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Customer Reviews 589 Reviews

4.63 out of 5 stars

by T. Zmuda (1/27/2014):

I was pretty dead set on the Apogee Symphony due to the reputation of the converters and the ex ... Read more

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Overview
Apollo. High-Resolution Music Production
with Classic Analog Sound.
With its class-leading resolution and Realtime UAD Processing, Apollo sets a new standard for music production. This 18 x 24 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
  • 18 x 24 Thunderbolt /FireWire audio interface for Mac and Windows 7*
  • Realtime UAD Processing for low-latency (sub-2ms) tracking and mixing w/ UAD Powered Plug-Ins**
  • Full recall of interface and Realtime UAD plug-in settings within DAW sessions
  • 8 analog inputs: 4 digitally controlled analog mic preamps; 8 balanced line inputs
  • 14 analog outputs: 8 balanced line outs; 2 digitally-controlled analog monitor outs; 2 dedicated stereo headphone outs
  • 10 channels of digital I/O: 8 channels of ADAT; 2 channels S/PDIF; Wordclock I/O
  • Dual FireWire 800 ports, plus Thunderbolt 2 for connectivity to new Macs
  • Available in DUO Core and QUAD Core processor models
  • Includes “Realtime Analog Classics Plus” plug-in bundle
  • Multi-Unit Cascading allows combining two Apollos for 16 analog inputs/outputs and 12 digital inputs/outputs
  • New Unison™ technology for stunning models of classic mic preamps**


Class-Leading 24-bit/192 kHz Sound Quality
Designed to play a central role in a modern Mac- or Windows 7-based studio, Apollo incorporates an uncompromising approach to audio quality. Building upon decades of UA hardware heritage, it offers extremely high-resolution sound, with the lowest THD and highest dynamic range in its class. Apollo’s four premium mic preamps, top-end converters — and UA’s meticulous attention to circuit design — translate into greater accuracy in your recordings, from tracking and overdubbing, to mixing and mastering. In fact, its sound quality is on par with dedicated converters costing thousands more.

Realtime UAD Plug-In Processing for
Tracking, Mixing, and Mastering
While Apollo’s “natural” sound is exceedingly open and transparent, it can quickly deliver a wide range of classic analog tones and color via its Realtime UAD Processing. Available with either DUO Core or QUAD Core processing onboard, Apollo’s onboard DSP Acceleration allows for recording through UAD Powered Plug-Ins — with as low as sub-2ms latency — so that producers can quickly monitor, audition, and “print” audio using classic analog emulations from Ampex, Lexicon, Manley, Neve, Roland, SSL, Studer, and more (sold separately). Better still, Apollo's Realtime UAD Processing is also available during mixing and mastering, so that music producers can use UAD plug-ins (VST, RTAS, AU, AAX 64) throughout the creative process.

Track Through Classic Mic Preamps Using Unison™ Technology

High-speed Thunderbolt Connection to
your Mac

 

Unison technology allows Apollo’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.
Apollo offers compatibility with Thunderbolt 2 technology on Macs. Thunderbolt provides greater UAD plug-in instances, improved performance at high sample rates, and reduced UAD plug-in latency.

 

Because Thunderbolt offers many times the bandwidth of FireWire, it allows studios to connect numerous devices in series with the Apollo interface — including hard drives, processors, and additional computer monitors — all with fast, flawless performance.


Hardware Design and Workflow
One key feature of Apollo isn’t really a “feature” at all. It’s the numerous design details that give you a fast, natural workflow — and better results. There are physical front-panel controls for all the most commonly used features, including Preamp and Monitor level knobs, channel selection, mic pad and low cut, phantom power, and dual headphone outs with independent level control. Smart Hi-Z inputs on the front panel detect when you've connected your guitar or bass, and automatically enable hardware and software monitoring.

Console Application and Console Recall Plug-In
The Console application is Apollo’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 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 settings, even months and years after you last opened your session.

