Review: Ultra synthesizer by Ultra Audio

I’m happy to welcome back Josh of NoiseQuest with another deep dive into one of the more interesting new software synthesizers of 2026.

Summary

Overall

Ultra is an advanced sound-design powerhouse that fuses multiple synthesis types into a sleek and unified platform, uniquely bridging the gap between multisampling and wavetable synthesis. The synthesiser offers genuine innovations that will appeal to experimental users of all levels, creating an experience that is both immersive and deeply gratifying.

Pros:

• The innovative UltraWave Engine seamlessly combines the benefits of multisampling and wavetable synthesis in one cohesive workflow.
• The FM (Frequency Modulation) capabilities of the UltraWave Engine are comprehensive.
• The user-interface is expertly crafted and intuitive to use.
• The effect’s section is capable of advanced routings for creative and complex processing tasks.
• The promise of MPE (MIDI Polyphonic Expression), and the addition of more LFOs and Envelopes in upcoming updates will greatly enhance the synth’s capability.

Cons:

• There is currently no Morphing Filter capability.
• Advanced FM capability is not available for all oscillator types.
• Users can only load one UltraWave Engine at a time.
• A greater selection of oscillator types (e.g. Additive, Granular, Physical Modelling, and Spectral Synthesis etc.) will elevate Ultra’s synthesis capability.

Intro

Every so often, a new plugin arrives on the scene that has the potential to alter the landscape and establish a new benchmark within its dedicated category. The rise of the next-generation software ‘super-synth’ arguably traces its roots back to the pioneering efforts of Native Instruments, following a spate of innovative releases that started with Generator in 1996 – later evolving into Reaktor (1999). Cult favourites, Absynth (2000) and FM7 (2002) soon followed, but it was the widespread adoption of Massive (2006) – with its compact layout and intuitive modulation system – that led to an explosion of exceptional software synths that built on Massive’s enduring legacy.

This legacy is reflected in the success and longevity of the following alternatives, all of which represent the pinnacle of next-generation synthesis: Serum (Xfer Records, 2014); Falcon (UVI, 2015); Pigments (Arturia, 2018); Phase Plant (Kilohearts, 2019); Vital (Vital Audio, 2020); and Current (Minimal Audio, 2023).

Naturally, as technological advancements exponentially grow, developers old and new continue to push the boundaries of sonic possibility, with Ultra Audio being the latest one attempting to break into the elite tier of super-synths via their eponymous release: Ultra. Whilst there’s no guarantee that any new synth will gain popularity, charting the adoption of many industry favourites appears to reveal three common attributes:

1. Innovation: Does the plugin offer any new approaches or features that set it apart from other options available on the market?
2. Versatility: Does the plugin serve a wide range of industries, genres, use-cases, and workflows?
3. Easy of Use: How approachable is the implementation of the design? Does it improve existing workflows for seasoned professionals, and is it simple for inexperienced users to understand?

After exploring the overall layout and design, we’ll take the above factors into consideration, applying them to Ultra to see how it stacks up against some industry heavyweights.

Design & Features

Ultra’s design is meticulous and exceptionally well crafted. It features an intuitive layout (see image below) that’s easy to navigate and mercifully clear of unnecessary clutter. This latter point is especially important due to the sheer number of features Ultra packs into its compact design, as will be explored throughout the review.

1. Header (Green Box): Basic and Global operations, including a preset menu, settings, and account management. This section also enables navigation through Ultra’s three primary pages: Synth, Library, and Store.
2. Oscillators & Routing (Red Box): A total selection of six oscillator types that can be inserted into five active slots, and a routing panel to manage Ultra’s signal flow.
3. Filters & Mixer (Purple Box): Dual filters that can be routed in series or parallel, and a console-style mixer to balance the levels and panning of the oscillators.
4. Modulation (Orange Box): A comprehensive selection of MIDI (Musical Instrument Digital Interface) controls, LFOs, Envelopes, an Arpeggiator/Sequencer, and Macros. The onboard keyboard also provides optional key snapping to lock modulated parameters to the selected scale.
5. Effects (Yellow Box): A Main Effects (FX) processing chain is accompanied by two FX Buses. This facilitates an incredible range of flexibility for creative and practical effects processing.
6. Monitor & Voices (Blue Box): A MIDI monitor accompanies an Oscilloscope, and Ultra provides options ranging from Mono to 32 voices of polyphony.

