The Terrain Deluxe is a Harmonic Tremolo with Tap Tempo, featuring a high fidelity all analog signal path using LightDependent Resistors (LDRs) for modulation. The Harmonic Tremolo mode uses an electronic crossover to split the signal into high and low frequency components.These are modulated 180 degrees out of phase and then re-combined creating a wet, lush tone. Speaking of tone, theTone control pans between the high and low frequency signals, going from full treble to full bass and everything in between. In the unlikely event that you get tired of the beautiful Harmonic Tremolo there is a Normal / Harmonic mode switch. In Normal Mode the high and low components are modulated together creating a traditional tremolo sound.
There are Speed, Depth, and Gain controls, and a Waveform switch to select between square, sine, and triangle waveforms.The Tap Tempo foot switch works win conjunction with the Tempo Multiplier switch allowing you to create quarter note, eight note, and eight note triplet modulations by just tapping the base tempo. The two tempo LEDs above the footswitch flash together in for Normal mode and 180 degrees out of phase in Harmonic mode.Finally, there are two independent expression pedal inputs: one each for Speed and Depth.
• Harmonic Tremolo with Tap Tempo.
• High fidelity all-analog signal path using LDRs.• Speed, Depth, and Gain controls.
• Tone control that sweeps between high and low frequency signals (center is flat).
• Normal / Harmonic mode switch.
• Sine, Square, and Triangle waveform switch.
• Tap Tempo footswitch with Tempo Multiplier switch.
• Independent expression pedal inputs for Speed and Depth controls.
Universal Audio, a worldwide leader in audio production tools, today announced the release of the Shadow Hills Mastering Compressor Class A and Maag EQ4 MS plug‑ins. As a part of the Apollo and UAD v11.8 software update, these plug‑ins deliver enhanced sonics, with new features and workflows for modern music producers and engineers, or those looking to upgrade their current Shadow Hills or Maag plug‑ins.
UAD Shadow Hills Mastering Compressor Class A – $169 USD
“Shadow Hills Class A and Maag EQ4 MS give music creators access to two rare and unique sounds in the UAD catalog,” says Lev Perrey, VP of Product at Universal Audio. “Beyond the updated UI, they add entirely new sonics and workflow capabilities, expanding what’s possible for customers working with Apollo interfaces and UAD hardware.”
The Shadow Hills Mastering Compressor Class A plug‑in is a meticulous emulation of the legendary “Red” edition hardware — of which only 50 units were ever built. It delivers the coveted dual‑stage optical and discrete compression stages, plus switchable Nickel, Iron, and Steel output transformers so you can dial in open and airy detail to thick, saturated tone.
Sonically enhanced with Tolerance Modeling Technology by Brainworx (TMT), the updated Shadow Hills UAD plug‑in features the subtle channel‑to‑channel variations of the real analog gear, giving mixes added depth and realism. Customers can also access powerful features including Mid/Side processing, Stereo Width control, Mono Maker, Parallel Mix, scalable UI, and more — going far beyond the original hardware.
Shadow Hills Mastering Compressor Class A - Key Features
Updated version of rare Class A dual‑stage optical and discrete compressor plug‑in
TMT technology by Brainworx adds subtle channel‑to‑channel variations for greater analog realism
Switchable Nickel, Iron, and Steel output transformers for unique tone shaping
Enhanced Class A circuitry with 1–3 dB hotter presence than the original UAD plug‑in
The Maag EQ4 MS plug‑in brings life to a classic UAD plug‑in title. Along with its iconic Air Band, the new version features Mid/Side processing, expanded frequency choices, selectable Q values.
Ideal for adding presence to vocals and instruments, the Maag EQ4 MS now brings extra clarity and depth to mixes thanks to TMT technology by Brainworx — which captures the real‑world channel variations that add analog realism unlike other matched digital EQs.