Deeper Integration with Pro Tools,
Logic, Cubase and More
Apollo’s Core Audio and ASIO drivers ensure compatibility with all major DAWs, including Pro Tools, Logic Pro, Cubase, and more. The included Console application and companion Console Recall plug-in (VST, AU, RTAS, AAX 64) provide control and recall of all interface and Realtime UAD plug-in settings within your DAW sessions, even months and years later. A new “PT Mode” allows easier insertion of external hardware in Pro Tools, and a new Virtual I/O feature allows Realtime UAD Processing of DAW tracks and virtual instruments.

 

* Requires Windows 7 64-bit edition operating system and a qualified PCIe-to-FireWire adaptor. Thunderbolt option is Mac-only.
** All trademarks are recognized as property of their respective owners. Individual UAD Powered Plug-Ins sold separately.

Hardware
Apollo. Built to Record. 
Front & Rear Panels

The Apollo interface places all the most commonly used recording and monitoring features right on the front panel, for fast, direct access. Similarly, its rear panel provides all the dedicated, high-quality I/O needed for a typical production studio.

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Basic Setup

This diagram illustrates a simple Apollo setup that might be used by an individual musician/engineer for recording guitar and vocals simultaneously.

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Key points for this example:
  • Two preamp channels are used (electric guitar and microphone)
  • Mic/Line switch for channel 2 is set to “Mic”
  • Monitor outputs are connected to powered monitors (or an amp+speaker system)

 

Typical Setup

This diagram illustrates an Apollo setup that might be used by two musicians that are recording simultaneously. In this setup, only analog devices are connected; digital I/O is not used.
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Key points for this example:
  • Mic/Line switch for channels 3 and 4 are set to “Mic”
  • Unique mixes can be sent to each headphone output for “more me” during tracking

 

Advanced Setup w/ Additional UAD-2 Satellite Processing

This diagram illustrates a more complex Apollo setup that might be used for recording an entire ensemble, utilizing both analog and digital I/O.

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Key points for this example:
  • Mic/Line switch for channels 3 and 4 are set to “Mic”
  • Four additional mic preamps from UA’s 4-710d are routed into Apollo via ADAT Lightpipe
  • UAD-2 Sattelite is connected via FireWire, allowing for additional UAD Powered Plug-In processing
  • Apollo is the master clock device; the 4-710d clock source is set to external word clock and the 4-710d Termination switch is engaged

Software
Realtime Analog Classics Plus Bundle

 

With the Realtime Analog Classics Plus plug-in bundle, you not only get legendary compressors such as the Fairchild 670 Legacy and EQs like the Pultec EQP-1A Legacy, but also stunning guitar and bass amp emulations from Softube, as well as UA’s landmark 610-B Tube Preamp and EQ plug-in.
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.
Fairchild 670 (Legacy)
The world’s most coveted compressor, the classic Fairchild 670 tube limiter will give your tracks and mixes unmistakable tube warmth and character. Whether you’re looking for subtle compression on a lead vocal, or grittier textures that can work on guitars, bass, or a drum bus, the Fairchild 670 plug-in will add a classic “glow” to anything you run through it.
UA Precision Enhancer Hz
Expertly dial-in your music’s low-end frequencies with the Precision Enhancer Hz plug-in. Able to yield exacting results with minimal adjustment, the Precision Enhancer Hz can add weight to kick drum samples, fatten up a synth bass, or simply make the low-end of your tracks more audible on smaller speakers.

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. Basics and FAQ
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Apollo High Resolution Audio Interface
What is Apollo?

Apollo is a high-resolution professional audio interface with superior sound quality and Realtime UAD Processing onboard. It features built-in UAD-2 DSP Acceleration, which allows Apollo to track, mix, and master with our full library of award-winning UAD Powered Plug-Ins with nearly instant sub-2ms latency. Apollo connects to the computer via FireWire 800, and also has Thunderbolt connectivity via the Thunderbolt Option Card.

