U-he Satin – Vintage Wonderland
Value for Money 6
Design & Layout 7
Installation 9
Stability & Performance 7
Mojo 9
Reviewers Slant 6

U-he Satin

Current PC or intel Mac
Multicore CPU with SSE2
(Sandy Bridge architecture or newer recommended)
Mac OSX 10.5 or newer
Windows XP / Vista / 7 / 8 / 10
1GB RAM, more recommended
60MB free disc space
display 1000x600px and up
OSX: VST2, VST3 or AU compatible host software
Windows: VST2, VST3 compatible host software
Supports 32bit and 64bit in all formats
AAX support for Pro Tools 10.3.7 or later, 11 & 12

Summary 7.3 good
Value for Money 9
Design & Layout 8
Installation 8
Stability & Performance 7
Mojo 9
Reviewers Slant 9
Summary rating from 1 user's marks. You can set own marks for this article - just click on stars above and press "Accept".
Summary 8.3 great

U-he Satin – Vintage Wonderland

Welcome to StudioWise, this time we’re looking at a nifty tape machine emulator from U-He, which packs a surprising amount of flexibility, as it turns out.


Satin in the latest release from U-He, and as it turns out quite an impressive little device – but can something amazing shine in such an oversaturated (pun intended) marketplace? Let’s check it out.


satin2Satin is a VST effect plugin that is designed to emulate classic analog tape machines. It’s a very simple to operate VST effect on the surface, but if you’re brave enough to poke their head down into the rabbit hole a little deeper you will be rewarded with a plethora of sweet options to play with.

Road Test

In it’s simplest form, you can just insert it on your master BUS, turn up the input dial until things sound better, and that will get you good results 90% of the time. The Makeup switch should be on, as it balances the output with the input, and the soft clip will help reduce any stray peeks from clipping your output bus. You to choose between modern and vintage tones, but in a nutshell that’s enough to get some real cool mojo saturation vibe in your mix. Satin has three modes of operation – studio, delay and flange. Each of these are directly influenced by the three main controls constantly present at the top of the screen – Input, Output and Tape (vintage or Modern).

In its default mode ‘studio’ you will see 8 groups available. This is a clever way to use Satin over a group of tracks.  Simply add an instance of Satin to each track in your BUS mix and assign each to a unique group. You could, for instance, add all the guitar tracks in your mix to group 1, drums group 2 etc. Now use just a single instance of Satin to apply the same effect across all in that group. A handy-dandy way to emulate the large multitrack tape machines and give your BUS tracks some analog glue.

Using ‘highest quality’ settings tends to create the modern, high fidelity results we’re all used to. It’s not until you start reverse engineering the machine, so to speak, do you begin to get the famed tape saturation effect in all its glory. Reducing the IPS, adding hiss and crosstalk, it’s surprisingly easy to add a good amount of ‘retro vibe’ to your tracks if you’re careful not to overcook the signal. Of course, if you’re not after a lot of colouring, just pull back a little for some warmth and gentle compression.


Ips, or Inch per second, refers to how fast the tape is being dragged across the play heads. The faster the tape rolls, the higher the overall fidelity, mainly at higher frequencies. Easy enough, but since you’re not necessarily looking for high fidelity, increasing the ips gives you a brighter, more modern sound. Of course, if you’re wanting that old school retro vibe, start reducing quality and slowing the tape down, inducing more grit.

Pre-emphasis is a clever trick that adds high-frequency EQ to the recording, and then the opposite amount during playback, in essence reverting the audio back to its original state, but with any high-end hiss removed.This won’t affect any low-end noise and rumble, but it was a pretty good idea back in the day for removing recording artefacts.  Satin allows you to virtually increase or decrease the EQ curve, creating specific tones using both ips and pre-emphasis.


The clever interface doesn’t force you to be a guru tape machine operator, allowing you to go as simple or advanced as you feel you need. Of course, if you’re in any way interested in studying the finer points of vintage tape machine workings you can learn a lot from using the device, and studying the 42 page (!) manual.

At $200 NZD Satin is not a casual purchase, but I think reflects pretty good value considering all the advanced features. Satin’s tape-focused saturation effect is unique on the market now that includes a lot of competition in the saturation genre. The funky vintage interface, simple controls and plenty of flexibility for fine-tuning follow the great designs currently available from U-He. Download the trial version today and see how much mojo can be injected into your master mix for yourself.




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