READ ONLINE NOW
Online
Issue 94
0

Review: Universal Audio Apollo Twin Interface

The Twin’s Unison preamp modelling puts API and vintage UA on your desktop.

By

16 April 2014

It’s one of those ‘how long is a piece of string’ questions, when someone asks you which interface they should buy. I’ve been getting asked that a lot lately. And often the prerequisite features are somewhat simple: a couple of mic preamps, headphone and monitor outputs, and a DI input. Everything else is icing on the cake, or wishful thinking. I mean, it would be nice to have eight preamps onboard, but how often do you realistically record live drums in your bedroom? Or have the mics to do it?

Two-channel interfaces have been around for a while, but a few years ago, the idea of the desktop interface really came to the fore. It made little sense to keep the rack-style form factor, even half-rack, when most users were going to be sitting at a desk with little more than the interface, a laptop and couple of monitors. Why not make it ergonomic and put the knobs on the top? Voila, a whole market sector was born.

The Apollo Twin is the next generation of those units. It’s a similar idea, but with plenty of updates. Firstly, it’s a Thunderbolt device. Why? Because it also has onboard UAD Solo or Duo DSP. And, because it launched in conjunction with the debut of UAD’s Unison preamp modelling technology, you also get a model of the Universal Audio 610 tube preamp thrown in too — that’s good value.

BOLT OUT OF THE BOX

The single most annoying thing about the Twin, and possibly my only gripe, is it doesn’t ship with a Thunderbolt cable. I get that it’s not the cheapest cord going. But you’re also not likely to have one simply lying around. A trip to the store, $50 later, and we’re in business.

The lack of cables can sometimes be a good thing though. Unlike other high-quality desktop interfaces from the likes of Apogee (Duet, not Quartet) and RME, the Twin doesn’t use a breakout cable for all its interconnects — it’s all jacks on the back. I like this, it’s less load on a single point of failure, and it just feels better to snap things in and out of a back plate than the end of a snake. 

Despite the missing Thunderbolt cable, the Twin is the first time UA has made full use of the Thunderbolt PCIe spec in an Apollo device. The rest have been operating on Firewire drivers, even despite the availability of optional Thunderbolt cards. This will be rectified in the coming months with a firmware update. But for now, you can only enjoy the full bandwidth of Thunderbolt with the Twin. And for those thinking about cascading multiple units or integrating the Twin with other Apollo units (perhaps as a matching Big Knob) well, that falls under the ‘not yet’ category too, though it doesn’t seem to be an issue with UAD Firewire Satellite units.

It is a bit disappointing, that UA put in an ADAT in expansion option, but not the full complement of digital I/O. Having had ADAT sync flake on me before, I’ve always preferred a Wordclock option. And not having S/PDIF really limits external DAC options. Also, not having a second Thunderbolt port is a little annoying if you’ve got other Thunderbolt devices and no hub. Hopefully UA will rectify the Apollo link-up issue soon, because that would solve any future expansion problems, especially considering how flexible the Console application can be.

CENTRAL CONTROL

While simple, the Twin’s control section is extremely well thought out. On the left, while it simultaneously displays a five-segment graph meter for each input, a button lets you toggle between the gain settings of each — which is displayed on the LEDs ringing the central dial. Toggling between the two also highlights which channel you’re currently manipulating and which input it’s using — mic/line/Hi-Z. The unit also automatically senses if you’ve stuck a jack into the DI socket, and switches to that input type. 

On the far right, the meters are selectable between your headphone and monitor outputs (this time in stereo) with the gain again rimming the main dial.

The bottom display is nifty. It has input select, a high-pass filter, 48V phantom, a pad, phase select, and the option to link both channels in stereo. But the cool part is it only lights up (in a dim state) the options relevant to the input type. For instance, if you’ve got a mic plugged in, it dimly displays all the options. And when you select an option, it lights up in full. But if you have ‘line’ as your input source, it completely drops the pad and phantom power options. Likewise, the DI input only keeps the high-pass and phase visible. Really well thought through.

NEED TO KNOW

  • PRICE

    Twin DUO: expect to pay $1249
    Twin SOLO: expect to pay $999

  • CONTACT

    CMI Music & Audio:
    (03) 9315 2244 or
    sales@cmi.com.au

  • PROS

    • High-quality build & great interface
    • Deep integration of Unison preamp modelling 
    • On-board DSP plenty for small interface
    • Sounds great, with plenty of output power

  • CONS

    • No Thunderbolt cable
    • Limited expansion options at the moment

  • SUMMARY

    This is probably the most fully-featured, best-built, two-channel desktop interface on the market, and its price reflects that. But don’t ignore what you get under the skin, because there’s plenty of professional value.