Apollo was designed to give users the feel and flow of analog recording, while maintaining the benefits of mixing and mastering in a digital audio workstation (DAW). Its included software turns Apollo into a fully-functioning mixing console and allows users to control its hardware settings remotely, solving longstanding studio workflow and monitoring annoyances.

What kind of analog and digital I/O does Apollo have?

Apollo has 8 total analog inputs — 4 digitally controlled analog mic preamps, 8 balanced line inputs, and 2 front-panel JFET DIs. It has 14 total analog outputs – 8 balanced line outs, 2 digitally-controlled analog monitor outs, and 2 dedicated stereo headphone outs. In terms of digital I/O, Apollo has 8 channels of ADAT S/MUX, 2 channels of S/PDIF, and Word Clock I/O with an input termination switch.

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

In simple terms, much better. As the first audio interface to carry the Universal Audio name, Apollo was designed for uncompromising sonic excellence. Our hardware engineering team called upon years of UA analog experience throughout the design process.  And every component, from Apollo's mic preamps to its converters, was carefully selected to provide both fidelity and transparency. So we can comfortably state that Apollo offers the lowest THD (total harmonic distortion) and widest dynamic range of anything in its class — performing at or better than interfaces costing far more. 

What are UAD Powered Plug-Ins?

UAD Powered Plug-Ins 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, at even the most extreme settings. UAD Powered Plug-Ins are available for purchase individually via our Online Store.

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Record with UAD-2 Plug-Ins
with Apollo’s Realtime UAD Processing.
What is the latency performance like on Apollo?

With Apollo, 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. Of course, 1.1 ms is not an uncommon spec when compared to other professional audio interfaces, however it is unheard of to get that level of latency performance when tracking with plug-ins. With its onboard Realtime UAD Processing, Apollo can retain its low-latency performance even in large sessions, and you can leave your computer at a buffer setting that it can handle.

Does Apollo come with any UAD Powered Plug-Ins?

Yes! The Apollo ships with the Analog Classics bundle, which includes Legacy versions of the 1176LN, 1176SE, Teletronix LA-2A, Pultec EQP-1A & UA RealVerb (a $400 value). Every Apollo also includes a $100 coupon that can be used for UAD plug-in purchases via UA’s Online Store. You will also have access to fully functioning 14-day demos for all UAD Powered Plug-Ins.

How many plug-ins can I run on Apollo?

The number varies depending on the Apollo model (DUO Core or Quad), the sample rate you're using, as well as how many FireWire devices are on the bus. For a complete breakdown of UAD Powered Plug-Ins instance counts, check out the UAD Instance Chart.

How much onboard UAD Processing power does Apollo have?

Apollo is available in a DUO Core (with two Analog Devices SHARC processor chips) and a QUAD Core version (with four SHARC chips). If you are looking for a great-sounding audio interface but don’t think you’ll need a ton of simultaneous UAD plug-ins, the DUO has enough power for tracking and mixing. If you want to run a lot of plug-ins simultaneously, or at higher samples rates (88.2kHz and above), the QUAD is the better solution.

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

Apollo’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.

Also, by recording "wet" with Realtime UAD Processing via Console, valuable DSP resources are made available during mixing that would have otherwise been used to process the "raw" tracks in the DAW.

Have all of the UAD Powered Plug-Ins been updated to work in low latency?

Generally, all UAD plug-ins have been ported to work for tracking, however some of our mastering plug-ins, especially the Precision Multiband and the Ampex ATR-102 Mastering Tape Recorder, have some delay due to their algorithms and up-sampling techniques. Plug-ins like these are not ideal for low latency tracking, but can of course be used.

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Apollo features 18x24 channels of analog and digital I/O
I understand that I can plug microphones, guitars, and line-level devices into Apollo and get low-latency performance, but what about using virtual instruments with UAD plug-ins in real time?

As of UAD software v7.0, both Apollo and Apollo 16 have a feature called Virtual I/O. This feature allows you to route the output of a virtual (software) instrument, or any other DAW track, directly into Apollo’s Console application — adding Realtime UAD plug-ins to these sources. Virtual I/O reduces the inherent latency associated with UAD plug-ins inserted on a virtual instrument or other track in the DAW.