Maag EQ4 MS - Key Features
Updated edition of the legendary EQ4 plug‑in with expanded sonics and flexibility
TMT technology by Brainworx captures natural channel‑to‑channel differences for extra width and dimension
Iconic Air Band delivers transparent, musical high‑end sheen for vocals and instrument
Mid/Side processing tools for precise control of stereo image and depth
Expanded frequency options and selectable Q values for refined tone shaping
Also included in the UAD v11.8.1 update, MIDI Learn is now available for all UAD DSP plug‑ins, giving customers hands‑on control of plug‑in parameters with compatible MIDI controllers. With a simple click, touch, move workflow, music producers working in Apollo studios with UAD plug‑ins can map knobs and faders in seconds — eliminating tedious menu diving.
Pricing & Availability
The Shadow Hills Mastering Compressor Class A plug‑in is available for $169 (new customers) or $39 (upgrade price).
The Maag EQ4 MS plug‑in is available for $129 (new customers) or $39 (upgrade price).
Both plug‑ins, along with MIDI Learn functionality, are included in the Apollo & UAD v11.8.1 software update, available September 4, 2025.
Our columnist, invoking the truth on a pedal steel like a medium with an Ouija board.
In the 1999 cult classic Mystery Men, Invisible Boy has a superpower that’s as hilarious as it is relatable: He’s invisible, but only when no one’s looking. The moment eyes are on him, he’s just a kid in a cape, exposed and ordinary. Musicians, doesn’t that hit home? When it’s just you and your guitar, the music flows like a river—raw, unfiltered, alive. But flip on the studio’s red light or face a sea of cell phones at a gig, and that river can dry up fast. It’s the red light paradox: The act of capturing inspiration often chokes it.
Players like Marcus King, Masayoshi Takanaka, and Tom Bukovac seem to live in that effortless zone, channeling endless streams of soulful licks. Alone in a room, you might tap into that, too—those late-night jams where riffs cascade and ideas feel infinite. No stakes, no judgment. Only creation. But in the studio, that red light is a judge with a gavel. Every note feels etched in stone, ready for eternal scrutiny. The ticking clock, the producer’s glance, the knowledge that a single take could live forever—it’s enough to stall the flow.
I’ll never forget filming a Rig Rundown with Thom Bresh in 2020. Thom was an absolute legend with talent that drove an incredible seven-decade career. Before we started, I said, “Hey Thom, want to play something going into the interview?” He paused, grinned, and replied, “Been playing my entire life, but the minute somebody asks me to play, I got nothing. My mind goes blank.” If a giant like Bresh could feel that pressure, what hope is there for the rest of us mere mortals? It’s proof that the red light doesn’t discriminate.
“It’s not about nailing every note; it’s about capturing something true.”
Live music, though, is a different beast. There’s freedom in the fleeting moment. The crowd’s energy, the vibe with bandmates, the knowledge that a flubbed note vanishes by the next song—it all invites risk. I’ve seen players, myself included, get bold onstage in ways we’d never try in the studio. You’ll stretch a phrase, chase a wild harmony, or lean into a bend that might not land, because it’s yours and it’s gone in minutes. It’s a tightrope walk with a net, letting you attempt crazier tricks.
In the studio, that net’s gone. The red light means evidence—permanent, unerasable. Every take is a potential exhibit in the court of public opinion. (Even onstage now, since a phone clip can haunt you online until our hypothetical ape overlords unplug the internet.) It makes you play it safe. I do it—sticking to solid takes to avoid being “that guy” holding up the session. If the bassist or keyboardist wants another pass, I’m right there—not always because I hate my take, but for insurance. Just in case there’s a gremlin in the mix—a flubbed note, a shaky vibrato, or a phrase that felt cool but now sticks out like a bad tattoo.
That self-consciousness isn’t just about avoiding mistakes; it’s the weight of permanence. Live, a missed note is usually a blip, forgotten by the encore. In the studio, it’s a ghost that could haunt you. I’ve heard players nail a take only to spend hours second-guessing it, not because it’s bad, but because it might not be perfect. And perfection, we all know, kills vibe. The studio’s a paradox: it’s where you immortalize art, but the process can drain its soul.
”That self-consciousness isn’t just about avoiding mistakes; it’s the weight of permanence.”