INCLUDED PLUG-INS

With the Twin, you get the Realtime Analog Classics Bundle, which includes:

  • 610-B Tube Preamp & EQ
  • Softube Amp Room Essentials
  • 1176LN Legacy Classic Limiting Amplifier
  • Teletronix LA-2A Legacy Classic Leveler
  • Pultec EQP-1A Legacy
  • Pultec Pro Legacy
  • Realverb Pro Custom Room Modeler
  • CS-1 Channel Strip

PULL IT UP ON THE CONSOLE

Of course, all these options are controllable via UA’s Console application. Flick a switch in either the hardware or software, and it mirrors in the other domain. Neat. It’s also where the Unison preamp modelling really makes sense. Inserting the bundled UAD 610-B emulation into the preamp slot immediately gives it access to the Twin’s settings and vice versa. It really acts like the preamp. The gain meter is now divided into four orange segments, the end points of each corresponding to the -10, -5, 0, 5 and 10dB main gain settings on the 610. The level is then set in the plug-in, as is the output level. It really makes the whole system seamless. You set the preamp level, record, and never have to think about that plug-in again. It works essentially like hardware, even so far as altering the impedance of the Twin’s circuitry to match.

You can, of course, insert the 610-B in your DAW as a flavour device, though it misses out on those key adjustments that are crucial to the model’s success.

The Apollo preamps themselves have 55dB of nice, clean gain. UA’s promise of transparency — a foundation for adding all kinds of Unison-developed colour — seems pretty spot on. It’s not to say you have to always use an emulation, far from it, these are solid all-rounder preamps — as any flat, clean preamp should be with a good source and mic. And gaining up the unit to handle the low sensitivity of a Shure SM7 introduced barely a skerrick of noise.

Comparing the 610B with the standard Apollo preamp, it’s not a night and day difference all the time, though it does blow out with plenty of character. There’s a thicker, rounder tone to the 610-B, which felt sometimes a little too thick, and sometimes just right. But the way the two behave with different sources shows this isn’t merely window dressing. The preamp emulation reacted with its own feel for the material. It makes the option of having multiple preamp models onboard an exciting prospect — go the 610A for even more vintage harmonics, the API channel strip for drums, or the standard Apollo preamp for a clean rendition — and the included 610-B model is a chunk of extra value for nix. Not to mention the other plug-ins that come with the Twin.

PERFECT MIX

I’ve got to say, I’d not had the opportunity to play with an Apollo unit before. And unlike any other digital workflow, it actually promotes some good habits. That is, making a decision. While you can insert effects into your DAW, inserting compression and EQ onto your source in the Console application when tracking means you have to make a decision there and then. There’s no changing settings once it’s laid down. It was refreshing to have a digital system promote that kind of thinking.

The great thing about the Twin is, it can be more than just the one thing. It’s not just for the bedroom musician. In fact, it would fit quite comfortably as the monitor controller/extra DSP for mixers frequently relying on UAD plugs. The digitally-controlled analogue monitoring is a nice touch, and makes for consistent listening. It could be all you really need in a mix room. A couple of inputs to ram home some quick overdubs without having to buy external preamps, quality headphone and monitor outputs, extra processing grunt, and a bloody big knob to control your levels with. I’d definitely recommend it, with the caveat that you’re entering the UAD ecosystem of plug-ins, which while often class-leading and great value, might be a bit more than the average musician is willing to shell out.

AND THE API?

Greg Walker was reviewing API’s new small-format analogue console The Box at the same time as this review. He also has an Apollo — perfect timing to compare the API Vision Channel Strip emulation. 

Greg Walker: “The 212L preamp modelling enacted in the API Vision Channel Strip is pretty impressive. I A/B’d it against the preamps in The Box which have a very similar circuit to the modelled one, and had a good long listen to some steel string acoustic, classical guitar and drum recordings I made. For good measure I also tracked the same sources through a clean Apollo preamp to get a sense of what sound the API emulation was working with. I was able to gain match all the pres pretty well and had the -20dB pad switched in for the drum settings. It’s cool to hear the relays ticking in the Apollo hardware box when you click on a digital pad button.

“I found the API emulation added some thickness to the low mids and a little harmonic saturation overall compared to the plain Apollo pre sound. I didn’t jump up and down and go ‘yes that sounds just like the real API!’ but it sounded good and noticeably different to the straight Apollo pre. After careful listening it became clear that the real API had a bit less low-mid thickness and better articulation in the upper mids and higher frequencies. If push came to shove I’d choose the real API preamp eight times out of 10 as it has that extra little something, but having said that I don’t own four API preamps and there’d certainly be plenty of times where I’d go with the slightly thicker, darker API emulation. As usual its always about context and getting to know the strengths and weaknesses of every tool you’ve got. 

“One thing I quickly discovered was that the emulation enjoys being pushed at the input (you can back it off at the output stage to keep things from peaking digitally). The sound doesn’t totally blow out like the 610-B, but just gets a little more hairy and things start fusing together in a pleasing and musical way. And then of course you’ve got all that lovely and great-sounding emulated API EQ and compression in the Vision Channel Strip that you can throw at the source too. Using these tools its easy to get big bold, saturated sounds without everything turning into tinny hiss. It’s great to have more preamp flavours suddenly appear in a piece of hardware you already own, and what’s better is that there’s four of them! Wonder what else UA have got stashed away under the bonnet of this thing…?”

RESPONSES

Leave a Reply

Your email address will not be published. Required fields are marked *

More for you

Filter by
Post Page
Reviews Korg Issue 94 IK Multimedia Steinberg Dynamic Microphones Audix Issue 93 Drum Microphones Issue 92 Digital Console Yamaha Issue 91 Audio interface Zoom 500 Series SSL Wireless Microphone Systems RØDE Issue 90
Sort by
READ ONLINE NOW
Online
Issue 94