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Customer Reviews 206 Reviews

4.6 out of 5 stars

by B. Leigh (6/28/2014):

Great hardware and software. Some of the best plugins I've heard, period. Unfortunately I'm not ... Read more

164 Reviews
24 Reviews
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3 Reviews
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Overview
Apollo Twin. High-Resolution Desktop Music Production with Classic Analog Sound.
With its class-leading resolution and Realtime UAD Processing, Apollo Twin sets a new standard for desktop music production. This 2x6 Mac Thunderbolt interface allows you to record with near-zero latency through the full range of UAD Powered Plug-Ins — ingeniously merging classic analog tones with cutting-edge features.
Key Features
  • World-class 24-bit/192 kHz audio conversion
  • Realtime UAD Processing — track through vintage Compressors, EQs, Tape Machines, and Guitar Amp plug-ins with near-zero latency*
  • New Unison™ technology for stunning models of classic mic preamps**
  • Available with either UAD-2 SOLO or UAD-2 DUO DSP Processing onboard
  • Includes "Realtime Analog Classics" UAD plug-in bundle
  • Thunderbolt connection for blazing-fast PCIe speed on modern Macs
  • 2 premium mic/line preamps; 2 line outs; front-panel Hi-Z instrument input and headphone output
  • Digitally controlled analog monitor outputs for full resolution at all listening levels
  • Uncompromising analog design, superior components, and premium build quality throughout 

Record and Mix with Stunning
24-bit/192 kHz Sound Quality
With the highest dynamic range and lowest noise of any desktop interface, Apollo Twin gives you stellar 24-bit/192 kHz sound and breathtaking clarity.
Its premium mic preamps, input stage, and audio conversion are identical to the famed Apollo series, translating into rich three-dimensional recordings with exceptional depth and punch. Digitally controlled analog monitor outputs provide full resolution audio (without digital scaling) at all listening levels — letting you create better mixes in real-world environments.
A Complete Analog Studio with
Realtime UAD Plug-In Processing
Imagine having access to a classic analog recording studio, right on your desktop. Apollo Twin lets you record and mix through the full range of UAD Powered Plug-Ins — including vintage EQs, compressors, reverbs, tape machines and more — at near-zero latency, regardless of your audio software buffer size. With award-winning UAD plug-ins from Ampex, Lexicon, Neve, Moog, Roland, SSL, Studer, and more,* Apollo Twin serves up authentic analog tone and warmth. 
The key to its analog magic is onboard UAD-2 SOLO or DUO DSP Processing, which powers the UAD plug-ins while reducing the strain on your host CPU. Apollo Twin includes the "Realtime Analog Classics" plug-in bundle, featuring a choice selection of vintage compressors, EQs and reverb, plus guitar amps and tube mic preamp emulation. From there, you can choose from a vast and expanding collection of plug-ins in the UA Online Store.

Track Through Classic Mic Preamps Using Unison™ Technology
High-speed Thunderbolt Connection to
your Mac
Unison technology allows Apollo Twin’s mic preamps to sound and behave like the world's most sought-after tube and solid state preamps — including their all-important impedance, gain stage “sweet spots,” and circuit behaviors. Based on breakthrough integration between Apollo’s digitally controlled analog mic preamps and its onboard UAD processing, Unison lets you track through colorful preamp emulations like the bundled UA 610-B Tube Preamp plug-in, with more emulations coming soon.
Apollo Twin’s Thunderbolt connection features ultra-fast PCIe audio drivers for high-bandwidth, low-latency performance on all Thunderbolt-equipped Macs. Because Thunderbolt offers 12x the bandwidth of FireWire 800, you can connect numerous devices in line with Apollo Twin — including hard drives and HDMI/USB3 hubs — all with fast, flawless performance.

Professional I/O Connections
Apollo Twin is a 2-in/6-out interface with two class-leading mic/line preamps, two analog line outputs, two digitally controlled analog monitor outputs, and up to eight additional channels of digital inputs via Optical connection. Its conveniently located Hi-Z instrument input and headphone jack allow you to capture inspiration the moment it strikes.
Console Application and Console Recall Plug-In
The Console application is Apollo Twin’s software control interface. Its intuitive, analog console-style design provides “realtime” tracking and monitoring with UAD Powered Plug-Ins — a feature not found in any other interface. Complete Apollo Twin Console setups can be saved as presets, or even saved within your sessions using the Console Recall plug-in (VST/AU/RTAS/AAX 64). This enables hardware recall of all Apollo Twin settings, even months and years after you last opened your session.

Easy to Use with Any Mac DAW
Apollo Twin is compatible with all major Mac DAWs, including Pro Tools, Logic, GarageBand, Cubase, Live, and more — allowing seamless integration no matter what recording software you use.
Hardware
Apollo Twin. Better by design.

 

Apollo Twin is a 2x6 Mac Thunderbolt audio interface with the same class-leading 24-bit/192 kHz audio conversion as its big brother, the award-winning Apollo interface. Its elegant feature set includes two class-leading mic/line preamps, two analog line outputs, two digitally controlled analog monitor outputs for full resolution at all listening levels, and up to eight additional channels of digital inputs via Optical connection.


Software
Realtime Analog Classics Bundle

 

The Realtime Analog Classics plug-in bundle contains the essential UAD Powered Plug-Ins to get you started tracking and mixing with the world's best analog emulations, including guitar and bass amp emulations from Softube, as well as UA’s groundbreaking 610 Tube Preamp and EQ plug-in.
The Realtime Analog Classics Bundle is included free with the Apollo Twin SOLO/DUO.
UA 610-B Tube Preamp and EQ
The 610-B Tube Preamp and EQ plug-in will impart your tracks with the same legendary warmth and character of the classic hardware unit used to track everyone from Duke Ellington to Coldplay. By emulating the entire signal path, including tube amplifiers, transformers, and circuit nonlinearities, the 610-B Tube Preamp and EQ plug-in injects glowing detail and saturation to any signal — whether you’re re-amping or tracking through the 610-B via Universal Audio’s breakthrough Unison™ technology — the first and only way to truly emulate classic analog mic preamp gain stage “sweet spots,” and component-level behaviors at the input stage.