For hardware synthesizers and other electronic musical instruments, just plug in to Apollo’s line, Hi-Z, or digital inputs, and enjoy Realtime UAD plug-ins like you would a microphone or other line-level device.

Can I use Apollo in a live performance situation?

Apollo is a great solution for playing back prerecorded material from your DAW while also being able to process live sound with UAD plug-ins. Imagine being able to use a Lexicon 224 Digital Reverb as your reverb onstage, or adding an LA-2A Compressor on your vocals to front of house instantly, or adding creative effects like the Roland RE-201 Space Echo to your guitar in a live performance. This is all possible with Apollo.

I already own a UAD-2 DSP Accelerator system, can I add Apollo to that system?

Yes. Apollo works just like any other UAD-2 PCIe, Satellite or SOLO Laptop card. One license of UAD Powered Plug-Ins can run on up to 4 devices, but they all must be registered in the same account “group.” By adding Apollo to your group, you can take your plug-ins wherever you take Apollo, such as recording and mixing sessions in other studios.

Will multi-tracking with UAD Powered Plug-Ins cause the inputs to lose phase coherency?

Apollo has input delay compensation to ensure that all inputs are phase-aligned. You can initiate input delay compensation from the Settings menu of the UAD Console application. This feature ensures that all of your inputs are phase-aligned when recording multi-channel material like drums, or when using multi-micing techniques. If you are not recording multi-channel material, turn input delay compensation off.

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Record, monitor, and route audio
with the included Console application.
What DAW software does Apollo work with?

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

Will Apollo work with Pro Tools 10?

Yes! Apollo will work with Pro Tools 10, as well as Pro Tools 9. All of Apollo’s 18x24 channels of 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 RTAS plug-in format.

Is Pro Tools 11 AAX support available?

Yes. You can read more here. 

How does Apollo work on Windows?

Apollo works with Windows 7 64-bit editions using a qualified PCIe-to-FireWire 800 adaptor. Because of widespread variance between PC manufacturers, the built-in FireWire ports on Windows computers are not supported.

Other than the obvious I/O functionality of Apollo, are there any other special integration features with my DAW?

For seamless integration with your DAW, we’ve created the Console Recall plug-in, which works inside your DAW to give you control and recall of Apollo’s key functions, including source selection and monitor levels. Everything inside this VST/AU/RTAS-compatible plug-in is stored within the DAW session, and any of your Console application presets can be instantly recalled with the push of a button. Using Console Recall, the entire Console configuration can be instantly reloaded whenever the session is loaded.

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Apollo’s Console Recall plug-in.
Does Apollo allow for daisy chaining to other Firewire devices?

Yes, you can connect any mixture of Firewire 400 and Firewire 800 devices to Apollo. To run the greatest number of plug-in instances, a direct Firewire 800 connection should be made between Apollo and the host computer. Apollo has two Firewire 800 ports to facilitate daisy chaining.

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. So, in simple terms, you’ll be able to run many more plug-ins with lower latency inside your DAW versus FireWire. 

So can I use multiple Apollo units together in the same system?

Yes, you can combine two Apollo interfaces into a single elegant system via FireWire or Thunderbolt. Multi-unit cascading provides simultaneous use of 16 analog inputs / outputs, including eight Apollo mic preamps, plus 12 digital inputs and outputs — perfect for tracking a full band.

Can I use an original Apollo and an Apollo 16 together in the same computer?

No, combining the original Apollo and the Apollo 16 in a single system is not supported. It is therefore better to build a system with two Apollo 16s, or two original Apollo units. You should not “mix and match” Apollo and Apollo 16 devices.

How do I add Thunderbolt to Apollo?

Apollo has a dedicated Thunderbolt option card slot for installing the UA Thunderbolt Option Card (sold separately) and is compatible with Thunderbolt-equipped iMacs, Macbook Pros, Macbook Airs, and Mac minis.

