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Overview

Apollo® is the first professional, high-resolution computer audio interface that delivers the sound, feel, and flow of analog recording. This 18 x 24 FireWire/Thunderbolt™- ready interface combines genuine UA analog design with class-leading 24-bit/192 kHz sound quality and onboard Realtime UAD Processing. Using Apollo, music producers and performers can finally track audio through a range of classic UAD analog emulation plug-ins — from Neve, Studer, Manley, Lexicon and more — in real time, and with a sleek, elegant workflow on both Mac and PC.**Windows 7 support coming summer 2012.

Features

Key Features

  • 18 x 24 FireWire/Thunderbolt™-ready audio interface for Mac and PC*
  • Realtime UAD Processing for low-latency (sub-2ms) tracking and mixing w/ UAD Powered Plug-Ins**
  • Premium mic preamps, top-end converters, and uncompromising analog design
  • Front-panel controls for all commonly used features
  • Full recall of interface and UAD plug-in settings within DAW sessions via Console Recall plug-in (VST/RTAS/AU)
  • 8 analog inputs: 4 digitally controlled analog mic preamps; 8 balanced line inputs; 2 front-panel JFET DIs
  • 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 (standard)
  • Thunderbolt I/O Option Card for connectivity to new Macs and PCs (card sold separately) †
  • Available in DUO Core and QUAD Core processor models
  • Includes “Analog Classics”
    plug-ins: LA-2A Classic Audio Leveler, 1176LN Limiting Amplifier, and Pultec EQP-1A Program Equalizer

Full Features & Specs

System Requirements

Apollo High-Resolution Audio Interface with Realtime UAD Processing

Class-Leading 24-bit/192 kHz Sound Quality
Designed to play a central role in a modern Mac- or PC*-based studio, Apollo incorporates a true “no compromise” approach to audio quality. Building upon decades of UA’s analog hardware heritage, it offers extremely high-resolution sonics, with the lowest THD and highest dynamic range in its class. Apollo’s premium mic preamps, top-end converters — and UA’s meticulous attention to circuit design — translate into greater accuracy and depth in your recordings, from tracking and overdubbing, to mixing and mastering. In fact, its sound quality is on par with premium 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, this 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.**

Want to place multiple 1176 compressors on your drum inputs, or record vocals through a classic Neve 1073 EQ, or even track the entire band through a Studer A800 tape machine in real time? No problem. With Realtime UAD processing, Apollo’s sonic options are virtually endless. Better still, Apollo's Realtime UAD Processing is also available during mixing and mastering, so that music producers can employ UAD plug-ins throughout the creative process. 

Thunderbolt™ I/O: The Next Generation of Connectivity
Apollo offers compatibility with Intel’s new Thunderbolt technology, as found on the newest iMacs, MacBook Pros, MacBook Airs, and next-generation PCs*.
Available via a user-installable dual-port Thunderbolt I/O Option Card (sold separately), Thunderbolt provides lower latency, reduced audio buffer size, improved performance, and greater UAD plug-in instances versus FireWire. And because Thunderbolt offers many times the bandwidth of FireWire, it allows music producers to connect numerous devices in series with the Apollo interface — including hard drives, processors, and additional computer monitors — all with fast, flawless performance.

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, Live, and more. Beyond this basic compatibility, Apollo’s included Console application and companion Console Recall plug-in (VST/AU/RTAS) provide control and recall of all interface and UAD plug-in settings within individual DAW sessions, even months and years later. Read more about Apollo’s included software here.

Elegant 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 even 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.

Sonically, Apollo's Mic inputs and Monitor outputs are digitally controlled analog, so you don't lose audio resolution when you adjust gain. High-resolution/high-contrast metering, derived from UA’s legendary 2192 interface, is designed to be viewable at nearly any angle. Finally, standalone operation means that you can use Apollo’s audio connections, and last-used DSP mixer settings, even without a computer connected.

Explore the Hardware, Software and FAQ tabs to learn more.

* Compatible with Mac OS X 10.6 and 10.7; Windows 7 support coming Summer 2012.
** All trademarks are recognized as property of their respective owners. Individual UAD Powered Plug-Ins sold separately.
†Thunderbolt I/O option card coming Summer 2012.

 


Hardware

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.
Image

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

Explore the Software and FAQ tabs to learn more.


Software

Console Application and Console Recall Plug-In (VST/AU/RTAS)

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The Console application is Apollo’s primary software interface. Its intuitive, analog console-style design provides ultra-fast ("realtime") tracking and monitoring with UAD Powered Plug-Ins. Additionally, all of Apollo’s front-panel hardware features can be controlled using this Console app, even if the Apollo hardware is out of reach of the engineer. 