Ultra’s design is meticulous and exceptionally well crafted. It features an intuitive layout (see image above) that’s easy to navigate and mercifully clear of unnecessary clutter. This latter point is especially important due to the sheer number of features Ultra packs into its compact design, as will be explored throughout the review.

The developers deserve immense credit for taking steps to keep contextual menus and subpages to a minimum, housing the majority of Ultra’s core functionality within a one-page layout.

Certain features, such as the Sound and Map editors, Modulation Matrix, and Modulation Popover (see image above – yellow boxes) necessitate additional pages, but these have been seamlessly integrated and do not represent a major hindrance to the creative process. If anything, their separation from the main window helps to focus one’s workflow, clearly delineating between creative tasks and precision work, such as editing and fine-tuning (demonstrated later in the review).

Whilst the design embraces modern trends and expectations, the developers have chosen to deviate from complete uniformity, opting instead to stylise certain components within the synth. For example, different oscillators, filters, and effects have unique designs, some of which draw inspiration from the classic gear that’s inspired them (see image above – inspired by the Roland Space Echo). This gives Ultra a unique aesthetic that serves up a tasteful dose of nostalgia, but it also creates a useful visual hierarchy which helps to improve navigation and orient the user.

Overall, the interface is visually engaging, with tastefully designed elements and animations, all of which have been implemented to communicate essential information, and to improve workflow and immersion. The result is a slick and polished environment that’s a joy to use and a pleasure to navigate.

Innovation

“Beginner producer here. Can someone please help me understand why this is so revolutionary?”

Taken from a comment posted on Ultra Audio’s YouTube channel, there are multiple dimensions to address when answering the question above.

Put simply, Ultra is the first synth to truly unify multisampling and wavetable synthesis into one cohesive system, therefore blending two of the most popular methods of sound-design. This approach enhances and elevates the benefits of both disciplines, combining the realism of sampling with the transformative sonic flexibility that wavetable synthesis provides. This union delivers a genuinely innovative experience to the user, whilst drastically reducing the storage requirements associated with traditional high-end sampled instruments and libraries.

That Ultra Audio has managed to present such innovation in a familiar and approachable interface is fully deserving of recognition and plaudits, thereby adding to an achievement that legitimately brings something fresh to the world of synthesis.

Ultrawave Engine

Of Ultra’s many exciting features, the UltraWave Engine (see image below) is undoubtedly the highlight that sets it apart from other synthesisers on the market. As the most complex oscillator type, this engine weaves multisampling and wavetable synthesis together, providing numerous advantages over the conventional implementations of both disciplines, most notably:

1. Stereo Wavetables: Independent wavetables can be inserted into the Left and Right audio channels for ultra-wide results.
2. Advanced Sample to Wavetable Conversion: Highly complex and organic sounds can be played back with a degree of realism that is virtually unattainable with traditional wavetable synthesis.
3. Sample Morphing: Ultra’s multisampling capability ensures that radically different samples can be blended via note pitch and velocity, which creatively (and convincingly) morphs between contrasting samples.

1. Display (Blue Box): The currently selected wavetable is viewable in two modes (2D and 3D). Users can also save wavetables, and change certain characteristics, such as pitch.
2. Warp Modes (Green Box): Two exceptional warping algorithms bend, shape, and distort the wavetable for extensive timbral manipulation. In particular, the FM (Frequency Modulation) capabilities provided by Warp 1 are extensive, so it’s unfortunate that Ultra’s other oscillators (discussed later in the review) don’t have access to this functionality.
3. Attack (Red Box): A separate sample can be loaded into this area. This is primarily aimed at short, transient bursts, which can add a deeper sense of realism to drums (e.g. pitched noise burst), string samples (e.g. pick or bow scratch), and keys (e.g. hammer tone).
4. Body (Yellow Box): This panel houses parameters that yield the greatest influence over the selected wavetable, such as: Pitch and Amp curves, Looping and Position/Speed (Time-stretching), Auto or Manual Wavetable Scanning, and access to the Sound and Mapping Editors (see section below).