Does the UA Thunderbolt option card supply bus power?

The Thunderbolt Option Card supplies bus power to downstream devices. It does not power Apollo; the included Apollo power supply is required to operate the interface at all times.

Where can I find detailed technical information about Apollo?

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

There is also a great forum pro review of Apollo on Harmony Central, moderated by Craig Anderton, that discusses the various usage scenarios and applications of Apollo.  

Got questions? Contact us by Submitting a Help Request.


Reviews

Reviews

1 of 19
  • 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."

  • 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."

  • 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."

    Pro Audio Review

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

    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.”

    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."

    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."

    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.”

    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'."

    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!"

    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?"

    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."

    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."

    Ivan Barias

    (Keyshia Cole, 2Pac)

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

    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."

    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."

    Jim Dalrymple

    (Macworld)

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

    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."

  • 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."

    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"

    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."

    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."

    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."

  • 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."

    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"

    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."

    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."

    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."

    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 ..."

    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."

    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."

    Jim Dalrymple

    (The Loop)

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

  • Roy Davis Jr.

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

    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.”

    Frederick Norén

    (Sound on Sound)

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

    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."

    Jason Blum

    (Remix Magazine)

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

  • 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."

    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"

  • Craig Anderton

    (EQ Magazine)

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

    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]."

    Barry Rudolph

    (Mix Magazine)

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

    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."

    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."

    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"

User Ratings

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Average Rating (589 Reviews)
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    Just what I needed
    by T. Zmuda (Monday 27 January, 2014)

    I was pretty dead set on the Apogee Symphony due to the reputation of the converters and the expansion options. However after A/B'ing the two, I decided to pick up an Apollo Duo (slightly more "open" field of depth IMO). The I/O options are just enough and if I ever need more in the future, the dais … Read More

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    Apollo - Em Portugues - Brazil
    by B. Brito (Saturday 17 November, 2012)

    Infelizmente tenho que usar o delay compensation do protools com os plugs da UAD para compensar os muitos atrasos dos plugins,e não estar conseguindo usar minha project mix como controladora por estar conflitando com a Apollo quad... mas do resto achei a melhor compra minha dos ultimos tempos e cre … Read More

    • 1 Star
    • 2 Star
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    • 5 Star
    Yes, it's all true
    by A. Williams (Wednesday 22 August, 2012)

    The Universal Audio Apollo is everything the buzz has promised - powerful processing, pristine audio, straight forward operation. Easily configures with DAW (I'm running Nuendo 5), and the dual headphone outputs coupled with the Console app, make it a breeze to move from tracking to editing and mixi … Read More

    • 1 Star
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    • 5 Star
    The best recording unit ever!!!
    by M. Gustavsson (Monday 20 August, 2012)

    It has it all. I was surprised as soon i heard the sound quality. Open, clear and I can hear where everything is placed in the sound field. The mic pres are excellent. They sound comparable to a lot more expensive pres out there on the market. The fact that I can record direct with a plu … Read More

    • 1 Star
    • 2 Star
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    • 5 Star
    by R. Andersen (Wednesday 8 August, 2012)

    This piece of gear has revitalised everything in the studio. It just makes all recording session fluent and efficient. The pre-amps are ultra clean and make everything sparkle and that combined with the UAD plugin DSP processing and the console gives super control of the sessions. I look forward to … Read More