Apollo's Realtime UAD processing gives you the ability to place UAD Powered Plug-Ins on all inputs, tracking with less than 2ms latency — a feature not found in any other interface. Specifically, UAD Powered Plug-Ins can be inserted into any/all Console inputs and/or auxiliary returns (within the constraints of Apollo’s onboard DSP), for the ultimate sonic experience. For the first time, music producers can track audio through award-winning plug-ins from Neve, Manley, Studer, Lexicon and more, right on input. 

When its time to mix or master, Apollo's onboard UAD-2 DUO or UAD-2 QUAD processors can run the entire UAD Powered Plug-Ins library, just like a standard UAD-2 DSP Accelerator. In this way, owning an Apollo not only makes for better-sounding tracking and mixing sessions, but reduced strain on your host computer CPU. 

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The Console app can be used simultaneously with all major DAWs, including Pro Tools, Logic, Cubase, Live, Performer and more, giving you very flexible signal routing and processing options. And complete Console setups can be saved as presets — or even saved “within” your sessions using the VST/AU/RTAS-compatible Console Recall plug-in — for full recall, even months and years after you last opened your session.

In simple terms, the Console Recall plug-in provides access to all of Apollo's crucial monitoring and metering funcionality, without having to leave your DAW of choice.

Explore the FAQ tab to learn more.


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-2 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-2 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-2 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! Apollo ships with the Analog Classics Plug-In Bundle. Every Apollo also includes a $100 voucher 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-2 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-2 Powered Plug-Ins been updated to work in low latency?

Generally, all UAD-2 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?

For that workflow, we recommend using the ADAT or S/PDIF digital I/O as a “loop” (ADAT OUT to ADAT IN). For example, route your virtual instrument to an ADAT path and you will see it show up in the UAD Console application. Then, you can add UAD plug-ins on the Console ADAT input, and you will hear how latency becomes inaudible. You can also use analog I/O as a loop, but using ADAT or S/PDIF does not incur generational loss.

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-2 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?

Apollo will work with any DAW that supports Core Audio on Apple Mac OS X 10.6 or higher —including10.7 Lion.  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. Apollo will also work with any DAW that supports ASIO on Windows 7 computers, but this functionality will not be available until the Summer of 2012.

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-2 Powered Plug-Ins will work inside Pro Tools via their RTAS plug-in format.

What about Pro Tools’ AAX plug-in format?

UAD plug-ins will be updated to AAX compatiblity and will be free of charge to customers.

How does Apollo work on Windows?

Apollo will work with Windows 7 operating systems starting in summer 2012, however a qualified PCIe-to-FireWire 800 adaptor or qualified ExpressCard34 adaptor will be required. Because of widespread variance between PC manufacturers, built-in FireWire ports on Windows computers are not supported. Apollo will also work with any Windows 7 PC that has a qualified Thunderbolt port.

What about 64-bit support?

Apollo ships with 64-bit drivers, so it works great as an interface in 64-bit DAW applications. UAD Powered Plug-Ins are still 32-bit at this time, but we are currently working on updating all UAD-2 plug-ins to 64-bit. This project will be completed in 2012, and will be a free update for our customers. Running UAD Powered Plug-Ins on the Apollo inputs in real time does not require 64-bit, because they are being processed by Apollo’s Console application instead of your DAW. 

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. This is especially exciting when combining multiple Apollo interfaces and UAD-2 Satellite units in a single setup.

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

For the initial release of Apollo, only one unit per system will be supported. A future update will enable multi-Apollo support.

How do I add Thunderbolt to Apollo?

Apollo has a dedicated Thunderbolt option card slot for installing the UA Thunderbolt Option Card, sold separately starting Summer 2012.

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.

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


Specs

Features

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” bundle
  • Complete UAD-2 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

 

Minimum System Requirements

The host computer must meet or exceed the following requirements to use Apollo:

  • Intel-based Mac computer
  • Mac OS X 10.6.8 Snow Leopard or 10.7.2 Lion (or higher)
  • UAD Powered Plug-Ins v6.1.1 (or higher)
  • Available FireWire 800 port
  • 1024 x 900 minimum display resolution
  • 1 GB available hard drive space
  • CD-ROM drive or Internet connection for software installation
  • Internet connection for registration, UAD plug-in authorization, & updates

Read full Apollo compatibility information here.

 

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
    • Dynamic Range 113 dB (A–weighting)
    • Signal-to-Noise Ratio 113 dB (A–weighting)
    • Total Harmonic Distortion + Noise –101 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
Reviews

Reviews

1 of 15
  • Ivan Barias

    (Musiq Soulchild, Faith Evans)

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

    11/2011

    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."

    Review
    01/2011

    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."