Ultrawave Editing

Hidden within the UltraWave’s unassuming and compact design are two features that radically impact the engine’s complexity and functionality: Sound Editing and Sample Mapping (see image below — red box).

Sound Editing

Once samples have been imported and mapped using the Sample Mapper (discussed below), users can use the editor (see image below) to tweak, tailor, and sculpt the resulting wavetable.

Control over the four aspects that comprise a Sound in Ultra (Attacks, Cycles, Pitch Curves, and Amp Curves), give the user unparalleled customisation over the final result, serving up a number of tools and features and improve the editing workflow:

1. Attacks: Excellent for transients, as mentioned above. Users can insert a short sample into this panel for additional attack and realism.
2. Cycles: A comprehensive wavetable editor that allows users to edit (e.g. Add, Remove, Copy, etc.) every cycle of an imported sample. Left and Right channels can be edited separately.
3. Pitch Curves: Users can control the pitch curve for the duration of the sample. This is particularly useful for drum samples, but can also be used to add subtle pitch drifting. Left and Right channels can be edited separately.
4. Amp Curves: Users can control the amplitude for the duration of the sample. This is useful for creating fade-ins and fade-outs. Left and Right channels can be edited separately.

Sample Mapping

The UltraWave engine features a dedicated mapping editor (see image below), allowing users to map samples to multiples notes and velocity ranges.

Users experienced with popular multi-samplers (e.g. Kontakt, HALion, Falcon, etc.) will feel right at home, with Ultra providing multiple editing tools to assist one’s workflow, such as velocity distribution and normalisation.

A standout feature of the map is Ultra’s ability to morph between different samples. This requires more than one sample to loaded into the editor, whereupon Ultra will automatically play back a hybrid sound that is aggregated from the closest samples in the map according to note pitch and velocity. This interpolation between different samples serves both creative and functional purposes, providing a smoothness of transition that is virtually unattainable in traditional samplers.

Library, Store, and Publishing

Ultra’s Library (see image below) organises the currently available presets into three categories: My Sounds, Factory, and Purchased.

The factory content automatically downloads upon first logging into the plugin, and whilst these presets help to acquaint new users to Ultra, a larger library would better demonstrate Ultra’s capability. This would work to the benefit of both the developer and the user, so one hopes the factory library will continue to grow as Ultra matures.

A nice touch regarding the Library is the ability to audition the presets whilst visualising an overview of the oscillators, filters, effects, and macros used in the creation of the preset.

The Store (see image below) is an online marketplace where users can purchase additional presets and packs directly within the plugin.

It should be noted that users are required to purchase Ultra credits from the website before exchanging them for content from the store. The store also grants users the ability to market and sell their custom-made presets, which can be published directly to the platform.

Ultra’s dual capacity to act as a store and marketplace for the user is innovative. With care and development, it has the potential to evolve into a thriving ecosystem as the user-base grows. Newcomers are encouraged to explore Ultra’s publishing terms for more information on payment processing fees, refunds, chargebacks, taxes, and payout conditions, as these conditions may not be to everybody’s liking.

Ultra Audio incorporates a vigorous vetting process before adding packs to the store, so it’s important to understand their demands concerning copyright, artwork, and demo tracks, etc.

As a final word, Ultra Audio are candid about their terms, and the documentation is readily available on their website. However, as there is a substantial amount of legalise, the onus is on the user to acquaint themselves with these conditions before entering into any agreement with Ultra Audio.

Versatility

As will be outlined below, Ultra hosts a plethora of features that can accommodate and elevate a broad range of genres, workflows, and use-cases.

Whether working in Music Production, Score Composition, or Sound Design, Ultra’s incredible selection of Oscillators, Filters, Effects, and Modulators are designed for versatility across multiple applications.

Oscillators

Ultra is equipped with several oscillators (click GIF above to play), briefly detailed below:

• UltraWave: Described earlier in the review, this oscillator combines wavetable synthesis with multisampling.
• Analog: Analog-inspired triple oscillator module with multiple cross modulation functions, including FM.
• Super: Dual-engine oscillator with up to 21 stacked voices for extreme detuning and width.
• Sampler: Single-sampler for quick, lightweight sampling tasks. Features multiple playback and looping modes, and a comprehensive unison module.
• Noise: Outputs a continuous signal of white noise that can be shaped and sculpted by the onboard Low and High-pass Filters. Filter Resonance enables the creation of pitched noise effects.
• Sub: A simple oscillator that draws inspiration from Additive synthesis. Five basic waveforms are supplied, which can be sculpted with dedicated controls for Phase and Harmonics.