Softube Amp Room Essentials
Featuring two plug-ins — the Amp Room Half-Stack and the Bass Amp Room 8x10 — Amp Room Essentials gives you guitar and bass tones that can deliver the goods in any genre. Based on a vintage British half-stack, Amp Room Half-Stack yields legendary slabs of molten distortion while Bass Amp Room 8x10 offers powerful tones and features like a blend-able DI. Both plug-ins tout adjustable mic placement for fine-tuning your tones whether you’re recording in real-time or re-amping.

1176SE/LN Classic Limiting Amplifiers (Legacy)
Get classic, ultra-fast FET compression from the world’s most recognized compressor. The 1176 will impart punch, presence, and character as well as its signature distortion overtones on drums, vocals, guitars, and bass. The 1176SE and its later LN version have graced countless recordings, from Led Zeppelin, the White Stripes, and the Red Hot Chili Peppers.
Pultec Pro Equalizers (Legacy)
Universal Audio’s Pultec Pro Legacy plug-in combines the Pultec MEQ-5 Midrange Equalizer and the Pultec EQP-1A Program Equalizer, two of the most sought-after hardware EQs, into a single plug-in. The MEQ-5 EQ section allows you to boost and cut midrange bands with the same silky smoothness and personality of the original hardware while the EQP-1A imparts warm analog character to a single track or an entire mix — even when bypassed.
Teletronix LA-2A Classic Leveling Amplifier (Legacy)
With its gentle, program dependent optical compression and meticulously designed tube amplifier, the LA-2A is the go-to compressor for professional mixers around the world — especially for vocals. Incredibly easy-to-use Peak Reduction and Gain controls gives you the ideal optical compression sound for vocals, bass, drums and more.
CS-1 Precision Channel
Featuring the EX-1 EQ/Compressor, the DM-1 and DL-1L Delay Modulators, and the RS-1 Reflection Engine, the CS-1 Channel Strip provides all the tools you need for recording and mixing in one simple plug-in. With a unique smoothing algorithm for all controls and DSP conserving bypass switches built-in, the CS-1 packs a whopping punch into a small package.
RealVerb Pro
RealVerb Pro is a flexible, natural sounding reverb that is based on our own unique set of algorithms. Allowing you to design the room just as you hear it, the RealVerb Pro goes beyond the barriers of simply big/small or dark/bright, giving you our trademark, distortion-free, smoothing diffusion control and ultra-long reverb tail.

 


FAQ
Apollo Twin. Basics and FAQ.
What is Apollo Twin?

Apollo Twin is a high-resolution professional audio interface with superior sound quality and Realtime UAD Processing. It features built-in UAD-2 DSP Acceleration, which allows you to track, mix, and master with our full library of award-winning UAD Powered Plug-Ins with sub-2ms latency. Apollo Twin connects to modern Macs via Thunderbolt.

What kind of I/O does Apollo Twin have?

Apollo has two total analog inputs — selectable from two digitally controlled analog mic preamps / line inputs, or a front-panel high impedance instrument input on Channel 1. It has six total analog outputs, including two balanced line outs, two digitally-controlled analog monitor outs, and one dedicated stereo headphone out. It also features an Optical input, adding 8 digital channels of ADAT or two channels of S/PDIF.

How does the sound of Apollo compare to other audio interfaces?

In simple terms, much better. With the same circuitry as the original Apollo, Apollo Twin was designed for uncompromising sonic excellence. Every component, from its mic preamps to its converters, was carefully selected to provide both fidelity and transparency. To the point: Apollo Twin offers the lowest THD (total harmonic distortion) and widest dynamic range of any desktop interface — performing at or better levels than rackmount studio interfaces costing much more. 

What are UAD Powered Plug-Ins?

UAD Powered Plug-Ins are VST/AU/RTAS/AAX 64-compatible plug-ins that offer warm sonic qualities and character not found in other plug-ins. Our software engineering group includes some of the world’s leading DSP authorities, who undertake thorough physical modeling of classic audio hardware. This process means that we essentially “rebuild” classic analog gear in the digital world. So UAD plug-ins not only sound like the original vintage hardware; they behave like the original devices, even at extreme settings.

How many plug-ins can I run on Apollo Twin?

The exact number varies depending on the Apollo Twin model (UAD-2 SOLO or DUO), and the sample rate you're using. For a complete breakdown of UAD Powered Plug-Ins instance counts, check out the UAD Instance Chart.

How does recording/tracking with UAD Powered Plug-Ins on input differ from mixing with UAD plug-ins in my DAW?

Apollo Twin's included Console application is a virtual mixing console that enables you to insert UAD plug-ins as you record into your DAW (this is what we call "Realtime UAD Processing"). The Console application also has many powerful routing and monitoring capabilities that make collaborative recording sessions more seamless. Mixing and mastering with UAD plug-ins is the same as with any other UAD DSP Accelerator system. Simply pull up a plug-in in your DAW on the track you need, and you’re good to go. 

How do Unison mic preamp plug-ins work with Apollo’s built-in preamps?

Apollo’s mic preamplifiers are digitally controlled, and offer high-resolution, ultra-transparent translation from microphone to converter. While fantastic sounding on their own, these preamps are also designed as an ideal starting point to add processing color through new Unison mic preamp plug-ins.