    Review
    11/2010

    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'."

    10/2010

    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!"

    08/2010
  • Jose Cancela & Amy Marie Beauchamp

    (HBO Sports, NFL, NBA)

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

    08/2010

    Garrett "Jacknife" Lee

    (R.E.M., The Cars)

    "Wow! How did i do without it [UAD-2]? The 1073 EQ! 1176LN! Dimension D! The EMT reverbs! Fairchild 670!"

    08/2010

    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?"

    08/2010

    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."

    Review
    07/2010

    Greg Parkin

    (Capitol Studios & Mastering)

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

    Review
    07/2010
  • Jono Buchanan

    Future Music (UK)

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

    07/2010

    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."

    Review
    07/2010

    Ivan Barias

    (Keyshia Cole, 2Pac)

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

    04/2010

    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."

    04/2010

    Future Music UK

    (Future Music UK)

    "Genuinely allows you to turn each channel of your DAW into a virtual Neve channel strip."

    02/2010
  • 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!"

    01/2010

    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."

    12/2009

    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."

    10/2009

    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."

    Review
    09/2009

    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."

    Review
    05/2009
  • Jim Dalrymple

    (Macworld)

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

    05/2009

    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."

    03/2009

    John Baccigaluppi

    (TapeOp Magazine)

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

    Review
    10/2008

    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."

    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."

    Paul Moak

    (Third Day, Matthew Mayfield)

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

    08/2010

    Neil Mclellan

    (TapeOp)

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

    Review
    04/2010

    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."

    01/2010
  • Paul White

    (Sound On Sound)

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

    10/2009

    D. James Goodwin

    (The Bravery)

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

    10/2009

    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."

    10/2009

    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."

    Review
    10/2009

    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."

    10/2009
  • 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"

    10/2009

    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."

    10/2009

    Jim Dalrymple

    (The Loop)

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

    Review
    09/2009

    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."

    09/2009

    Frederick Norén

    (Sound on Sound)

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

    Review
    08/2009
  • Roy Davis Jr.

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

    08/2009

    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.”

    08/2009

    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."

    Review
    04/2009

    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."

    12/2008

    Jason Blum

    (Remix Magazine)

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

    Review
    12/2008
  • Mike Senior

    (Sound On Sound)

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

    Review
    11/2008

    Craig Anderton

    (EQ Magazine)

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

    Review
    11/2008

    Mike Senior

    (Sound on Sound)

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

    11/2008

    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"

    11/2008

    Paul Vnuk, Jr.

    (Recording Magazine)

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

    Review
    11/2008
  • Barry Rudolph

    (Mix Magazine)

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

    Review
    10/2008

    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."

    10/2008

    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]."

    10/2008

    Future Publishing

    (MusicRadar.com)

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

    Review
    09/2008

    Andy Hong

    (TapeOp)

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

    03/2008
  • 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."

    10/2008

    David Riggs

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

    12/2005

    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 (38 Reviews)
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    by J. Bastidon (Sunday 20 May, 2012)

    I use appolo card since one month, and i nothing to say. Juste perfect. We recognizes the good job of UAD. Juste one or two little bug's, which will i hope repared with the updates … Read more

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    by A. Moschini (Thursday 17 May, 2012)

    I blindly changed my rme soundcard (wich was ok....) with the new Apollo. I saw it on the site and I had a strange, positive vibration about it... U know what? I WAS RIGHT!!! First of all: NO MORE LATENCY!!! I work on LogicPro 9. Now I can have a CPU stressing song with a 1024 buffer, and record … Read more

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    by I. Shafeeg (Wednesday 16 May, 2012)

    The interface and preamps are awesome. I haven not done mixing and mastering yet. I am a bit disappointed though as the Console cannot be reduce in size on my Macbook Pro. I am still figuring out how to do it. Please advice. Regards. I Shafeeg … Read more

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    by R. Bourne (Wednesday 16 May, 2012)

    I bought the Apollo Quad, and am generally very impressed with it. It's an excellent product -- but not great yet. What it does is very powerful, and it could be a complete home run if it did more. PROS -Sound quality -Low latency tracking -Metering & aesthetics CONS -Rudimentary signal ro … Read more

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    by J. Arundel (Wednesday 16 May, 2012)

    the apollo is a game-changer when it comes to sound. I personally am skeptical of most of the real sonic impact of the digital gear, but I have to admit to being surprised. I immediately had to go in and print new mixes of the project I am working on. Getting the I/O figured out was a bit glitchy, b … Read more


Docs

Apollo Hardware Manual.pdf

Apollo Software Manual.pdf

UAD System Manual.pdf

UAD Plug-Ins Manual.pdf

UA 2011 Product Catalog.pdf