Features & Specs
Apollo. Features & Specs.
Audio Interface
  • Sample rates up to 192 kHz at 24-bit word length
  • 18 x 24 simultaneous input/output channels:
    • Eight channels of analog-to-digital conversion via mic, line, or high-impedance inputs
  • 14 channels of digital-to-analog conversion via:
    • Eight mono line outputs
    • Stereo monitor outputs
    • Two stereo headphone outputs
  • 10 channels of digital I/O via:
    • Eight channels ADAT Optical I/O with S/MUX for high sample rates
    • Two channels coaxial S/PDIF I/O with sample rate conversion
    • Two FireWire 800 ports for daisy-chaining other FireWire devices
  • 32-bit and 64-bit device drivers
Microphone Preamplifiers
  • Four high-resolution, ultra-transparent, digitally-controlled analog mic preamps
  • Front panel and software control of all preamp parameters
  • Switchable low cut filter, 48V phantom power, 20 dB pad, polarity inversion, and stereo linking
Monitoring
  • Stereo monitor outputs (independent of eight line outputs)
  • Digitally-controlled analog monitor outputs maintains highest fidelity
  • Front panel control of monitor levels and muting
  • Two stereo headphone outputs with independent mix buses
  • Independent front panel analog volume controls for headphone outputs
  • Front panel pre-fader metering of monitor bus levels
  • S/PDIF outputs can be set to mirror the monitor outputs
Onboard UAD-2 Processing
  • DUO and QUAD models featuring two or four SHARC processors
  • Realtime UAD Powered Plug-Ins processing on all of Apollo’s analog and digital inputs
  • Same features and functionality as other UAD-2 products when used with DAW
  • Can be combined with other UAD-2 devices for increased mixing DSP
  • Includes UAD Powered Plug-Ins “Analog Classics Plus” bundle
  • Complete UAD Powered Plug-Ins library is available online 24/7
Software
  • Console application:
    • Enables Realtime UAD Powered Plug-Ins processing
    • DSP mixer for realtime monitoring and tracking
    • Remote control of all Apollo features and functionality
  • Console Recall plug-in:
    • Saves Apollo configurations inside DAW sessions for easy recal
    • Enables control of all front panel parameters from within the DAW
    • VST, RTAS, and Audio Units plug-in formats
  • UAD Meter & Control Panel application:
    • Configures global UAD-2 and Powered Plug-Ins settings and monitors system usage

 

System Requirements

FireWire Systems

  • (Win) Windows 7 64-Bit Edition w/SP1
  • (Mac) OS X 10.8.5 Mountain Lion or 10.9.x Mavericks
  • Available FireWire 800 port*
  • 4 gigabytes available disk space
  • Internet connection to download software and authorize UAD plug-ins
  • Compatible VST, Audio Units, RTAS, or AAX 64 plug-in host DAW software

*On Windows systems, a qualified PCIe-to-FireWire adapter card is required.
Visit the product support page for details: Apollo | UAD-2 Satellite

 

Thunderbolt Systems

  • Apple Mac computer with available Thunderbolt or Thunderbolt 2 port
  • Mac OS X 10.8.5 Mountain Lion or 10.9.x Mavericks
  • Internet connection to download software and authorize UAD plug-ins
  • Compatible VST, Audio Units, RTAS, or AAX 64 plug-in host DAW software
  • 4 gigabytes available disk space
  • Thunderbolt cable (sold separately)

 

Specifications

Note: The specs below are a subset of the full list. See the Apollo Hardware Manual for complete product specifications.