Specifically, Unison mic preamp plug-ins control the analog impedance and gain structure of the Apollo’s physical mic preamps — so hardware and software works in tandem to very convincingly emulate classic tube and solid state preamp designs.

How do I use Unison plug-ins?

Simply insert the Unison mic preamp plug-in into the “Preamp” insert in the Apollo Console software. This enables near-zero latency recording with Mic, Line or Hi-Z inputs through the target preamp model(s). In addition to physical input impedance control of the Apollo’s hardware preamps, Unison allows tactile control of preamp parameters and gain staging.

I own UAD-2 hardware and/or Apollo 16. Can I still use Unison plug-ins?

Yes! Unison plug-ins can be used as standard UAD plug-ins inside your DAW of choice, or as realtime inserts in the Apollo Console. The Unison plug-ins are great for adding color and tone with any UAD-2 hardware, but the hardware preamp interaction is only possible on Apollo DUO, Apollo QUAD, and Apollo Twin (i.e., devices that have physical mic preamps).

Can I use virtual instruments with UAD plug-ins in real time?

Yes. Apollo Twin's Console has a feature called Virtual I/O. This feature allows you to route the output of a virtual (software) instrument, or any other DAW output, directly into Apollo’s Console application — enabling Realtime UAD Processing on these sources. 

Can I use Apollo Twin in a live performance situation?

Yes. Apollo Twin is a great solution for playing back prerecorded material from your DAW while also being able to process live sound with UAD plug-ins. 

What is the latency performance like on Apollo Twin?

With Apollo Twin, latency is basically indiscernible. For example, when recording four "stacked" UAD plug-ins on the input in real time, analog-to-analog latency at 96kHz comes in at 1.1 milliseconds. 

What DAW software does Apollo Twin work with?

We test and certify the most popular DAWs that our customers use, including Apple Logic, Avid Pro Tools, Ableton Live, and Steinberg Cubase/Nuendo. Visit the host applications page for details. 

Will Apollo Twin work with Pro Tools 11?

Yes! Apollo will work with Pro Tools 11, as well as Pro Tools 10. All of Apollo’s analog and digital I/O can be recorded and routed in Pro Tools, and UAD Powered Plug-Ins will work inside Pro Tools via their AAX-64 (PT11) or RTAS (PT10) plug-in format. 

What are the advantages of using Thunderbolt as opposed to FireWire?

In general terms, Thunderbolt is 12 times more powerful than FireWire 800, and 20 times more powerful than USB 2. Thunderbolt support gives Apollo ultra-fast UAD-2 PCIe performance running through a cable with no noticeable bandwidth limitations. 

Is Apollo Twin "True Thunderbolt"?

"True Thunderbolt" is a made-up term. Having said this, Apollo Twin uses PCIe drivers for all audio I/O and UAD plug-in processing; it does not use FireWire. PCIe audio drivers are also available for Thunderbolt-equipped Apollo DUO/QUAD and Apollo 16 interfaces as of UAD software v7.7.1. There is no "truer" Thunderbolt on the market.

Can Apollo Twin run on Bus Power?

No. Apollo Twin cannot receive power from the Thunderbolt bus. The external power supply is required.

Can I use multiple Apollo Twin units together in the same system?

No. Multi-Unit Cascading for Apollo Twin is not supported at this time.

Will Apollo Twin be Windows Compatible? 

UA has no announcements regarding Thunderbolt Windows Compatibility.

I own an Apollo (or Apollo 16). Can I use Apollo Twin on the same computer?

Not currently. Software for a Thunderbolt-equipped Apollo or Apollo 16 can be installed at the same time as Apollo Twin software, but the different Apollo models cannot be connected at the same time.

Can I use my Apollo Twin with UAD-2 Satellite or UAD-2 PCIe card?

Yes. Apollo Twin is compatible with other UAD devices as of UAD v7.7.1 (click for details)

Where can I find detailed technical information about Apollo Twin?

Complete technical details and the latest bulletins about Apollo compatibility and operation can be found on the Apollo Twin support page.

Got questions? Contact us at info@uaudio.com to find out more.


Reviews

Reviews

1 of 21
  • Rich Crescenti

    (SonicScoop)

    "Navigating the Apollo is effortless and intuitive … In no time at all, I was using the Apollo as though I raised it.”

    Sam Inglis

    (Sound on Sound)

    “These are promising beginnings for the Unison technology … and the 610 emulations certainly demonstrate what preamp modeling is capable of.”

    Sam Inglis

    (Sound on Sound)

    “… I can’t argue with UA’s claim that this is currently the best-sounding desktop interface on the market.”

    Dana Gumbiner

    (Tape Op)

    “The Apollo Twin is a perfect little desktop interface well suited for home recording, critical listening, mixing, overdubs – you name it.”

    Matt Vanacoro

    (Ask Audio Magazine)

    "After spending a couple of days with the Twin, it has become apparent that Universal Audio has created a really high quality piece of gear that they care a lot about. Everything about the Twin feels, looks and sounds wonderful."

  • Hollin Jones

    (Music Tech)

    "A serious little box that punches above its weight and offers excellent recording and monitoring capabilities as well as access to UAD's plug-in universe."

    Pro Tools Expert

    "If you are in the market for a new interface for your Thunderbolt-equipped Mac then you must check out the Apollo Twin, this is one of the easiest Editors Choice Awards I’ve ever had to give… it’s a bloody beautiful miracle!"

    Jono Buchanan

    (Future Music)

    "This is certainly the best-sounding of the interfaces this writer has reviewed around this price point...There's nothing not to love about this interface."

    Mitch Gallagher

    (Sweetwater Sound)

    "The Apollo Twin is a must-have in my opinion. It’s a great piece of gear."

