MJUC is the most effortful Klanghelm plugin to date. It took almost two years of extensive, dare I say "excessive", research and development. To create MJUC I've researched and analyzed
each and every variable-mu* implementation I could get my hands on to get the best of tube compression into a single processor. In order to do the diversity of this compression topology justice, three different models have been
built. These are kind of a time travel though the history of tube compression to capture the essence of each generation. Each model has its own dedicated signal path and dedicated control set. If desired you can tweak the overall
tone and saturation of each model with the unique TIMBRE and the DRIVE knob. DRIVE controls the load of the input and output transformers as well as the saturation of the tube gain stages, if applicable. The TIMBRE extends MJUC's
use as a tone shaper.
Windows (64bit): VST, VST3, AAX Native for ProTools® 11 or higher
macOS (64bit): AU, VST, VST3, AAX Native for ProTools® 11 or higher
* actually, "variable-mu" is the correct technical term for this compressor topology, but this term is also a registered trademark by Manley Labs®. When the term "variable-mu" is used here, it just refers to the technical correct term for this more than 70 year-old compressor topology. It is in no way intended to be confused with the product of the same name
Model Mk1 is based on the very early variable-mu* designs from the 50s. Due to its extremely high control voltage it doesn't impart any audible "thumping", most other variable-mu* designs suffer from at
high GR and fast timing constants. Also it has a very simple signal path, where the compression happens directly in the audio path. The result is a very natural compression character with very little distortion. The arrangement
of four(!) variable-mu* stages add to the incredibly dense and thick nature of Mk1. Mk1 is the most colored of MJUC's models.
Model Mk2 is built upon the more complex designs of the 175 and 176 from the early 1960s, the all-tube-predecessors of the classic 1176 FET compressor. It offers four ratios, a density switch, that enables
a second variable-mu* stage and reduces the program dependence of the attack and recovery timings to a minimum. Furthermore, it lets you activate the interstage transformer to reduce overall noise and distortion and making
the compression more accentuated. Compared to Mk1 the second model is less Jazz and more Rock'n'Roll with enhanced generated harmonics and a more forward sounding character.
Model Mk3 is the least colored and most Hi-Fi-sounding model in MJUC. It is Klanghelm's modern interpretation of this compression topology. The only design idea derived from another modern famous variable-mu*
comp is, that it's circuitry is done entirely differential, making the unit very quiet and almost distortion-free. But the real special thing about this model is, that the actual compression is done by two different variable-mu*
stages, which kind of work against each other, one works feedforward, while the other in a feedback configuration. This results in a attack accentuating, punchy compression, surprisingly closer to a British G type bus comp
than to a 670.
* actually the correct technical term for this compressor topology is "variable-mu", however this term is also a registered trademark by Manley Labs®. When the term "variable-mu" is used here, it just refers to the technical correct term for this more than 70 year-old compressor topology. It is in no way intended to be confused with the product of the same name
The first examples demonstrate how the different MJUC models perform on an acoustic drums phrase: first dry, then processed with each of the models. In each clip the only the respective model was
used on the kick drum, snare drum, overheads, room channels as well as the drum bus. No other processing involved.
Then you hear the different models of MJUC on a full mix. To demonstrate the differences the examples are quite a bit more compressed than you'd usually do. MJUC shows about 6 dB GR in each example.
Next are some clips to demonstrate MJUC on electric bass. The differences between processed and unprocessed are fairly subtle, although each processed clip shows a gain reduction of around 10 dB.
And finally MJUC on slow drums. Just like in the first examples only the respective model was used on the kick drum, snare drum, overheads, room channels as well as the drum bus. No other processing involved.
French version of the manual
(kindly translated by TATOO MANDARINE studios)
Download the free MJUC jr
MJUC jr. is the little brother of MJUC, a mixture of the models Mk1 and Mk2. It'll give you an idea, how MJUC performs quality-wise and CPU-wise. If MJUC jr. runs smoothly for you, the big brother will do the same. Also, if you like what MJUC jr. does, you'll love MJUC.