TECHNOLOGY REVIEW
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Universal Audio Apollo 16
AUDIO INTERFACE
Described by the company as the first high-resolution computer interface to deliver the sound, feel, and flow of analogue recording, Stephen Bennett explores how the Apollo 16 stacks up to his current set-up.
THE APOLLO series of interfaces could be seen as a no-brainer of a product from Universal Audio (UA) if you consider the company’s range of well-respected signal processing hardware, digital interfaces, and the UAD-2 series of DSP processing cards and powered plug-in software. In a nutshell, the Apollo 16 is a high-quality audio interface that also supports UA’s powered plug-in platform. Running under Windows and OSX platforms, it offers FireWire 800 or optional Thunderbolt connectivity all wrapped up in a single height 19in rack unit. The Apollo 16 is a 24-bit/196kHz
capable audio interface with built-in DSP processing of equivalent power to a UA Quad UAD-2 PCIe card. Sixteen analogue inputs and outputs sit on DB- 25 connectors and although there are no mic pres on board, I suspect that most potential users will prefer to choose their own boutique brands. The rear panel is simplicity itself, with separate analogue monitor outputs on twin XLRs, dual FireWire 800 ports (and a panel for the Thunderbolt adapter), AES/EBU digital connectors with real-time sample rate conversion, Wordclock on BNCs, and an external power supply unit with a locking connector. Two MADI ports relay the monitor, cue, and auxiliary busses between multiple Apollo 16s for increased simultaneous I/O. The front panel is similarly spartan,
sporting a power switch, a combined monitor level slash mute knob, and a button that toggles the various meter modes (the 10-segment LEDs make up most of the front panel area). These meters can display input and output levels alongside clock status and sample rate.
Most of the Apollo 16’s magic is
addressed by software. Downloading the latest version of the UAD software (7.3) installs the drivers for the DSP processing and the Apollo itself as well
46 November 2013
Tracking the old fashioned way though a UAD LA-2A compressor with monitor reverb
as the Console application. The interface comes with authorisations for the Analog Classics powered plug-in bundle, which consists of the 1176LN Limiting Amplifier, the LA-2A Leveling Amplifier, and the Pultec EQP-1A Program Equalizer. The Console application is laid out like a traditional mixing desk, with long throw faders controlling stereo-linkable input and virtual channels and a separate monitor and cue section. Each analogue input channel can be set to -10dB or +4dB reference levels and features pan, solo, and mute controls, two stereo aux, four stereo cue sends, and inserts for up to four UAD plug-ins. The latter’s inclusion means that you can use these plug-ins for tracking and monitoring with extremely low latency – something definitely not possible with ‘traditional’ UAD-2 cards. This, alongside the ability to route the various inputs to the various outputs, means that complex cues can be set-up, all running powered plug-ins. This is going to find many uses outside the studio – especially in installations or live situations where the Apollo 16 could form the centrepiece of an audio routing system.
The rest of the available plug-ins
themselves cover quite a range and the Apollo 16 behaves exactly like a UAD-2 Quad card under a DAW, running AU, VST, and RTAS plug-ins – though not, at time of writing, Avid’s latest AAX format – though the company says that it expects these to be supported soon. You can bring DAW tracks into the
Console via ‘virtual’ inputs and process these alongside any live inputs – which will be perfect for live performances using backing tracks. The powered plug-ins can be copied between channels or pasted into single or multiple channels. Under OSX only, a command-click on a channel’s insert slots brings up a window showing all of the powered plug-ins on that channel. You can then adjust the various plug-in parameters as you would a dedicated channel strip, though apparently there’s something that prevents users of Microsoft’s OS taking advantage of this useful feature. The monitor section sports four separate cue sends and two aux returns, complete with four powered plug-in slots that can be set to post or pre fader. There are various routing options for cueing and monitoring as well as a ‘soft’ version of the main monitor control with dedicated monitor source buttons. Although the cue controls can be used to create stereo headphone sends that can be routed to any of the Apollo 16’s outputs, the interface is missing a dedicated headphone socket – which is a pity, as I find these really handy when working with a laptop. Console settings can be stored and recalled using the DAW-based Console recall plug-in.
CONCLUSION If you’re hankering for some UAD-2 powered plug-in action and are also in the market for a high-quality, 16- channel audio interface with flexible routing, the Apollo 16 will be just the ticket. Sonically, it wasn’t embarrassed when it replaced the Metric Halo
interfaces sitting between my SSL desk and ATC monitors and, because it can function using both FireWire 800 and Thunderbolt protocols, it’ll make justifying that new slot-less Mac Pro a lot easier.
The mutable Apollo 16/UAD-2 ‘channel strip
Although I didn’t test it to destruction – UA specifies less than 2ms latency with four powered plug-ins at 96kHz – adding a bus send to a UAD EMT 140 reverb while tracking my Neumann U87 through a UAD LA-2A without any appreciable delay did bring a certain immediacy that I usually only get when working in a ‘proper’ studio. In short, the Apollo 16 is an excellent, high-quality interface at a decent price – and with a UAD-2 Quad thrown in.
THE REVIEWER STEPHEN BENNETT has been involved in music production for over 25 years. Based in Norwich he splits his time between writing books and articles on music technology, running Chaos Studios and working in the Electroacoustic Studios in the School of Music at the University of East Anglia.
INFORMATION Feature set
• High-quality 24-bit/192kHz conversion
• Real-time UAD plug-in processing for tracking, mixing, and mastering
• Expandable 16 x 16 analogue connectivity with advanced routing
• Thunderbolt connectivity
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