    Mick Guzauski

    (Daft Punk, Mariah Carey, Eric Clapton)

    "[The Apollo] has probably some of the better preamps I've ever heard -- a lot of headroom and very quiet at high-gains. Also the converters; they're really just sweet sounding."

  • Andrew Scheps

    (Adele, Red Hot Chili Peppers, The Duke Spirit)

    "Holy sh*t! The Apollo is a motherf***er!"

    Hugh Robjohns

    (Sound on Sound)

    “…The Apollo is a very attractive proposition with no direct competition. It was well worth the wait…”

    Fab Dupont

    (Jennifer Lopez, Santigold, Mark Ronson)

    "I knew about the ingredients of Apollo, but this is truly a special dish. The Apollo just set a new standard of excellence for audio interfaces, in terms of both its sound and its feature set."

    The Glitch Mob

    "The Apollo is arguably the best I/O we've ever used, and we've tried them all. It has an incredibly clean, transparent and accurate sound."

    Buddy Miller

    (Robert Plant, Emmylou Harris, ABC's "Nashville")

    "[The Apollo] sounds great and the low latency is a big deal. I like being able to record through the UA plug-ins because they sound like the hardware.”

  • Eli Janney

    (Jet, Ryan Adams, Wilco)

    "[The Apollo] is one of my favorite pieces of gear that's come out in the past few years really. Now you have, in this one unit, so many features that people normally would have to buy multiple units for."

    Joey Waronker

    (Atoms for Peace, Beck, Other Lives)

    "The Apollo's ability to do low latency; I mean that's the whole ballgame right there."

    Neal Cappelino

    (Alison Krauss, Brad Paisley, Joan Osborne)

    "The idea that I can bring [the Apollo] with me and always have reliable mix platform is important to me."

    Justin Niebank

    (Taylor Swift, Keith Urban, Rascal Flatts)

    "The build on [the Apollo] construction-wise is unbelievable. It's head and shoulders above all the other interfaces that I've used in the price range, or even more expensive."

    Ariel Rechtshaid

    (Vampire Weekend, Usher, Plain White T's)

    "[The Apollo] allows me to record anywhere and get the funky analog sound that I love from traditional studios, in far less traditional locations."

  • Michael Romanowski

    (Jacqui Naylor, Third Eye Blind, Pat Monohan)

    "I know that all the hardware, the mic pres, and the converters that back [the Apollo] up are top quality and I can count on the sound. I know what I'm getting and I can appreciate that a lot."

    Darwin Grosse

    (Recording Magazine)

    “I can’t imagine anyone not finding the Apollo a great upgrade to an existing system. It’s solid, flexible, and sounds great regardless of the source material….Universal Audio gets an “A” grade in my book, and the Apollo is an easy recommendation.”

    Pro Audio Review

    “Apollo is, by all accounts, elite analog hardware wrapped around UA’s beloved UAD Powered Plug-ins.”

    DJ Richard Devine

    “I am totally blown away by the Apollo. Its stunning sound quality and the way you can use the UAD plug-ins in real-time is pure genius. It’s going to be the centerpiece of my new studio.”

    Ronnie Vanucci

    The Killers

    "The UAD plug-ins allow us [The Killers] to get into the wheelhouse of the sounds of yesteryear. It's another instrument in the band these days."

  • Jim James

    My Morning Jacket

    "The UAD Powered Plug-ins collection is such a great tool kit. So many tools under one roof and all at your fingertips in a fraction of a second."

    Craig Anderton

    Electronic Musician

    "…With seriously excellent build quality and sound quality, and it’s no wonder that Apollo has gotten so much attention from the cognoscenti.”

    Gareth Jones

    (Depeche Mode, Erasure, Grizzly Bear)

    "Along with the Apollo Interface, the Sonnox Oxford EQ allows me to do valuable sound sculpting when tracking. Thanks for another great tool."

    Greg Walker

    Audio Technology Magazine

    “The Apollo is a great standalone recording solution that gets high marks for its preamps, converters and groundbreaking combination of input Console and UAD-2 plug-in software."

    Mark Cousins

    (Music Tech UK)

    “…The Apollo is easily the most inspiring audio interface we’ve ever used…”

  • Ivan Barias

    (Musiq Soulchild, Faith Evans)

    “The UAD-2 is the 21st century musician's best friend."

    Darrell Thorp

    (Beck, Radiohead, Charlotte Gainsbourg)

    "Knowing the abilities of the DSP and the incredible quality and tonality of the plug-ins, the UAD-2 has become such a first response tool in my everyday recording and mixing."

    Peter Kirn

    Create Digital Music

    "It’s difficult to describe UA’s plug-ins until you’ve tried them. It’s a bit like having chocolate sauce at your disposal, sonically speaking."

    Garrett Haines

    (Tape Op Magazine)

    "Universal Audio’s achievements in capturing the sonics of equalization, transformers, and control interaction need to be recognized. This goes beyond software models; they’re getting to the heart of the gear."

    Matt Knobel

    (Lenny Kravitz)

    "The family of effects that I have with my UAD-2 is incomparable with any other when it comes to working in the box yet having an 'out of boxy experience'."

  • Jose Cancela & Amy Marie Beauchamp

    (HBO Sports, NFL, NBA)

    “The UAD-2 has time and time again given sterile samples warmth, depth and brilliance."

    Garrett "Jacknife" Lee

    (R.E.M., The Cars)

    "I @#$%ing love my UAD-2 card! Doing my first proper mix [The Cars] with it. Wow! How did i do without it?"

    Paul Moak

    (Third Day, Matthew Mayfield)

    "The flexibility is priceless and has won me over on UAD for life. Thanks for making a great product!"

