Overloud TH-U2

Overloud’s amp emulation has been treated to new features and a facelift.

Some modelled amp plug‑ins can sound lacking in low‑end punch, but to me Overloud’s models come over sounding like a real amp miked in a real studio, and I’ve always held their TH‑U amp and effects modelling packages to be up there with the best. The company employ some interesting technologies, the most intriguing of which is their Fluid IR approach to amp and cab modelling.

With well‑modelled amps, the tone controls and gain structure can respond in a way that parallels the real hardware. It can be argued, though, that their weakness lies in their ability to accurately recreate the dynamic interactions of more complex components such as valves, transformers and loudspeakers. Amp ‘capturing’, on the other hand, is a different technology that delivers a very accurate and responsive version of an amp and speaker. Its own down side is that it’s really only accurate for the control settings at the time of capture, so you have less control than with modellers. Overloud’s answer to this conundrum is to combine elements of both technologies in their Fluid IRs: the idea is that the user gets an authentic amp emulation that responds correctly to control changes and to picking intensity.

Take Two

In this new version of TH‑U, Overloud have made significant changes to the user interface. This includes better visual representations of the kit that’s being emulated. That may not be a gamechanger in itself, but it does make the package more attractive, and Overloud have also made navigation even easier. For example, they’ve introduced multi‑row model arrangements that reduce the need for horizontal scrolling when viewing the elements in a complex chain of pedals and amps. Parallel chains of amps and effects are easy to set up too, with drag‑and‑drop used to good effect. Overloud’s Unified Model Panel now integrates modelling, capturing and IR processing — with it all in one location, it’s easier to access what you need. Rigs and IRs can be added directly to a sound chain from a library listing. Also under the heading of improving navigation, the SuperCabinet has been redesigned with the addition of a smart list and search function.

The impressive new transposer can be thought of as a virtual, bi‑directional capo.

There’s a huge range of presets that demonstrate TH‑U2’s capabilities, and in this new version they’re easier to search.In terms of new features, there’s a new, really natural‑sounding, MIDI‑controllable, polyphonic transposer in the Master panel — this could be thought of as a bidirectional virtual capo, with a range from ‑5 to +3 semitones, in semitone steps. There have been stability improvements too, which will benefit those relying on TH‑U2 for live performance. MIDI support has also been updated, for more extensive parameter control in both studio and live situations, with support for MIDI Bank Select messages in addition to Program Change messages for patch selection. Overloud have also introduced a number of new optional Signature Artist Packs, based on captures of the actual kit used by the artist.

With such a huge number of permutations of amps and effects to experiment with, it was no surprise to find an impressive library of presets to explore (there are over 1000, arranged into logical sections for ease of access), and apparently more free ones are offered every month. You favourite presets can now be tagged (for models, rigs, and IRs), and it’s possible to search for specific types by entering a name (such as Marshall) to see all the relevant presets. If the standard library still isn’t enough, you can buy optional add‑ons, as well as the Signature packs. We’re told that the available add‑ons span over 32,000 captured rigs, and in excess of 42,000 Fluid IRs!

SuperCabinet

For those unfamiliar with SuperCabinet, which is the Fluid IR engine used here, this can also be purchased separately. It leans on Overloud’s Fluid technology to enable cabinet emulations to respond according to the level and dynamics of the input, which not only sounds more realistic than a static impulse response but, importantly, feels more natural to the player. TH‑U2 comes with an impressively large library of IRs, as well as the ability for users to combine the characteristics of multiple IRs to create their own hybrid speaker cabs and stereo speaker setups. The editing tools include a multiband mode and the ability to export a cabinet response as a conventional WAV format IR to load into third‑party modelling hardware or software.

To put some numbers on what you get in this latest version, there are 248 so‑called Premium Models, based on Fluid modelling technology. These comprise 89 guitar amplifiers, four bass amps, 50 guitar cabinets and two bass cabs. In the effects department, there are 85 pedal and rack effects. When setting up cabs, there are also 18 mic models, with placement options. SuperCabinet is backed up by over 1728 included Fluid IRs ,while Rig Player has 20 captured rigs in which the Fluid IR process has been used to capture the whole signal chain as a single entity. The sound quality, whether clean, hairy or dirty, is excellent, with good touch responsiveness, and there’s a practical range of familiar effect types, both pedal and rack.

A mobile device version based on the same processing framework as the computer version offers 248 premium models that still include the fastidiously modelled Centaur overdrive found in the computer plug‑in. There are plenty of effects and officially licensed amp models from Randall, THD, DV Mark and Brunetti.

SuperCabinet, which is also available separately, provides access to a huge number of miked cabinets.

Lasting Impression

There’s a lot here for new users to get their teeth into, then. The combination of modelling and Fluid IRs works well, and there’s definitely enough choice that there’s something to suit everyone. If I have any criticism at all, it’s that there’s relatively little by way of adventurous ambient effects, other than the usual reverse delays and shimmers — I’d welcome the addition of a few granular delays, for example. Still, in your DAW, there’s nothing to stop you adding your own third‑party plug‑ins to the chain, and if you needed to put them midway through an effects chain, you could always open up two instances of TH‑U2, with half the chain on one and the other half on the other with your own choice of plug‑in between the two.

The new polyphonic transposer sounds really smooth and natural, whether dropping down to baritone or capo‑ing up.

For existing TH‑U users, most of the updates in TH‑U2 relate to the visuals and workflow, but they’re worthwhile improvements, and there are some worthy new features too. There are a number of new presets, for example, and the new polyphonic transposer sounds really smooth and natural, whether dropping down to baritone or capo‑ing up. The improved MIDI support is also welcome, and all the smaller tweaks add up to an overall improvement in the user experience. And existing users can upgrade for only $29 — the polyphonic transposer has to be worth more than that alone!