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Customer Reviews 461 Reviews

4.9 out of 5 stars

by D. Nakonechny (11/21/2015):

The EMT140 not only affordable from UAD but its the first Reverb you truly should buy.… Read more

425 Reviews
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EMT® 140 Classic Plate Reverberator Plug-In.
Three Legendary Plate Reverbs Captured in a
Single, Powerful Plug-In.

In 1957, German company EMT made a breakthrough in audio technology with the release of the EMT 140 plate reverb, which utilized a resonating metal plate to create ambience. Nothing is quite like the wonderfully lush and distinctive tone of plate reverb, which still endures as part of the fabric of modern music.

Endorsed by EMT Studiotechnik GmbH, and painstakingly modeled by Universal Audio, the EMT® 140 Classic Plate Reverberator plug-in for UAD-2 hardware and Apollo interfaces expertly replicates the sonic signature of three uniquely different EMT 140s installed at The Plant Studios in Sausalito, CA.

Now You Can:

  • Choose from three uniquely different EMT plate reverbs
  • Add natural depth and shimmer to vocals and instruments
  • Sculpt your sound with original controls such as mechanical damping and system input filters
  • Enhance plate ambience further with plug-in only Balance, Width and Modulation controls
Expertly Emulated Features

The EMT 140 plug-in offers three distinct plates for varying reverb textures. Plates A and B use the original EMT electronics system, for which the plates themselves had intentionally not been tuned in some time. Plate C — the most full frequency plate — uses the more modern Martech electronics which had just been fully serviced. Emulations of both the original EMT 80 Hz shelf filter electronics and the popular aftermarket Martech electronics with their 12 dB cut filters are represented first in the signal path. The user is then presented with three switchable plate controllers (A, B and C) that recreate the mechanical dampers that decrease plate decay time, each with its own measured characteristic sound.




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  • Frederick Norén

    Sound On Sound

    "The EMT 140 [plug-in] is held by many — including me — to be the best-sounding digital plate reverb on the market."

    Darrell Thorp

    (Beck, Radiohead, Charlotte Gainsbourg)

    "Having the EMT 140 plug-in, it’s beautiful, I don’t have to commit to printing the plate."

    Christopher "Stone" Garrett

    (Thievery Corporation)

    “The EMT® 140 Classic Plate Reverberator Plug-In is incredible. I don't even know what to say about it, it sounds so good it makes you almost want to cry."

    Joe Chiccarelli

    (The White Stripes, My Morning Jacket, The Killers

    "The [UAD] EMT 140 is classic. It can be perfect to add some warmth and size to a lead vocal. I will set up a subgroup as if I were using it on an analog console with an echo send."

    Vaughan Merrick

    (Amy Winehouse, Jason Mraz)

    "The [UAD] EMT 140 has that classic smooth character of the real thing but with added conveniences like predelay and mod to give the plate a little 'shimmy, shimmy'."

  • Fab Dupont

    (Shakira, Santigold)

    “The [UAD] Pultec Pro, along with the Plate 140, are the two main reasons why I can't work without a UAD-2 card in my system.”

    Hank Shocklee

    (Public Enemy)

    "I need the EMT 140 Classic Plate Reverberator for creating bigger-than-life snare and clap sounds."

    Ryan Hewitt

    (Red Hot Chili Peppers)

    "The EMT 250 and EMT140 emulations [for UAD] are stunning. They're just absolutely phenomenal."

    Hans Zimmer

    (Dark Knight, Gladiator)

    "The EMT 140 Plate Reverb plugs are on everything ... It's great, that feeling of not having to run out of plates."

    Frank Filipetti

    (James Taylor, Rod Stewart)

    "The EMT 140 Classic Plate Reverberator plug-in — not a mix goes by without it."

  • Vance Powell

    (The Raconteurs)

    "[The EMT 140 plug-in is] Unbelievable. Love it. Use it all the time."