    Hank Shocklee

    (Public Enemy)

    “I like to use the UAD plug-ins to their extremes and push them to get the crazy sound I use to set my productions apart."

    Greg Parkin

    (Capitol Studios & Mastering)

    “It is fitting that UA continues to provide a platform for our engineers to innovate."

  • Jono Buchanan

    Future Music (UK)

    "The accuracy & quality of [UA's] recent additions [shows] their recreations of classic hardware are only improving."

    Ivan Barias

    (Musiq Soulchild)

    "UAD is my new secret weapon in the studio. I get everything to sound the way I always wanted, way before the mixing."

    Ivan Barias

    (Keyshia Cole, 2Pac)

    "Before UAD life in the studio was like television before HD. Everything sounds incredibly detailed now."

    John Paterno

    (Los Lobos, Bonnie Raitt)

    "This [UAD-2] is a 'game changer' for me ... The sound, responsiveness, and detail [of the plug-ins] are great!"

    Nathaniel Kunkel

    (Lyle Lovett, Nirvana)

    "With the UAD-2, UA has provided something that I have been missing from my plugs for a long time: inspiration."

  • J.J. Blair

    (Rod Stewart, George Benson)

    "I was never into mixing completely in the box until I started using UAD cards ... I'm loving it more and more."

    Jim Dalrymple

    (The Loop)

    "[I use] the Fairchild Compressor, Neve 1081, Neve 1073, LA-2A and the 1176 Compressor. They all give you something different."

    Eli Janney

    (Wilco, Wheat)

    "I’m heavily into the [UAD-2] cards. They just sound really, really good ... the new cards give you a lot of horsepower."

    Jim Dalrymple

    (Macworld)

    "While there are a lot of plug-in choices [on the market], I have found none better than Universal Audio."

    Vance Powell

    (The Raconteurs, Jars of Clay)

    "The UAD-2 is the first plug-in set that replaces gear I own, hardware-wise, and that's a big deal."

  • John Baccigaluppi

    (TapeOp Magazine)

    "[With the UAD-2] ... everything worked perfectly with the sonic quality we’ve come to expect from the UAD series."

    Nathaniel Kunkel

    (Sting)

    "I use my UAD cards every time I mix ... the quality of the plug-ins make mixing 'in the box' not only easier, but really fun."

    Stuart Price

    (The Killers)

    "You judge [the UAD-2] by how many people you recommend it to, and everyone I have worked with has now gone and got one."

    Hank Shocklee

    (Public Enemy)

    "I can surely say that working with the UAD family of plug-ins has greatly increased the sound of my projects"

    David Grissom

    (Mellencamp, Buddy Guy)

    "The UAD-2 plug-ins have become the backbone of my mixes ... I've been able to eliminate my console altogether."

  • Gavin Monaghan

    (The Twang)

    "I'd never even think of tackling a session without UAD plug-ins."

    Rik Simpson

    (Coldplay)

    "The sound of the UAD software is the closest thing in analog modeling ... it actually sounds like the real gear."

    Ryan West

    (Kanye West, T.I., T-Pain)

    "I'm not sure what mathematical voodoo they do over there [at UA], but I like it and I won't mix without it."

    Frank Filipetti

    (Carly Simon)

    "I go to my UAD plug-ins just as naturally as I do any hardware ... UAD is now an essential part of my mixing arsenal"

    Nathaniel Kunkel

    (James Taylor, Lyle Lovett)

    "The thing that I feel no one's really talking about is that this [the UAD-2] is a paradigm shift."

  • Elliot Mazer

    (Neil Young)

    "I can mix anyplace with my UAD-2 SOLO/Laptop. I get to use the same UAD plug-ins on my portable that I use on my big MacPro."

    Ulrich Wild

    (Pantera)

    "The new UAD-2 cards are extremely powerful ... I completely abandoned analog gear for mixing and I rely heavily on this system"

    Frank Filipetti

    (Carly Simon, Korn)

    "I don't need anything else to mix with, other than the UAD plug-ins. Everything else I use is hardware."

    Frank Filipetti

    (James Taylor, Rod Stewart)

    “I wish more companies paid attention to what you guys are doing at UA ... it's right on the money."

    Charlie Clouser

    (NIN, "Saw" Soundtracks)

    "The UAD-2 provides so much DSP that I can really lay the plug-ins on thick without giving it a second thought"

  • Mark Cousins

    (Music Tech UK)

    …A completely integrated solution for recording and mixing powered by some of the best plug-ins money can buy.”

    Paul Moak

    (Third Day, Matthew Mayfield)

    "As an analog junkie and an audiofile, this [UAD-2] is the best of both worlds for me."

    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."

    Neil Mclellan

    (TapeOp)

    "I've recommended the UAD platform to all of my friends, and once they heard it, there was no looking back."

    John Paterno

    (Los Lobos, Bonnie Raitt)

    "The sound of these [UAD Powered Plug-Ins] will definitely change the way I approach mixing in the computer."

  • J.J. Blair

    (Rod Stewart, George Benson)

    "Way to go, Universal Audio! Thanks for helping me achieve the sounds in the box that I really want to hear."

    D. James Goodwin

    (The Bravery)

    "I decided to sell my hardware SPL TD4, and my vintage dbx 160 rack, because the UAD became my go-to choice. Bravo to UA"

    Ed MacFarlane

    (Friendly Fires)

    "[I use] the 6176 as my preamp & compressor, and I've been using the UAD plug-ins once the track's in the computer."

    Paul White

    (Sound On Sound)

    "[Cooper Time Cube, EMT 250, or FATSO] ... for the real vintage character, I don't think UA have any rivals at the moment."