The included oscillators have been expertly designed, providing users with exceptional creative control. Moreover, each module is intuitive to use without sacrificing the depth and versatility that advanced users demand from their tools.

Given that Ultra is still in its infancy, there’s still potential for more synthesis types to be integrated into the synth. Options, such as Granular, Additive, Physical Modelling, Spectral Synthesis, and universal FM are absent, so it’ll be interesting to see if more synthesis types will be added as Ultra evolves.

Routing

The drag and drop Routing panel (see image below) is a fantastic addition to the synth, allowing for a degree of flexibility in the Ultra’s signal flow.

Working backwards from the audio output, Filters can be routed to the Main Output or to a combination of the three Effects chains (Main FX, FX Bus A, and FX Bus B). Oscillators share the aforementioned options, but can also be routed to various filter configurations, depending on the filter setup (e.g. Serial or Parallel). There are multiple permutations that can be explored within this panel, which offers more processing flexibility than many alternative solutions.

At the time of writing, it’s unfortunately not possible to route Oscillators into one another for audio rate modulation. By no means a necessity, this would elevate the utility of the Routing panel to new heights, though it may interfere with the current implementation of the UltraWave engine’s excellent FM capabilities.

Filters

Ultra’s two filters (see image below) provide numerous opportunities for sound sculpting and manipulation. Seven filter types have been provided, including a Resonator and a Comb Filter, the latter of which opens up the possibility for basic Physical Modelling/Karplus-Strong synthesis.

Whilst there are no morphing filter types, it’s important to note that multiple filters can be inserted into Ultra’s three effect chains, so there is ample opportunity for users to shape and filter the sound. Each filter also features a stereo offset, which can be used for creating additional width when tone shaping.

Mixer

The Mixer (see image below) provides a convenient way to balance Ultra’s various oscillators.

Volume and panning controls are available, both of which can receive modulation. Oscillator routing can also be configured from this panel.

Modulation

Ultra offers an extensive modulation system (see image below), which includes a selection of LFOs, Envelopes, Macros, and MIDI controls.

An additional modulator switches between two modes: Arpeggiator and Step Sequencer, which can key-lock onto Ultra’s inbuilt scale awareness.

Ultra’s four LFOs can switch between four modes of operation (click GIF above to play). Basic Shape blends between two selectable waveforms; Bezier Curve offers customisable LFO shapes; Pattern provides grid-based, sequenced LFOs with numerous drawing tools; and Random Noise outputs continuous random values.

The three Envelopes provide two modes of operation: Standard and Legato. Both LFOs and Envelopes offer preset menus for saving frequently used shapes, which is an excellent quality-of-life enhancement.

Establishing modulation connections is intuitive. Sources can be routed to Targets via drag-and-drop, but they can also be configured in the modulation popup that’s invoked when right-clicking on a parameter (see image above – red boxes).

Lastly, a convenient Modulation Matrix provides a bird’s-eye view of all modulation routings (see image below), which simplifies the management process.

Effects

Ultra’s Effects section (see image below) consists of three chains: Main FX, FX A, and FX B. When combined with the Routing panel (discussed above), these chains can be combined in series or parallel, culminating in a truly dizzying array of effect combinations.

Adding to the versatility, each chain can accommodate effect modules and effect racks, the latter of which enables users to create Multi-band, Mid/Side, and Parallel splits within each chain.

Although each chain can only host one Rack at a time, their addition ensures ample opportunity for highly complex processing chains. The effects are divided into the following categories:

1. Distortion: Four distortion flavours, including Bit Crushing.
2. Modulation: Advanced processors for Chorusing, Flanging, and Phasing.
3. Dynamics: In addition to a Compressor and a Gate, there’s an excellent OTT module.
4. Filter: Seven filter types, including Comb, Resonant, and Formant filtering.
5. Delay: Two delay emulations (Digital and Tape) inspired by classic units.
6. Reverb: Algorithmic reverbs that emulate Hall and Plate units.
7. Side Chain: Three options to duck the processed audio (Loop, Note On, and Audio).
8. Rack: Three racks to split the audio signal for complex effect routings (Multi-band, Mid/Side, and Parallel).
9. Utility: Two general purpose utilities to manage signal flow (Mono Bass, and Gain/Balance).