    David Issac

    (Marcus Miller)

    "When I heard the [UAD] EMT 140 ... I instantly remembered standing in a chamber in Detroit. It was that close."

    Dweezil Zappa

    (Zappa Plays Zappa)

    "The [UAD] EMT 140 reverb I use on everything. It's my favorite reverb of anything I have."

    John Cuniberti

    (Joe Satriani, The Meters)

    "UA successfully modeled our three EMTs so well that in a blindfold test we could not tell the difference!"

    Ryan Hewitt

    (Red Hot Chili Peppers)

    "So now I have my UAD on everything, and I'm using the EMT 140 and the EMT 250 as effects. It's so much easier."

  • Ed MacFarlane

    (Friendly Fires)

    "We record toms separately, and to get that big washy Serge Gainsbourg sound we've used the UAD EMT 140 reverb on them."

    Eli Crews

    (Electronic Musician)

    "The [UAD] EMT 140 blew the plate presets of my standard reverb plug-in out of the water."

    Jonathan Wilson

    (Future Music UK)

    "[The EMT 140 is] possibly the world’s finest software plate reverb emulation."

    John Baccigaluppi

    (TapeOp Magazine)

    "Well, consider me won over… The EMT 140 [plug-in] was used extensively on a record I recently mixed."

    Jason Scott Alexander

    (Remix Magazine)

    "The [UAD] EMT 140 added unmistakable character to everything I threw at it ... it consistently tickled the ear."

  • Paul White

    (Sound On Sound)

    "You owe it to yourself to check this [EMT 140 plug-in] out, even if you're not a vintage gear freak."

    Paul White

    (Sound on Sound)

    "The [UAD] EMT 140 is the nearest thing I've heard yet to a real plate reverb."

    Jeff Balding

    (Amy Grant, Faith Hill)

    "[The EMT 140 plug-in] is great on snare to put a little space around it, I use it as a general plate."

    Gavin Monaghan

    (The Twang)

    "The [UAD] EMT 140 is pure Motown, better than my real one! Stunning!"

User Ratings

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Average Rating (461 Reviews)
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    Perfect for everything from A to Z...
    by D. Nakonechny(Saturday 21 November, 2015)

    The EMT140 not only affordable from UAD but its the first Reverb you truly should buy. Throw it on an Aux send to be able to control the amount of of blend on your vocals and be amazed and how it takes a Dry track to something that sound warm & amazing and nothing like your stock reverb… Read More

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    A clean and natural Reverberator Plug-In
    by Y. Dan(Sunday 15 November, 2015)

    He is the most natural that I have Plate Reverberator Plug-In。 Read More

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    Great Dark Plate
    by G. Futcher(Friday 23 October, 2015)

    I haven't used a real EMT before but I have used other real plates and this sounds really good. Tons of options for decay and EQ and comes with some good presets for starting points. Read More

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    by E. Sevmont(Wednesday 14 October, 2015)

    I tried many different reverbs for some tracks I was mixing with just piano and vocals for Boleros, this one just worked for the vocals, very easy to use, the free trial for this plugin just saved my mix! I'll definitely buy it in the future. Read More

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    Main Reverb
    by s. kgr(Monday 12 October, 2015)

    When the mix is always the main reverb. You can use any track. Since the very beautiful natural there even be heard so as not to have been the effect. How also do not feel the stress simple. In terms of frequency of use is a plug-in among the best three. Read More


  • Michael Angelakos

    Passion Pit frontman Michael Angelakos breaks down the group’s creative process and how Apollo and UAD plug-ins act as a main ingredient. Read More

    Brendan "Eskmo" Angelides

    Writing and producing under the name "Eskmo," Los Angeles-based Brendan Angelides has releases on labels Ninja Tune, Warp, Ancestor and most recently the small Belgium label that first introduced the world to Aphex Twin, Apollo. Read More

