).

All modulation sources are indicated by a diamond icon; they include the internal modulators (Envelope, Mapper, and LFO), as well as the MIDI controls in the Source Bar. Upon making an assignment, it will appear in the Modulation Matrix, whereupon it can be customised and tweaked accordingly. The modulation system is intuitive and effective, the tasteful use of which brings lifelike animation and expressivity to every Uhbik effect. Given the potential on offer, restricting the matrix to eight modulation slots seems an unnecessary limitation, but even with this restriction in place, there is ample opportunity for creative exploration.

Presets

Uhbik makes use of a comprehensive preset system with extensive options for organisation (see image below).

Although this has been well implemented, a broader range of factory presets across the suite would be a welcome addition. Due to the complexity and sonic potential of each plugin, a bigger selection of presets would better showcase the capabilities of the suite and would help new users get to grips with the features on offer.

Effects

A brief overview of each Uhbik effect is provided below. A comprehensive breakdown is beyond the scope of this review, but u-he has done an excellent job with Uhbik’s manual, detailing every parameter and also delving into the history behind many of the effects.

Ambience

Ambience (see image above) is an Algorithmic Reverb that’s notable for its lush timbre and clarity. It contains four reverb models and multiple parameters to tailor the effect according to taste. Notable features include: Input Gain, High and Low-pass Filtering, EQ, Modulation, and control over the Early and Late Reflections.

Compressor

Compressor (see image above) performs admirably as a workhorse compressor, but it really shines as a unique effect when combined with Uhbik’s powerful modulation capabilities. The effect place two compressors in series, with the ‘Inflation’ feature providing upward compression to emphasise and exaggerate low signals. Another noteworthy feature switches the detection type between feed-forward and feed-back, the latter of which emulates the natural warmth associated with analog behaviour.

Delay

Delay (see image above) is a multi-tap delay inspired by vintage tape echo units. Users have complete control over each tap, which also supports multichannel capability when working in surround sound. A global speed-scaling dial is useful for adjusting the speed of all taps simultaneously, and optional soft clipping helps to tame high feedback settings.

Equalizer

Equalizer (see image above) mostly adheres to a three-band layout, two of which can switch between multiple filter types. Low and High-cut filters are also available, as is a unique fixed-frequency fourth band, which provides two gain types: Wide Mids and Center Bell. The design prioritises simplicity, with a focus on broad EQ movements. Consequently, Equalizer isn’t suited to surgical EQ tasks that require precision, but it functions superbly when inserted at strategic places throughout the plugin chain to drive and sculpt the signal before and after other Uhbik effects.

Flanger

Flanger (see image above) is one of three Uhbik effects (alongside Phaser and Tremolo – discussed below) to utilise the Flow LFO as its main source of modulation, which is capable of tape-style through-zero flanging, as well as its delay-based counterpart. Stereo offset provides excellent width, and Bass Sanctuary preserves low frequency content for a clean and stable low-end. Drive adds optional saturation to the signal, which can facilitate some truly wild results.

Grainshift

Grainshift (see image above) offers realtime granular processing and excels as a creative pitch-shifting device. Users have exceptional control over the amount of pitch-shifting that takes via the Semi and Scale parameters, whilst the Iteration dial feeds the output back into the input of the device for continuous processing. The Grain Size affects the duration of the grains, and can switch between two modes that process the incoming audio differently: Granular and Phase Vocoder. Granular tends towards better preservation of transients, and although Phase Vocoder is mainly aimed at vocal processing, it can work wonders on other harmonic and melodic sources – particularly monophonic material.

Phaser

Phaser (see image above) uses a set number of all-pass filters to create the comb filtering effect ubiquitous to Phasers. Multiple phasing modes are available for selection via the Operation dial, with the most extreme option deploying 42 all-pass filters for deep phasing. Similar to Flanger, Phaser utilises the Flow LFO, and it also maintains clarity in the low-end with the addition of Bass Sanctuary. As with the rest of the Uhbik range, Phaser is at home when applied subtly or liberally, depending on the use-case and the tastes of the user.

Runciter

Runciter (see image above) is a colourful filter that can be pushed into saturation. Users can drive the filter circuit (Input), or saturate the signal post filter (Fuzz), which offers a broad range of characterful timbres depending on the chosen Filter Type. Additional Low-pass, Band-pass, and High-pass can simultaneously shape the chosen Filter Type, and the Cutoff Pan offsets the stereo image for additional width. The Resonance can be pushed to near self-oscillation, working inversely to the amount of Input Drive feeding the filter. An additional modulation source is hardwired to the Cutoff, which frees up the modulation matrix for other modulation assignments. Overall, Runciter combines superb audio quality with a straightforward tone-shaping workflow. Once again, the onboard modulation elevates the creative potential to suit virtually any sound-design requirement.

