WiN: Team R2R | 15 MB | MAC: P2P | 48.62 MB

The original KLEIN & HUMMEL UE-100 EQs are extremely rare and expensive. But RaF M g v qfa Sardina – who has 12L R – F t & d Grammy wins and 35 nominatiZ M G nons – owns 1B E a r 1 V F0 of them!
What is so special about this weird and wonderful device

For some time, hardware equalizers had tu s c 4 V 9 to each bp Q M n 4 m G je develo~ d 4 ! v xped wit[ U l P kh a specific purpose in mind, requiring engineers to combine differen$ ] I y A Lt EQ types in one sig* m K j v Lnal chain in orC K 3 7 * s wder to achie2 [ g J ? S T t Eve the frequency response they needed on any givS g [ Z Pen source. They would have to accept the necessary evil\ U \ of t, M !he resulting phase and intermodulation distor\ H z $ *tion when treating these sounds. When released in 1961, the Klein & Hummel UE-100 Universal EquB e U & V J + qalizer changed all that.

This all-tube minimum phase EQ used six discrete filter modules to create a collection of band-pass filters that couO b 4 l T W nld create dynamic curves for any application from source mixing to vocal tracking to mastering. While some earlio ^ x { Y J g U Wer UE-100s were used to transparently filter out junk low and high frequencies when printing to tape and vinyl, it quickly became comm% 0 S W ? L Monplace to take advantage of the unique pushbutton frequency selection; this prD ] x 3 u S p `ovided an easy way to not o3 9 E 8nly recall settinp S G ` U 3 5 \ 0gs, but also alter them on the fly while recording a performanc` J 5 2 v K : . 8e. The UE-100 becag v 4 _me known for its musi{ f \ Ecally warm curves and precise resJ N ~ .ponse, offering a myriad of possibilities for treating frequencies by boosting and/or cutting across the spectrum to shap{ a . ] Oe sounds “like a Pultec on steroA _ ^ x Cids.”

That t7 { L v 1 4 s Pube-powered universal sound and innovative behavv M a P *ior from K&aD ! 9 | 5 T x 5 =mp;H is now available to you in plugin form. The Lindell TE-100 is an exacting emulation of all the sweet and savory frequency treatment offered by th, k j 7 x ,e original hardware EQ. Right down to the pushbuttons on the interface and the all-tube filter bypass, the TE-100 re-creates this piece of German audiw % + l \ No history wih 8 1 Cth immaculate realism. Only now, a s% ( n Z N – 0 G Dtereo pair won’t cost you $10,000.

Hone in on your soz 9 m = Yund with low and high pass* j w ! ! s V filters at each end of the TE-100, then boost at one of four critical frequenci5 w V \es with rounded or high-Q shelf bands to add6 } u 1 body and presence. Create dual parametric band-pass filters in the TE-100’s mid secti} N G J U o 6 x !on to quickly bring out the true character of your sound7 K P 3 f Z M. The pushbutton frequency selectors offer a unique way to shape your frequency response by focusing on each corner frequencJ u V j , Y ( Ny of a filter and moving those fk . D m o / R brequencies closer or furth* ; L oer apart while letting your ears guide your mix decision.

The TB B mE-100 plugin also adds a few useful extra features tT b & [ &hat help improve workflow in the digital environA m –ment: Maintain full control across a vW P T 4ariety of mix situations by taking advantage of level calibration, internal oversampling adjustment, and an analog mode that adds additional tone coloration and nois$ 1 g \ ( V ] –e floor taken from the original unit. Dial in precise gain adjust H Q b @ g + B &tments in 0.5 dB steps, contrasting the 2 dB to 3 dB resolution available thrG L _ # I h :ough th* U 0 V A Q Ke knobs of the original hardware. With the Lindell TE-100, the legacy of the original Universal Equalizer can be brought to your DAW@ Z ; 3 in a convenient digital form that st+ _ X ) + {ays true to the hardware.

Version 1.1.1 (May 13, 2020)

– fixed Delay compensation problem with bypass
– fixed Crash in Cubase 10.5
– fixed UI radio buttons flickering issue
– Toolbar In and Out parameters are n3 1 $ow continuous
– Improved oversampling filters