    Michael Ilbert

    Engineer/producer Michael Ilbert's has crafted records by the Hives, Supergrass, and In Flames, but it's his work on Taylor Swift's Red and 1989 that have garnered him multiple Grammy nominations. Read More

  • Emily Lazar

    As the founder and chief mastering engineer of The Lodge in New York City, Lazar has played a key role in crafting some of the biggest albums of the 2000s. Here, she details her role as a mastering engineer and how UAD plug-ins helps her realize her sonic ideals. Read More

    Jacquire King

    Jacquire King (Of Monsters and Men, Norah Jones, Modest Mouse) shows how he used the Apollo interface and UAD plug-ins to track Robert Ellis' band on a live rendition of the track, "Good Intentions."… Read More

    Charlie Andrew

    As the artful studio helmsman behind British folk-hop sensations Alt- J — and their 2012 Mercury Prize-winning album, An Awesome Wave — producer Charlie Andrew found himself the recipient of Britain’s Breakthrough Producer of the Year Award for 2013. Read More

  • Dave Tozer

    Here, Dave Tozer details how you can synthesize a powerful UAD/Logic Pro X production workflow. Read More

    Buddy Miller

    Grammy-award winning producer, player, and artist Buddy Miller details his workflow with Apollo and UAD-2 plug-ins. Read More

    Mixing Bronze Radio Return’s “Melting in My Icebo

    Engineer F. Reid Shippen breaks down how he employed UAD plug-ins to mix the Bronze Radio Return track, “Melting in My Icebox.”… Read More

  • The Black Keys

    The Black Keys' Dan Auerbach and Patrick Carney detail their recording process and how UAD Powered Plug-Ins are essential to their careful balance of raunch and refinement. Read More

    Rich Chycki on mixing Rush and Dream Theater with

    Rock veteran Rich Chycki has crafted mixes for Rush, Dream Theater, and Aerosmith. Read More

    Neal Cappellino on mixing Brad Paisley

    Grammy-winning engineer Neal Cappellino has recorded and mixed hits for Nashville's biggest stars. Read More


Features & Specs
EMT® 140 Classic Plate Reverberator Plug-In.
Key Features
  • Based on three EMT 140 plates from The Plant Studios – each with a unique sound
  • Fully endorsed by EMT Studiotechnik GmbH
  • Highly prized smooth and natural plate sound
  • Models orginal hardware’s mechanical decay controls
  • High pass filters, both stock EMT 80 Hz and Martech electronics
  • Digitial only features include Two-band Shelving EQ, Predelay, Width, Balance and Modulation
  • Realtime UAD Processing with Apollo audio interfaces
  • Requires a UAD DSP Accelerator Card or Apollo Interface available from authorized dealers worldwide

See the UAD Instance Chart here

  • Input Filter: Martech fixed 12 dB Low Cut Filter at 90, 125, 180, 250, 270, 360 Hz or EMT 80 Hz fixed Shelving EQ at -4,-10,-16 dB
  • Plate Select: Chooses among three distinctly different plates, A, B and C
  • Reverb Time: Independently adjust reverb decay from .5 to 5.5 seconds for all three plates
  • Width: Controls stereo effect image from 0% (mono) to 100% (full width)
  • Balance: Positions stereo effect field from hard left to hard right or anywhere in between
  • Shelf EQ: Out/In
  • Low Shelf EQ filters: 20Hz to 2 kHz
  • Low Shelf Gain +/- 12 dB
  • High Shelf EQ filters: 200Hz to 20 kHz
  • Modulation Rate: .01 Hz to 1 Hz
  • Modulation Depth: 0 to 10 cents
  • Pre Delay: 0-250 ms
  • Dry/Wet Mix: Continuously blends between dry signal and effected signal
  • Wet Solo: Overrides Dry/Wet mix control and solos effected signal
  • Power: Off/On, all DSP processing is bypassed


UAD Plug-Ins Manual

UAD System Manual

UA Product Catalog