So how do you beat the red light curse? Some players treat the studio like a live gig—dim the lights, imagine a crowd, or track live off the floor to capture that loose, communal energy. Others prep relentlessly, woodshedding parts so the light can’t rattle them. Bukovac, in a Homeskoolin’ video, talks about playing like you’re “just messing around,” even in high-stakes sessions. Easier for a guy who bleeds licks, but there’s truth there: The less you fear the light, the freer you play. I’ve tried picturing it as a vibe check, not a verdict, but it’s tough when Thom Bresh’s words echo. Even legends go blank under pressure.
Maybe the answer lies in embracing the imperfection the red light exposes. Live, we forgive ourselves because the moment’s gone. In the studio, we must forgive ourselves knowing the moment’s forever. It’s not about nailing every note; it’s about capturing something true. Next time you’re in the booth, staring down that glowing red eye, channel Invisible Boy. Shrug off the gaze and play like no one’s watching. Because the only judgment that matters is whether the music moves you. If it does, it’ll move someone else, too
A finish made up of apple-red satin, Rustoleum red glitter, and Magic Marble paint echo the playful spirit of Leroy the cat, who appears on the headstock in his more dangerous guise.
Reader: Cary Cummings
Hometown: Seattle, WA Guitar: Catocaster
“The problem with cats is they get the exact same look whether they see a moth or an axe murderer.” —Edgar Allen Poe
Leroy had the courage to live on this earth for 19 1/2 years.
I had no idea what to expect when we arrived at the live animal will-call area at the airport. I knew I was picking up a 12-week-old Burmese kitten. When they brought out his little crate carrier, I was nervous and excited. But when I opened the door to peek inside and greet our new arrival, I saw a shockingly tiny, scared little creature that could fit in the palm of my hand, and I felt so bad that he was put through such an ordeal. He seemed pretty calm about the whole thing.
“Leroy liked flashy things, chaos, and movement.”
At his full-grown eight pounds, Leroy was the patriarch of our household and animal family. Over the course of his days, he lived and played with six different labrador retrievers, outliving three of them. He was everyone’s buddy and tormentor in equal measure. He slept on his bed when he wanted, curled up on a dog’s tummy, or on one of our heads. He loved to play fetch, knock over unattended glasses full of water, and relished a 90 mph sneak attack as we descended the stairs. He loved us, but often reminded us that we really lived in his world and he could take us out at any time. If he had been as big as one of the dogs it would have been terrifying. Sometimes it was terrifying anyway.
I built this guitar to remember and honor Leroy. He liked flashy things, chaos, and movement. He also loved “helping” change guitar strings and occasionally trying to swallow them. This build consists of a S-style poplar body from Ultratouch Guitars in Texas and a Warmoth quarter-sawn S-style neck with a Clapton carve and 6150 frets. I sprayed the body with a primer coat, followed by apple-red satin, and finished it off with Rustoleum red glitter to give it some sparkle. To add interest and movement, and a little chaos, I dipped it into a 32-gallon garbage can filled with water topped with a swirl of Magic Marble paint, finally sealing it in with 10 coats of wipe-on poly.
The finishing touch included an orange anodized pickguard, Wilkenson/Gotoh VSVG tremolo bridge, Wilkenson low gauss, blade style pickups, 250k CTS pots, 0.015 uF ceramic disk capacitors, Gotoh gold tuners, and a dangerous cat decal on the headstock.
I like to imagine Leroy somewhere over the rainbow bridge playing with his friends: Charlie, Dewey, and Olive. I hope to find them again one sunny day. I know Leroy would approve of this guitar and probably give me another sneaky needle-toothed surprise attack to celebrate.
From Tom Bukovac’s first-year ’58 to Larry Carlton’s iconic ’69 and Molly Miller’s well-worn ’78, this PG best-of Rig Rundown celebrates the artists who made the ES-335 their own. Hear Charlie Worsham’s Vince Gill gift story, Tim Pierce’s player-grade philosophy, and Sturgill Simpson’s stage-shaking tones—plus why so many pros trust this semi-hollow classic.
Gibson ES-335 Satin Semi-Hollow Electric Guitar Satin Cherry
