My Top 5 UAD Spark Plugins and How I Actually Use Them

For the last year and a half UAD Spark has supplied some of my most used plugins. It's become a really valuable asset for my mixing and composing, allowing me to really level up my mixing. Now I've spent a bit of time with them I think it's a good time to have a look at some of my favourites and give you a 'Top Five' list of what I use the most.

What follows isn’t just a list of what these plugins can do — this is how I actually use them in my workflow, where they shine, and why I keep coming back to them.

1. LA-2A Tube Compressor

For warmth, width, and character — even without compression.

This is probably the plugin I go to the most — and I know I probably overuse it. But it’s hard not to when simply adding it to a track gives you instant weight and width, especially in the low end.

The LA-2A is an optical compressor with a tube amplifier stage. It responds to signal level using an electroluminescent panel and light-dependent resistor (had to look that one up) It reacts differently depending on the content you're running through it, creating a musical, non-linear dynamic response. In the physical unit, the light-dependent resistor is actually the same type of sensor which can be found on top of street lights, so they know to come on at night.

In practice, I’m often not even compressing with it. Just adding the plugin without any gain reduction adds colour and warmth, almost like running a signal through a real hardware preamp. I picked this trick up from Tommee Profitt’s studio tour with Andrew Masters, and haven't stopped using it since.

I use it frequently on strings, piano, synths, and bass — anything that benefits from some saturation and rounding. Occasionally on vocals, too, though I tend to use a more specific chain to each vocalist when mixing vocals. However, one drawback is stacking too many LA-2As in one session can introduce a noticeable noise floor, so I try to use it sparingly and with intention.

2. Capitol Mastering Compressor

When mixing I'm using the Saturator rather than the compression

Despite being a mastering compressor, I generally don’t use this plugin for dynamic control. I use it for saturation and punch — specifically, the Saturator. This section, at the bottom, is incredible for subtle harmonic enhancement.

The real value here is in the tube and transformer saturation you get just from driving the input, even without compressing. The Shape section adds low-mid harmonic density and transient weight in a very smooth, hi-fi way.

I’ll usually disable the compressor and just use the saturator on buses: drums, guitars, or anything that needs more presence. On a drum bus, a gentle push adds impact without killing transient detail. On guitars, it gives a fuller midrange that cuts through without sounding harsh. Just be aware: if your recording is messy, the saturation will make unwanted details jump out — so it works best on well-recorded material.

When used in the right place, this plugin brings a sense of finish and cohesion that makes sound feel bigger.

3. API Vision Channel Strip

Two EQs in one — perfect for shaping drums, bass, and cinematic percussion.

I mainly use this plugin for its two powerful EQ sections: the 560L graphic EQ and the 550L semi-parametric EQ, bypassing the other effects. Together, they make they are really effective at controlling and adding low end punch to impactful sounds, such as aggressive bass and cinematic percussion.

The 560L is a 10-band graphic EQ with proportional Q, meaning the more you boost or cut, the narrower the bandwidth becomes. The 550L has three bands with selectable frequencies and fixed-Q curves, allowing for broad but deliberate tone shaping.

I’ll usually stack the two EQs in series, a trick I saw on Tom Holkenborg's (Junkie XL) YouTube Channel, especially for percussion and bass-heavy elements. I use this combo all the time on big cinematic drums — it brings out the punch without pushing peaks into distortion territory. And on bass, it helps me control boom while adding attack and focus.

It’s a characterful EQ, and that’s exactly why I like it. It’s bold, quick to use, and sounds musical even when pushed hard.

4. Pure Plate Reverb

Clean, focused plate reverb with just enough flexibility.

This is one of those plugins I don’t think about much — and that’s a good thing. It just works. Pure Plate is my go-to reverb when I want to create space that feels intentional rather than washed out.

It’s an emulation of a classic EMT 140 steel plate reverb. In the analog world, this involves sending audio through a large suspended plate, where vibrations create a dense, smooth reverb decay. The emulation captures that same fast rise time and slightly metallic tail, without the CPU hit of other EMT emulations.

I often use it alongside Valhalla VintageVerb, with Pure Plate handling short, snappy ambience and Valhalla adding the lush hall or room textures.

It’s extremely reliable. The controls offer plenty of flexibility in decay and tone shaping, making it easy to dial in just the right depth. Great on vocals, snares, and even dry synths that need to sit back in the stereo image without becoming blurry.

5. Pultec EQP-1A

Adds low-end tone, shape, and movement — just don’t overdo it.

The Pultec EQP-1A is a plugin I use for one very specific task. It’s not about correction — it’s about colour. And when used with care, it can give low-end elements a kind of cinematic fullness.

It's a passive EQ with a tube amplifier stage, known for its unique ability to simultaneously boost and attenuate the same frequency band. This creates resonant shelves that add tone and movement without sounding overtly EQ’d.

I use the Pultec primarily on bass and drums — particularly floor toms, kick, and sub-heavy synths. The classic trick is to boost and attenuate at 60Hz or 100Hz, which tightens the low end while giving it more weight. But it’s easy to overdo. On things like toms, too much boost can quickly make a mix feel boomy and unfocused.

Used subtly, though, it adds an analogue edge that’s perfect for rounding out the bottom of a mix or giving a track that final energy.

Final Thoughts

There’s a lot of gear out there that looks good and promises “analog sound,” but these five UAD Spark plugins really deliver. I use them regularly in my templates and they always deliver.

The LA-2A gives me tone before compression. Capitol Mastering adds saturation. The API Vision EQs shape percussive elements with impact. Pure Plate gives me space that fits, and the Pultec rounds out the low end like nothing else.

If you’re using Logic Pro and want to add a sense of finish, texture, and emotion to your mixes — these are a great place to start Need help getting your mix to sound radio-ready?

I offer remote mixing and production services using the exact plugins and workflow discussed here.

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