The Side Chain effects (Loop, Note On, and Audio) are a unique addition that enable users to duck the processed signal according to incoming MIDI and audio signals, the former of which – Loop – provides synced and un-synced looping times.

The functional utility of ‘ducking’ has been widely discussed, but these effects can also be applied creatively to add motion and rhythm to the processing chains.

Notably, up to six instances of the same effect category (with exception to the Racks) can be loaded across the three chains – a feature that’s especially useful when layering Filters and Saturation. As with Ultra’s LFOs and Envelopes, independent presets can be applied to each effect module, allowing users to save and recall their preferred settings.

Ultra’s effects section is extremely comprehensive, providing a wealth of processing options that will appeal to users of all experience levels. Indeed, the audio quality and thoughtful implementation of the design is of such a high calibre, that the effects justify a separate plugin so that they can be utilised outside the Ultra ecosystem.

Ease of Use

Whilst there will always be a learning curve for first time users, Ultra’s layout and signal flow mostly adheres to the conventions followed by the various industry favourites that veteran producers will be familiar with.

The structure of the synth is intuitive, and the developers have done an admirable job at couching the more advanced features (e.g. Sound and Mapping Editors, Routing Panel, Rack Effects, etc.) within an approachable architecture that doesn’t come at the expense of versatility and sonic complexity. This also applies to Ultra’s patent-pending UltraWave Engine, which deftly balances innovation with familiarity by combining Wavetable synthesis and Multisampling. This ensures that users can lean on their experience in these areas to immediately acquaint themselves with Ultra’s capability.

Beginner producers may initially be overwhelmed by Ultra’s feature-set, but will soon find that it’s the perfect platform to learn the intricacies of sampling, as well as multiple synthesis types. In that regard, it serves as an excellent platform to begin one’s journey into the world of synthesis.

Overall, Ultra strikes the perfect balance between innovation, approachability, flexibility, and complexity, weaving these attributes together in a manner that accommodates almost any conceivable sound-design task.

Conclusion

Ultra represents a landmark release and is a serious statement of intent from a developer still in its nascency. The scope and scale of Ultra’s ambition is matched only by its impeccable execution, which has been meticulously crafted with care and precision, as is evidenced by the exceptional user experience and sonic performance.

Beyond its synthesis capabilities, Ultra has laid the groundwork for a full ecosystem that enables users to monetise their work, thus unifying two aspects of the creative and professional processes. Whilst there’s room for expansion in this regard, it does bring a social element to the platform that has the potential to resonate with modern users.

Overall, it’s difficult to find fault with Ultra. Although the addition of more oscillator types would bring feature parity with competing solutions, the innovative UltraWave Engine introduces a genuinely fresh approach to sound-design that is likely to resonate deeply with the music production community. In that regard, Ultra is a rarity that seamlessly blends novelty, functionality, and familiarity to deliver a user experience that is both engaging and rewarding.

Given the strength of the release at launch, the future of Ultra looks very promising indeed.

Technical Info

1. Ultra follows a straightforward download, installation, and authentication process. No iLok account is required, but an Ultra user account is necessary to licence the software and access the online store.
2. macOS & Windows are supported: Standalone, VST3, and AU.
3. A comprehensive manual is available online.
4. Ultra is well-optimised. Heavily processed patches will impact CPU usage, which is largely influenced by the number of Oscillators, Modulators, and Effects currently in use.

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. Serum (Xfer Records)
2. Pigments (Arturia)
3. Current (Minimal Audio) – [Read review]
4. Phase Plant (Kilohearts)
5. Falcon (UVI) – [Read review]
6. HALion (Steinberg)
7. Vital (Vital Audio)
8. Absynth (Native Instruments) – [Read review]
9. Massive X (Native Instruments)
10. Ghost (Exacoustics) – [Read review]

Ultra is currently available to purchase at the Ultra Audio store for $149 USD, with a rent-to-own option priced $9.99 USD/month. A free trial version is available to try the synth.

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.