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Customer Reviews 699 Reviews

4.64 out of 5 stars

by . (6/10/2016):

After having used various other USB/Firewire audio interfaces, I finally decided to get… Read more

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Overview
Apollo FireWire. High-Resolution
Music Production with Classic Analog Sound.
Apollo FireWire is one of the world’s most popular professional audio interfaces — delivering the sound, feel, and flow of analog recording to music creators everywhere. A perfect centerpiece for studios running original Mac Pro towers and Windows 7 machines, this 18 x 24 FireWire 800-equipped interface features analog design based on UA’s 50-year heritage, along with gold-standard Apollo A/D and D/A conversion for impeccable audio resolution.
Apollo FireWire further distinguishes itself with Realtime UAD-2 Processing and Unison™ technology, letting you record with near-zero latency through the full range of UAD plug-ins from Neve, Studer, Manley, Lexicon, and more — including new mic preamp emulations from Neve, API and Universal Audio.*
Buy any new Apollo rackmount interface and get FREE plug-ins from SSL and UA.


Key Features
  • Worldwide standard in professional A/D and D/A conversion for music production
  • Onboard UAD-2 QUAD Core DSP allows Realtime UAD Processing
  • 4 Unison-enabled mic preamps for tracking through preamp emulations from Neve, API, and Universal Audio*
  • 18 x 24 FireWire audio interface for Mac and Windows 7
  • Cascade two Apollos for 16 analog I/O and 12 digital I/O
  • Includes “Realtime Analog Classics Plus” UAD plug-in bundle
  • Upgradeable to Thunderbolt via Thunderbolt 2 Option Card (Mac)
  • World class UA analog design, superior components, and premium build quality

The Gold Standard in 24-bit/192 kHz
Sound Quality

Designed to play a central role in studios running original Mac Pro towers or Windows 7 machines, Apollo FireWire delivers 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 FireWire’s four premium mic preamps and converters translate into recordings with astounding accuracy and depth — whether you’re tracking and overdubbing, or mixing and mastering.
Realtime UAD Plug-In Processing for
Tracking, Mixing, and Mastering
While Apollo FireWire’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. Featuring powerful onboard QUAD processing, Apollo FireWire’s DSP Acceleration allows for recording through UAD Powered Plug-Ins — with sub-2ms latency, regardless of buffer settings — letting you monitor and “print” audio with classic analog emulations from Ampex, Lexicon, Manley, Neve, Marshall, SSL, Studer, and more.*
The Apollo FireWire’s bundled “Realtime Analog Classics Plus” suite of UAD plug-ins gives you the UA 610-B Tube Preamp & EQ, Raw Distortion, Softube Amp Rooms, legacy LA-2A, 1176, and Fairchild compressors, Pultec EQs, and more, so you have a rack full of bonafide audio classics, right out of the box.
Four Mic Preamps with Unison™ Technology
Apollo FireWire comes equipped with four Unison-enabled mic preamps, letting you track with colorful mic preamp sounds from Neve, API, and Universal Audio. An Apollo breakthrough, Unison technology nails the tone of these sought-after tube and solid state mic preamps — including their impedance, gain stage “sweet spots,” and component-level circuit behaviors.
Track With Unison™ Technology
Elegant Hardware Design and Workflow
The secret to Unison is its hardware-software integration between Apollo’s mic preamps and its onboard UAD-2 processing. Simply place a selected tube or solid state preamp plug-in on your desired mic input, and record in real time through stunning emulations like the bundled UA 610-B Tube Preamp plug-in, or the Neve 1073 and API 212L.
One key feature of Apollo FireWire 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. Sonically, Apollo's Monitor outputs are digitally controlled analog, so you don't lose audio resolution when you adjust gain.

*All trademarks are recognized as property of their respective owners. Individual UAD Powered Plug-Ins sold separately.
Hardware
Apollo FireWire. 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
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.

Raw Distortion Plug-In
Raw Distortion Plug-In
Modeled from a vintage early-’80s Pro Co Rat, the Raw Distortion plug-in delivers all the gritty dynamic raunch of the legendary stompbox. And with Unison™ technology, you can plug in to Apollo Twin, DUO, or QUAD and experience the same circuit interaction, gain range, and clip points for the true tone, feel, and response of the original hardware.

Softube Amp Room Essentials
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)
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
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
1176LN
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 1176LN has graced countless recordings, from Led Zeppelin, to the White Stripes, and the Red Hot Chili Peppers.
Pultec Pro Equalizers (Legacy)
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)
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.
Precision Mix Rack Collection
Precision Mix Rack Collection
Featuring the Precision Channel Strip, Precision Reflection Engine, and Precision Delay Modulation plug-ins, the Precision Mix Rack Collection offers four modern, high-fidelity plug-ins for recording and mixing. Powerful and intuitive, the Precision Mix Rack Collection offers up an impressive tool set — perfect for beginners and seasoned professionals alike.
RealVerb Pro
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 FireWire.
Basics and FAQ.
Why should I buy an Apollo versus another audio interface?

In addition to their class-leading sound quality, Apollo interfaces let you monitor and/or track through UAD plug-ins with imperceptible (sub-2ms) latency, no matter what the DAW’s I/O buffer size is set to. They also offer Unison technology, giving you stellar emulations of classic preamps from Neve and API. No other audio interface offers this type of analog sound and functionality.

Should I buy an Apollo FireWire or an Apollo 8?

