- MJUC – variable-tube compressor
- VST, VST3, AAX
- Windows (64bit)
MJUC is a VST (Virtual Studio Technology) compressor plugin for Windows. Klanghelm MJUC variable-tube compressor runs as a VST plugin, VST3 plugin and an AAX plugin. MJUC variable-tube compressor VST plugin can be used with all major digital audio workstations (DAW) including Live, Logic, Cubase, Pro Tools and others.
MJUC is that the most effortful Klanghelm plugin so far . It took almost two years of in depth , dare I say “excessive”, research and development. to make MJUC I’ve researched and analyzed each and each variable-mu* implementation I could get my hands on to urge the simplest of tube compression into one processor. so as to try to to the range of this compression topology justice, three different models are built. These are quite a time travel though the history of tube compression to capture the essence of every generation. Each model has its own dedicated signal path and dedicated control set. If desired you’ll tweak the general tone and saturation of every model with the unique TIMBRE and therefore the DRIVE control. DRIVE controls the load of the input and output transformers because the saturation of the tube gain stages, if applicable. The TIMBRE extends MJUC’s use as a tone shaping device.
MJUC is that the first Klanghelm plugin, that’s built with the assistance of a replacement framework. That’s brings tons of latest usability features like GUI-resizing, AB-ing and a feature-rich platform independent preset browser with save/copy/paste/save-as-default functionality. Furthermore it’s possible to tweak the knob behavior, enable tooltips, show/hide value labels and more. of these features will find their thanks to the prevailing Klanghelm plugin as soon as possible.
MJUC Model Mk1
MJUC Model Mk1 is predicated on the very early variable-mu* designs from the 50s. thanks to its extremely high control voltage it doesn’t impart any audible “thumping”, most other variable-mu* designs suffer from at high GR and fast timing constants. Also it’s a really simple signal path, where the compression happens directly within the audio path. The result’s a really natural compression character with little or no distortion. The arrangement of four(!) variable-mu* stages increase the incredibly dense and thick nature of Mk1. Mk1 is that the most colored of MJUC’s models.
MJUC Model Mk2
Model Mk2 is made upon the more complex designs of the 175 and 176 from the first 1960s, the all-tube-predecessors of the classic 1176 FET compressor. It offers four ratios, a density switch, that permits a second variable-mu* stage and reduces the program dependence of the attack and recovery timings to a minimum. Furthermore, it allows you to activate the interstage transformer to scale back overall noise and distortion and making the compression more accentuated. Compared to Mk1 the second model is a smaller amount Jazz and more Rock’n’Roll with enhanced generated harmonics and a more forward sounding character.
MJUC Model Mk3
Model Mk3 is that the least colored and most Hi-Fi-sounding model in MJUC. it’s Klanghelm’s modern interpretation of this compression topology. the sole design idea derived from another modern famous variable-mu* comp is, that it’s circuitry is completed entirely differential, making the unit very quiet and almost distortion-free. But the important special thing about this model is, that the particular compression is completed by two different variable-mu* stages, which type of labor against one another , one works feedforward, while the opposite during a feedback configuration. This leads to a attack accentuating, punchy compression, surprisingly closer to a British G type bus comp than to a 670.
The first examples demonstrate how the various MJUC models perform on an acoustic drums phrase: first dry, then processed with each of the models. In each clip the sole the respective model was used on the kick drum, snare , overheads, room channels also because the drum bus. No other processing involved.
Then you hear the various models of MJUC on a full mix. To demonstrate the differences the examples are quite bit more compressed than you’d usually do. MJUC shows about 6 dB GR in each example.
Next are some clips to demonstrate MJUC on electric bass. The differences between processed and unprocessed are fairly subtle, although each processed clip shows a gain reduction of around 10 dB.
And finally MJUC on slow drums. a bit like within the first examples only the respective model was used on the kick drum, snare , overheads, room channels also because the drum bus. No other processing involved.