System
  • I/O Complement
    • Microphone Inputs 4
    • High-Impedance Inputs 2
    • Analog Line Inputs 8
    • Analog Line Outputs 8
    • Analog Monitor Outputs 2 (1 stereo pair)
    • Headphone Outputs 2 stereo (independent mix buses)
    • ADAT Up to 8 channels via dual I/O ports with S/MUX
    • S/PDIF 1 stereo input, 1 stereo output
    • FireWire 800 (IEEE 1394b) Dual ports
    • Thunderbolt (via Option Card) Dual ports
    • Word Clock 1 input, 1 output
  • A/D – D/A Conversion
    • Supported Sample Rates (kHz) 44.1, 48, 88.2, 96, 176.4, 192
    • A/D Bits Per Sample 24
    • Simultaneous A/D conversion 8 channels
    • Simultaneous D/A conversion 14 channels
    • Analog Round-Trip Latency 1.1 milliseconds @ 96 kHz sample rate
    • Analog Round-Trip Latency with four serial UAD-2 plug-ins via Console application 1.1 milliseconds @ 96 kHz sample rate
Analog I/O
  • Microphone Inputs 1 – 4
    • Jack Type XLR Female
    • Phantom Power +48V, Switchable
    • Dynamic Range 118 dB (A–weighting)
    • Signal-to-Noise Ratio 118 dB (A–weighting)
    • Total Harmonic Distortion + Noise –110 dB
  • Hi–Z Inputs
    • Jack Type ¼” Male (Mono TS plug required)
    • Dynamic Range 117 dB (A–weighting)
    • Signal-to-Noise Ratio 117 dB (A–weighting)
    • Total Harmonic Distortion + Noise –103 dB
  • Line Inputs 1 – 4
    • Jack Type ¼”Male TRS Balanced
    • Dynamic Range 117 dB (A–weighting)
    • Signal-to-Noise Ratio 117 dB (A–weighting)
    • Total Harmonic Distortion + Noise –107 dB
  • Line Inputs 5 – 8
    • Jack Type ¼” Male TRS Balanced
    • Dynamic Range 117 dB (A–weighting)
    • Signal-to-Noise Ratio 117 dB (A–weighting)
    • Total Harmonic Distortion + Noise –107 d
  • Line Outputs 1 – 8
    • Jack Type ¼” Male TRS Balanced
    • Dynamic Range 118 dB (A–weighting)
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Signal-to-Noise Ratio 118 dB (A–weighting)
    • Total Harmonic Distortion + Noise –106 dB
  • Monitor Outputs 1 – 2
    • Jack Type ¼” Male TRS Balanced
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
    • Dynamic Range 115 dB (A–weighting)
    • Signal-to-Noise Ratio 114 dB (A–weighting)
    • Total Harmonic Distortion + Noise –103 dB
  • Stereo Headphone Outputs 1 & 2
    • Jack Type ¼” Male TRS Stereo/Unbalanced
    • Frequency Response 20 Hz – 20 kHz, ±0.1 dB
Digital I/O
  • S/PDIF
    • Jack Type Phono (RCA)
    • Format IEC958
  • ADAT
    • Jack Type Optical TOSLINK JIS F05
    • Format ADAT Digital “Lightpipe” with S/MUX
    • Channel Assignments @ 44.1 kHz, 48 kHz Port 1 = Channels 1 – 8, Port 2 = 1 – 8 (mirrored)
    • Channel Assignments @ 88.2 kHz, 96 kHz Port 1 = Channels 1 – 4, Port 2 = Channels 5 – 8
    • Channel Assignments @ 176.4 kHz, 192 kHz Port 1 = Channels 1 – 2, Port 2 = Channels 3 – 4
  • Word Clock
    • Jack Type BNC
    • Lock Range ±0.5% of any supported sample rate
    • Word Clock Input Termination 75 Ohms, switchable
  • Synchronization Sources
    • Internal, Word Clock, S/PDIF, ADAT
Electrical
  • Power Supplies External AC to DC Power Supply Brick, Internal DC to DC Power Supply
  • AC Connector Type IEC Male
  • AC Requirements 100V – 240V AC, 50 – 60 Hz
  • DC Connector Type XLR 4-Pin Locking Male (Neutrik P/N NC4MDM3-H)
  • DC Requirements 12 VDC, ±5%
  • Maximum Power Consumption 6.5 amperes
Mechanical
  • Dimensions
    • Width 19”
    • Height 1.75” (1U rack space)
    • Depth, Chassis Only 12.125”
    • Depth, Including Knob & Jack Protrusions 13.5”
    • Shipping Box (Width x Depth x Height) 24” x 17” x 8”
  • Weight
    • Shipping Weight (with box & accessories) 18 pounds
    • Weight (bare unit) 9.1 pounds


Docs

Apollo Hardware Manual

UAD Plug-Ins Manual

UAD System Manual

Apollo Software Manual

UA Product Catalog.pdf


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