Apollo FireWire is available for Windows systems and Mac systems that don’t have Thunderbolt ports. Apollo FireWire and Apollo 8 feature identical analog and digital I/O, and Realtime UAD Processing via the Console application. Apollo FireWire can be upgraded to Thunderbolt connectivity by installing the Thunderbolt 2 Option Card. However if you already have a Thunderbolt-equipped Mac, Apollo 8 is the best choice because of its improved sonics and feature set.

Can I combine Apollo FireWire with the next-generation Apollo(s)?

Yes, if the Thunderbolt 2 Option Card is installed. All Thunderbolt-equipped Apollo models can be combined to create an expanded studio setup — up to four Thunderbolt Apollos and six UAD-2 devices total — adding I/O and DSP as your studio grows.

Can I use Apollo with Pro Tools?

Yes. Apollo is compatible with Avid Pro Tools versions 10, 11, and 12.

What is Console?

Console is a software application that enables Realtime UAD Processing and remote control of Apollo features and functions. The Console Recall plug-in (VST/AU/RTAS/AAX64) stores complete Console configurations within the DAW session so all Apollo settings are installed recalled whenever the session is loaded.

How do I use the Unison preamp and pedal models?

To activate Unison technology on any Apollo preamp channel, simply place any Unison plug-in into the preamp channel's dedicated Unison insert slot within the Console application.

What are Apollo FireWire’s system requirements?

The system requirements are available here.


Reviews

Reviews

1 of 19
  • Dave Gale

    Absolute Music Solutions

    "I just can’t recommend Universal Audio Apollo series highly enough. Their staggeringly good quality conversion, coupled with build quality to put other companies to shame, is refreshing. And the plug-ins! Oh, the plug-ins!"

    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."

    Hugh Robjohns

    (Sound on Sound)

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

    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."

    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."

  • Grieves

    “The Apollo is a powerhouse and a game changer for my studio. On some gangster shit, I fucks with UAD.”

    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."

    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."

    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."

    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."

  • 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."

    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.”

    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."

    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.”

  • 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."

    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."

    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'."

    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."

    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."

    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."

    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."

    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."

    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."

  • 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"

    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."

    Grieves

    “Universal Audio has redefined how I look at my sessions. With easy access to emulations of some of the most classic gear of all time –– there is no tone or feel that I can't achieve.“

    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"

  • 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"

    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."

    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."

    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."

  • 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."

    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."

    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."

    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."

  • 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"

    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)

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

    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."

  • 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!!!"

    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."

    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."

    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)

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

  • 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."

    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"

    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.”

  • 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."

    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."

  • 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."

    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."

    Carmen Rizzo

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

    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"

    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 (699 Reviews)
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    No compromise!
    by . (Friday 10 June, 2016)

    After having used various other USB/Firewire audio interfaces, I finally decided to get an Apollo 8 Quad Firewire. I am using an iMac with OSX Yosemite. Plugged in the interface, downloaded the software accordingly, and within minutes the system was ready to go. The selection of UAD… Read More

    • 1 Star
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    • 5 Star
    Gene Evaro
    by g. evaro(Monday 6 June, 2016)

    i have recently upgraded my entire studio with UA ( plugins,apollo 2 quad etc..) everything is "amazing" without a doubt UA is by far the best..!!!! 10 star rating..!!! thank you G.E. Read More

    • 1 Star
    • 2 Star
    • 3 Star
    • 4 Star
    • 5 Star
    Almost there
    by S. Hammel(Thursday 5 May, 2016)

    I've spent a year with the Apollo and UA. I'm stuck with the Apollo Quad, and a wonky PCI-e UA card setup. LOVE THE SOUND. If rating only on sound I'd give it 6 stars. Love recording too, I'd give it even more stars. However, making stuff on this in Windows with Adobe CS 6 is a job… Read More

    • 1 Star
    • 2 Star
    • 3 Star
    • 4 Star
    • 5 Star
    Pro sound and capable!!!
    by f. castillo(Tuesday 15 March, 2016)

    I'm extremely proud of my Apollo. I've had it for 2 years now and not a problem. Sound is very warm, big, open/wide. I've read some bad reviews, but like any other piece of gear along with an engineer don't fight your gear and it wont fight you. I can get the same sound on this thing as any… Read More

    • 1 Star
    • 2 Star
    • 3 Star
    • 4 Star
    • 5 Star
    Pro sound and capable!!!
    by f. castillo(Tuesday 15 March, 2016)

    I'm extremely proud of my Apollo. I've had it for 2 years now and not a problem. Sound is very warm, big, open/wide. I've read some bad reviews, but like any other piece of gear along with an engineer don't fight your gear and it wont fight you. I can get the same sound on this thing as any… Read More


Features & Specs
Apollo FireWire. 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
Microphone Preamplifiers
  • Four high-resolution, ultra-transparent, digitally-controlled analog mic preamps
  • Unison™ technology for deep integration with UAD preamp and pedal plug-ins
  • 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
  • QUAD model featuring four SHARC processors
  • Realtime UAD 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
  • Complete UAD Powered Plug-Ins library is available online
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

UAD Powered Plug-Ins version 8.6

  • (Win) Windows 7, 8.1, or 10 (64-Bit Editions)
  • (Mac) OS X 10.9 Mavericks, 10.10 Yosemite, or 10.11 El Capitan
  • Available FireWire 800 port*
  • 6 gigabytes available storage
  • 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 FireWire | UAD-2 Satellite FireWire


 

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

Apollo Software Manual (FireWire)

 Hardware & Software Manuals