Ultra, from developer Nigel Stanford, is a new flagship multi-synthesis Synthesizer plugin for macOS and Windows.
Update: Ultra is out now
2025 was a very eventful year for flagship Synthesizer plugins. Many of the big synths received significant upgrades, some free, some paid. These included two versions of Pigments (6 and 7), Omnisphere 3, Serum 2, and more.
The year will end not with another update, but with a completely new flagship Synthesizer plugin called Ultra. This must be the last news of this “flagship” year, right?
Ultra
Ultra, not to be confused with Ultra Analog by AAS, is a new flagship Synthesizer plugin developed by the eponymous Ultra Audio company founded by Nigel Stanford. He is a developer, sound designer, and visual artist from Wellington, New Zealand.
At its core, the plugin is a classic flagship Synthesizer with five source layers with multiple synthesis forms: Ultrawave, sampler, virtual analog (analog), super (superwave), noise, and sub-oscillator.
Five Engines
The developers placed significant emphasis on the patented wavetable engine, Ultrawave. It uses a stereo wavetable engine, allowing you to load different content to the left and right channels.
They promise that it gives your sounds an immersive three-dimensional presence. A unique feature is the ability to assign different wavetables to pitch and velocity, with morphing between them to create hybrid wavetables in real time.
The developer describes this type of wavetable as multi-sampling, which applies the concept and flexibility of multi-samples to synthesis.
Classic wavetable features are also available. For example, two warp modules with different algorithms (FM, fold, bend…) add harmonic content by shaping the signal.
Filters, Modulation & More
The oscillator block then enters a mixer and a dual filter. This is accessible via a routing matrix, where the oscillators can be easily configured in different ways.
The filter menu includes seven filter modes: ladder, MS-20-style, clean, EQ, formant, comb, and resonator. Each filter includes a visualization tool and classic controls: cutoff, resonance, drive, and mix.
The lower area of Ultra is reserved for the modulation engine. Four powerful LFOs with A/B crossfading, and three ADSRs with hold envelopes form the modulation foundation.
In addition, you have other modulators, such as mod wheel, random, velocity, aftertouch, and more. They support drag-and-drop and are managed via a modulation matrix on a dedicated second UI page, which provides extensive customization options. There are also four macro controls.
Looking at the right side, you can see a multi-FX section with three sections: Global, A, and B. Numerous effect algorithms are available: tube distortion, bit-crusher, chorus, delay, reverbs, filters, OTT, gate, and more. Each algorithm is fully customizable.
Furthermore, Ultra includes an arpeggiator and sequencer that, in addition to pitch, octave, and velocity data, support subdivisions and can be used as a modulation sequencer. It also has randomization options.
Sound Browser & Store
Ultra also houses a sound browser with an integrated sound store, allowing you to purchase new sounds directly without detour. This is similar to what we’ve seen from Pigments, Minimal Audio Current, and others.
The current version includes a limited number of sounds, but the developers expect to expand it in the coming weeks and months. So, this is just the beginning.
Ultra First Impression
Ultra is currently still in the pre-release phase. In terms of both looks and features, it’s hot on the heels of many flagship synthesizers. The UI is modern and invites sound design. I hope the synth’s functionality will expand further.
All in all, an exciting new flagship-level synth. The possibility of using wavetables like multi-samples sounds very exciting. It has to be tested how different the results will be compared to other flagship synths. The only question I have is: how many more of these powerful synths do we need?
Ultra is available now at an introductory price of $149, down from $249. It runs as a VST3 and AU plugin on macOS (native Apple Silicon + Intel) and Windows.
Nigel promises on the KVR Audio forum that it includes lifetime updates and that they have more oscillator types and other features in the pipeline.
More information here: UAudio
Tested. Sounds unique, unfortunately very few presets. Still not convinced. For now, too offensively priced.
I thought the interpolation of wavelets was a really cool ux implementation. I’ve done that using an open source package using the command line and that is true hell.
This looks like a mash-up between Pigments and Vital attached to a store. It doesn’t bring anything new to the table. $149 is excessive. $39 would be a more realistic price.
the good thing: you don’t need to buy it 😉
That is a great thing. 😉 Being able to evaluate a piece of software, find it woefully lacking and overpriced, deciding not to purchase, and kindly sharing thoughts on what a good price might be is fantastic! Thank you for providing a delightful platform to learn, explore, and share. I really do appreciate your work here. 🙂
There’s no pleasing somereally is there, I think it’s a great synth with a unique take on a flagship and some awesome options and features. It’s also a great price at current 40% discount and there is alsoa discounted pay as you go……as for the whinging tight asses you know what they say……only cheap people demand cheap things 😉
Hmm, the whole concept and approach they call ultrawave seems both new and powerful to me.
Autodetecting and loading many parts of a sample (stereo even) into an any-size wavetable, autodetecting and mapping pitch and amplitude (but being able to skip it and just get a raw wavetable), and using the note-and-velocity to interpolate a new wavetable in between multiple wavetable points like that, with a pretty easy UI for handling it… is not something I’ve seen in other synths so far.
I don’t mean to sound rhetorical, but how can Pigments do that (at the same time, which is the powerful part)? Toying around with it in the ultra demo at least seemed to open huge doors to me. Synthetic-yet-organic-and-expressive-sounding patches just pouring out of it.
I have, use, and love both Pigments and Vital and plenty other synths. And many other synths too can make that type of sounds. But I for one have never achieved it so quickly and flexibly as with the ultrawave approach. I guess if it can be done (and as easily) in other software, then I’m on the fence about Ultra too. But if it cant’t, then I’d say ultrawave is a pretty big deal.
This. I don’t know if it’s 150 utility, but I had fun and would say I’m on the fence.
The sad part about being experienced bitwig user is all the synthesizers I get excited about quickly turn into things I can just replicate if I want in the bitwig grid.
And as always, when I can do it with bitwig, the workflows are a little tedious. So the one thing I liked about Ultra when I played with it was the workflows for manipulating a wave table. we’re pretty nice. I like the workflows in a lot of the flagships compared to Bitwig, but whenever I start using the flagship I quickly feel the limit on modulations.
I think Ultra is a cool synthesizer but if I’m going to be honest, I have to say that pigments is also a cool synthesizer so if you can pick that up on sale, it’s a way better deal.