    D. James Goodwin

    (The Bravery)

    "UAD plug-ins are my new benchmark for how processors should sound, look, and function.”

  • D. James Goodwin

    (The Bravery)

    "When I finally decided to try the UAD platform, I was immediately floored by the realism. These things sounded amazing."

    Paul White

    (Sound On Sound)

    "UA has given their UAD-2 platform extra appeal with yet more accurate recreations of classic studio hardware ..."

    Jim Dalrymple

    (The Loop)

    "I find that the UA plug-ins allow me to control that [dynamic] range of frequencies better than anything else."

    JR Hutson

    (Jill Scott, Musiq Soulchild)

    "[Once] I got the UAD Powered Plug-Ins, I can get things so much closer to what they're supposed to sound like."

    Roy Davis Jr.

    "A mix is not complete without UAD Powered Plug-Ins on it!!!"

  • Frederick Norén

    (Sound on Sound)

    "[For DSP-based systems]...the UAD2 platform is a good alternative, with great-sounding, humanely priced plug-ins."

    Justin Niebank

    (Keith Urban, Rascal Flatts)

    “[W]hen you came out with the UAD-2, I jumped on that, even before the software came out. I adore it.”

    Eli Crews

    (Electronic Musician)

    "With the UAD-2, Universal Audio has made one of the most attractive plug-in families even harder to live without."

    Cian Ciaran

    (Super Furry Animals)

    "[With the UAD-2] It's like having the right tools to do the right job ... Because you know all the gear's quality."

    Jason Blum

    (Remix Magazine)

    "The only thing better than UAD plug-ins is more of them."

  • Craig Anderton

    (EQ Magazine)

    "The UAD concept [is] the 21st century equivalent of a rack of special-purpose processors ... maybe even an entire mixer."

    Mike Senior

    (Sound on Sound)

    "Universal Audio are a force to be reckoned with in terms of the quality of their audio processing"

    Craig Anderton

    (Keyboard)

    "The UAD-2 is much more powerful than the original ... the UAD concept is no longer to just replace a few cool pieces of gear"

    Paul Vnuk, Jr.

    (Recording Magazine)

    "The UAD-2 ... is a huge improvement over everything that made the UAD-1 the leader in its class."

    Mike Senior

    (Sound On Sound)

    "UAD-2 is an enormous leap forward from the UAD-1"

  • Barry Rudolph

    (Mix Magazine)

    "The UAD-2 breaks all the UAD-1's limitations ... it's a dream come true for all DAW users.”

    Rob James

    (Resolution Magazine)

    "[UAD Powered Plug-Ins] have more character than many native or TDM plug-ins, while being a great deal more affordable."

    Craig Anderton

    (EQ Magazine)

    "It's the strikingly realistic, and musical, emulations of vintage (and not so vintage) gear [that hooks people on the UAD-2]."

    Future Publishing

    (MusicRadar.com)

    "Offering several times the power of the UAD-1, this powered plug-in system is very impressive."

    Andy Hong

    (TapeOp)

    "I'd have to say that the UAD plug-ins blow similar TDM plug-ins out of the water"

  • Jono Buchanan

    (Future Music UK)

    "It's now possible to turn your DAW into a full Neve console, for a fraction of the cost of a real desk."

    David Riggs

    "There is a God and he uses the UAD plugins. The best set of plug-ins anywhere. Period."

    Mike Senior

    (Sound on Sound)

    "The UAD-2 gives access to some of the best-sounding analogue emulation plug-ins available ... a mouth-watering prospect."

    Matt Boudreau

    (Keith Urban)

    "The bottom line is, it's got so much more power ... it allowed me to use whatever plug-in I wanted, whenever I wanted"

    Carmen Rizzo

    "I make a living with the UA plug-ins, because I use them every single day on every session."

  • Geoff Sanoff

    (Pro Sound News)

    "I keep saying to people that plug-ins are only going to get better, and UAD keeps proving me right."

    Matt Knobel

    (Lenny Kravitz)

    "With the UAD-2 , you put it on and it sounds like a Fairchild. It makes it so much easier to get what you're looking for."

User Ratings

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Average Rating (206 Reviews)
    • 1 Star
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    • 5 Star
    Great possibilities.
    by B. Leigh (Saturday 28 June, 2014)

    Great hardware and software. Some of the best plugins I've heard, period. Unfortunately I'm not wealthy and can't afford to upgrade the plugins enough to get anywhere near the full effect. Not happy that the supplied native compressors are chum when I can afford the better ones, that really pains so … Read More

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    • 4 Star
    • 5 Star
    Apollo Twin
    by P. Barringer (Tuesday 18 February, 2014)

    Simply Amazing and easy to use, Having the thunderbolt connectivity is a real bonus. … Read More

    • 1 Star
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    • 3 Star
    • 4 Star
    • 5 Star
    Far exceeded my expectations
    by M. Scherchen (Monday 17 February, 2014)

    Bought as a replacement for my Apogee Duet to use my old UAD plugins. The Apollo Twin totally exceeded my expectations. Perfect form factor for my desktop and the ability to insert UAD plugins live on my latency-free input is by FAR the biggest plus for this hardware. I can't overemphasise how cool … Read More

    • 1 Star
    • 2 Star
    • 3 Star
    • 4 Star
    • 5 Star
    Best bundle out there
    by H. Tarvenkorn (Monday 17 February, 2014)

    As a singer-songwriter/musician, aspiring home-recordist or a pro engineer travelling light you can't really wish for more. I have gone through various interfaces: Motu 828 MKII, Apogee Ensemble, Focusrite LS56 and Apogee Duet2. The quality of conversion and the clarity of monitoring has nowhere bee … Read More