Shifter

Shifter (see image above) is an advanced Frequency Shifter that serves both utilitarian and creative purposes. Loosely similar to Ring Modulation, frequency shifters vary in that they only output one sideband; this reduces the dissonant, metallic quality associated with the two sidebands that Ring Modulation produces. Unlike sample-based pitch shifting, frequency shifters tend to preserve the original timbre of the source audio, maintaining the integrity of the transients and shifting the harmonic content according to the chosen settings. As such, they can be extremely useful for re-pitching drum samples, but their application extends to multiple source types, especially when used for creative sound design. Using Shifter’s Range, Shift, Offset, and Mix parameters in subtle combinations can yield tasteful results akin to subtle chorusing and phasing. At the other end of the spectrum, experimental sound-designers will no doubt be happy to know that the plugin can also be pushed to extreme limits.

Tremolo

Tremolo (see image above) extends its features beyond convention by harnessing the Flow LFO for simultaneous Haas, Filter, and Gain modulation. Control over all three parameters provides flexibility when dialling in the extremity of the effect, which also includes the ability to push the effect into audio rate modulation. Interestingly, the Haas parameter will introduce a chorus-like detuning effect if no stereo offset is applied to the signal. Other notable features include the ability to create gated and swung tremolo effects, as well as the option to route different tremolo patterns to different audio outputs in a multichannel configuration.

In Use

Although Uhbik 2’s ten effects are capable of fulfilling the traditional processing tasks associated with audio mixing, the suite truly excels in the arena of creative sound-design. This is largely due to the inclusion of the innovative modulation system, which enables users to explore and experiment with the numerous parameters included with every effect. Unlike more conventional alternatives, u-he’s approach emboldens users to take creative risks by modulating parameters that are typically left untouched, which can reframe the traditional implementation of functional effects, such as compression and equalisation.

This shift in perspective is potentially disorienting for new users, so it’s worth acquainting oneself with the capability of each effect by exploring the factory presets. In addition to serving as a starting point, they offer essential educational and inspirational value when coming to grips with Uhbik’s numerous functions. For those seeking a subtler implementation, Uhbik also excels in this regard, thereby functioning as a collection of high-quality utilities that can elevate one’s composition or mix. In this respect, Uhbik is notable for its versatility and adaptability.

There are a few features that have been left unexplored by u-he, the likes of which would serve to elevate the creative potential already on display. For example, Uhbik would thrive with the addition of inter-plugin communication, which could open up the possibility of using Uhbik effects as virtual CV (Control Voltage) modulation sources – similar to Moog’s Moogerfooger effects. Furthermore, whilst it’s fantastic to use the effects individually, an optional, integrated effect rack could encourage users to chain the effects together in innovative ways; it would also enable u-he to explore different routing capabilities (e.g. Mid/Side, Spectral, etc.) to accompany the excellent multichannel support.

These requests are tall orders, and their absence in no way diminishes the value that users can extract from the collection. The current iteration of Uhbik serves up a deeply inspiring, and richly rewarding, sonic experience – one that caters to users of all levels across multiple disciplines.

Conclusion

With the release of Uhbik 2, u-he once again flexes their pedigree to demonstrate why they are one of the most respected names in the industry. Every effect is crafted with care and precision, granting users a plethora of options to enhance their mixing and creative workflows. Uhbik 2 is a worthy evolution of its predecessor, pushing the boundaries of sonic utility to deliver a suite of effects that will reward users who take the time to extract the potential on offer.

Technical Info

1. Simple download, installation, and authentication process. Licences are supplied via email correspondence, so it’s important to save the messages for future access.
2. Mac & PC are both supported: VST3, AU, Clap, and AAX.
3. A comprehensive manual is available as a downloadable PDF and is also supplied in the installation folder.
4. The effects are superbly optimised with minimal strain placed on the CPU.

Disclaimer: This review was conducted on a MacBook Pro M4 Pro with 48 GB RAM and 1 TB SSD (macOS Sequoia 15.7.4). User experience with the reviewed software may vary with different technical specifications.

Alternatives

1. ShaperBox (CableGuys)
2. Soundtoys 5 (Soundtoys)
3. FX Collection 6 (Arturia)
4. Multipass (Kilohearts)
5. Pro Effects Bundle (Devious Machines)
6. Triad (Unfiltered Audio)
7. Sugar Bundle (SugarBytes)
8. Complete Moogerfooger Effects Bundle (Moog)

Uhbik 2 is available to purchase at the u-he store for 199 USD/EUR and you can download a demo version give it a try. Note that AudioDeluxe is currently offering a 30% discount on the effects suite (expires May 29th, 2026).

Josh Turvey is a musician, producer and an avid plugin enthusiast. He provides online, 1-2-1 tuition for guitar and music production for NoiseQuest.