    • 1 Star
    • 2 Star
    • 3 Star
    • 4 Star
    • 5 Star
    Don't let the size fool you!
    by K. Hughes (Saturday 8 February, 2014)

    Everything about this unit KICKS ASS!! The sound quality, build quality, & the thought & attention to detail that went into this product is astounding to me! The installation was simple on my Early 2011 MacBook Pro W/10.9 Mavericks. The ease of use and navigating is a pleasure & very easy to get aro … Read More


Features & Specs
Apollo Twin. Features.
Key Features
  • Desktop 2x6 Thunderbolt audio interface with world-class 24-bit/192 kHz audio conversion
  • Realtime UAD Processing for tracking through vintage Compressors, EQs, Tape Machines,
    Mic Preamps, and Guitar Amp plug-ins with near-zero (sub-2ms) latency
  • Thunderbolt connection for blazing-fast PCIe speed and rock-solid performance on
    modern Macs
  • Unison™ technology offers stunning models of classic tube and transformer-based
    mic preamps
  • Two premium mic/line preamps; Two line outputs; front-panel Hi-Z instrument input
    and headphones output
  • Two digitally controlled analog monitor outputs for full resolution at all listening levels
  • Up to eight channels of additional digital input via Optical connection
  • Uncompromising analog design, superior components, and premium build quality
  • Runs UAD Powered Plug-Ins via Audio Units, VST, RTAS & AAX64 in all major DAWs
Audio Interface
  • Sample rates up to 192 kHz* at 24-bit word length
  • Up to 10 x 6 simultaneous input/output channels
    • Two channels of analog-to-digital conversion via:
      • Two balanced mic/line inputs
      • One Hi-Z instrument input
    • Six channels of digital-to-analog conversion via:
      • Digitally-controlled stereo monitor outputs
      • Stereo headphone outputs
      • Line outputs 3-4
    • Up to eight channels of digital inputs via:
      • Eight channels ADAT optical with S/MUX for high sample rates, or
      • Two channels S/PDIF optical with sample rate conversion
  • 64-bit device drivers
  • PCIe audio drivers
Microphone Preamplifiers
  • Two high-resolution, ultra-transparent, digitally-controlled analog mic preamps
  • Front panel and software control of all preamp parameters
  • Low cut filter, 48V phantom power, 20 dB pad, polarity inversion, and stereo linking
Monitoring
  • Digitally-controlled analog monitor outputs maintains highest fidelity
  • Independently-addressable stereo headphone outputs
  • Independently-addressable line outputs 3-4 can be used for additional cue mix
  • Front panel control of monitor levels and muting
UAD-2 Inside
  • One (SOLO) or two (DUO) SHARC DSP processors
  • Realtime UAD Processing on all analog and digital inputs
  • Same features and functionality as other UAD-2 devices when used with DAW
  • Includes UAD Powered Plug-Ins “Realtime Analog Classics” bundle
  • Complete UAD Powered Plug-Ins library is available online
Software
Console application:
  • Enables tracking and/or monitoring with Realtime UAD Processing
  • Remote control of Apollo Twin features and functionality
  • Virtual I/O for routing DAW tracks through Console
  • Two independent stereo Auxiliary busses
Console Recall plug-in:
  • Saves Apollo Twin configurations inside DAW sessions for easy recall
  • Facilitates control of Apollo Twin monitoring features from within the DAW
  • VST, RTAS, AAX 64, and Audio Units plug-in formats
UAD Meter & Control Panel application:
  • Configures global UAD settings and monitors system usage
Other
  • Attractive and durable desktop form factor
  • Locking power supply prevents accidental disconnection
  • Easily updateable firmware
  • One year warranty includes parts and labor

 

Apollo Twin. System Requirements.

 

  • Apple Mac computer with available Thunderbolt port
  • Mac OS X 10.8 Mountain Lion or 10.9 Mavericks
  • Internet connection to download software and authorize UAD plug-ins
  • Compatible VST, Audio Units, RTAS, or AAX 64 plug-in host application software
  • 2 gigabytes available disk space
  • Thunderbolt cable (sold separately)

 

Apollo Twin. Specifications.

 

All audio specifications are typical performance unless otherwise noted, tested under the following conditions: 48 kHz internal sample rate, 24-bit sample depth, 20 kHz measurement bandwidth, with balanced inputs and outputs.

System
  • I/O Complement
    • Microphone Inputs Two
    • Analog Line Inputs Two
    • Hi-Z Instrument Inputs One
    • Analog Line Outputs Two (independent mix buses)
    • Analog Monitor Outputs Two (one stereo pair, independent L/R mix buses)
    • Headphone Outputs One stereo pair (independent L/R mix buses)
    • Digital Input Port (TOSLINK optical) One (ADAT or S/PDIF, selectable)
    • Thunderbolt Port One (Thunderbolt 2 compatible)
  • A/D – D/A Conversion
    • Supported Sample Rates (kHz) 44.1, 48, 88.2, 96, 176.4, 192
    • Bit Depth Per Sample 24
    • Simultaneous A/D conversion Two channels
    • Simultaneous D/A conversion Six channels
    • Analog Round-Trip Latency 1.1 milliseconds @ 96 kHz sample rate
    • Analog Round-Trip Latency with up to four serial UAD Powered Plug-Ins via Console application 1.1 milliseconds @ 96 kHz sample rate
Analog I/O
  • Line Inputs 1 & 2
    • Jack Type (combo mic/line balanced inputs) Female ¼” TRS Balanced
    • Dynamic Range (A–weighting) 117.5 dB
    • Signal-to-Noise Ratio (A–weighting) 117.5 dB
    • Total Harmonic Distortion + Noise –108 dBFS
    • Common-Mode Rejection Ratio (CMRR) Greater than 60 dB (10’ cable)
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Input Impedance 10K Ohms
    • Gain Range +10 dB to +65 dB
    • Maximum Input Level (@ Minimum Gain)18 dBV
    • Maximum Input Level (@ Maximum Gain) –37 dBV
    • Stereo Level Balance ±0.05 dB
  • Microphone Inputs 1 & 2
    • Jack Type (combo mic/line balanced inputs) Female XLR Balanced (pin 2 positive)
    • Phantom Power (switchable per input) +48V
    • Dynamic Range (A–weighting) 118 dB
    • Signal-to-Noise Ratio (A–weighting) 118 dB
    • Total Harmonic Distortion + Noise –110 dBFS
    • Equivalent Input Noise –127 dB
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Common-Mode Rejection Ratio (CMRR) Greater than 70 dB (10’ cable)
    • Default Input Impedance 5.4K Ohms (variable via Unison preamp model)
    • Gain Range +10 dB to +65 dB
    • Pad Attenuation (switchable per input) 20 dB (variable via Unison preamp model)
    • Maximum Input Level (@ Minimum Gain, with Pad) 23.8 dBV
    • Maximum Input Level (@ Maximum Gain, with Pad) –31.2 dBV
  • Hi-Z Input
    • Jack Type Female ¼” TS Unbalanced
    • Dynamic Range (A–weighting) 117 dB
    • Signal-to-Noise Ratio (A–weighting) 117 dB
    • Total Harmonic Distortion + Noise –101 dBFS
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Input Impedance 1M Ohms
    • Maximum Input Level (@ Minimum Gain) 10 dBV
    • Maximum Input Level (@ Maximum Gain) –45 dBV
  • Line Outputs 3 & 4
    • Jack Type ¼” Female TRS Balanced
    • Dynamic Range (A–weighting) 118 dB
    • Signal-to-Noise Ratio (A–weighting) 118 dB
    • Total Harmonic Distortion + Noise –107 dBFS
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Stereo Level Balance ±0.05 dB
    • Channel Separation Greater than 120 dB
    • Output Impedance 600 Ohms
    • Maximum Output Level 18 dBV
  • Monitor Outputs 1 & 2
    • Jack Type ¼” Female TRS Balanced
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Dynamic Range (A–weighting) 115 dB
    • Signal-to-Noise Ratio (A–weighting) 115 dB
    • Total Harmonic Distortion + Noise –105 dBFS
    • Channel Separation Greater than 118 dB
    • Stereo Level Balance ±0.05 dB
    • Output Impedance 600 Ohms
    • Output Gain Range –96 dB to 0 dB
    • Maximum Output Level 18 dBV
    • Operating Reference Level +14 dBu, +20 dBu (selectable)
  • Stereo Headphones Output
    • Jack Type ¼” Female TRS Stereo (unbalanced)
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Dynamic Range (A–weighting) 113 dB
    • Signal-to-Noise Ratio (A–weighting) 113 dB
    • Channel Separation Greater than 110 dB
    • Total Harmonic Distortion + Noise –101 dBFS
    • Stereo Level Balance ±0.11 dB
    • Output Impedance 10 Ohms
    • Output Gain Range –INF to 0 dB
    • Maximum Output Power 80 milliwatts into 600 Ohms
Digital I/O
  • S/PDIF
    • Connector Type Optical TOSLINK JIS F05 (shared with ADAT)
    • Format IEC958
    • Supported Sample Rates (kHz) 44.1, 48, 88.2, 96
    • S/PDIF Input Channels Two (Stereo L/R)
  • ADAT
    • Connector Type Optical TOSLINK JIS F05 (shared with S/PDIF)
    • Format ADAT Digital Lightpipe with S/MUX
    • Supported Sample Rates (kHz) 44.1, 48, 88.2, 96, 172.4, 192
    • ADAT Input Channels @ 44.1 kHz, 48 kHz 1 – 8
    • ADAT Input Channels @ 88.2 kHz, 96 kHz 1 – 4 (S/MUX)
    • ADAT Input Channels @ 176.4 kHz, 192 kHz 1 – 2 (S/MUX)
  • Clock Synchronization Sources
    • Internal, S/PDIF, ADAT (digital clock sync source conditional per selected digital input type)
Electrical
  • Power Supply External AC to DC
  • AC Connector Type Changable blades (UL, VDE, UK, SSA, CCC)
  • AC Requirements 100V – 240V AC, 50 – 60 Hz
  • DC Connector Type Male plug, 2.1 mm x 5.5 mm, center positive
  • DC Requirements 12 VDC, ±5%
  • Maximum Power Consumption 12 Watts
Environmental
  • Operating Temperature Range 32º to 95º Farenheit (0º to 35º Celcius)
  • Storage Temperature Range –40º to 176º Farenheit (–40 to 80º Celcius)
  • Operating Humidity Range 20% to 80%
Mechanical
  • Dimensions
    • Width 6.31”
    • Height 2.60”
    • Depth, Chassis Only 5.86”
    • Depth, Including Knob & Jack Protrusions 6.20”
    • Shipping Box (Length x Width x Height) 8” x 8” x 5.5” (20.32cm x 20.32cm x 13.97cm)
  • Weight
    • Shipping Weight (with box & accessories) 3.85 pounds
    • Weight (bare unit) 2.35 pounds
  • Package Contents
    • Apollo Twin Unit (SOLO or DUO)
    • External Power Supply with (4) changeable AC connectors supporting USA, Europe, UK, Australia, China
    • URL Card

Docs

Apollo Twin Support Page

Apollo Twin Hardware Manual

UAD Plug-Ins Manual

UAD System Manual

Apollo Software Manual

UA Product Catalog.pdf