If you know this gear, you can then get more satisfying results. By controlling the hardware, UA says they can more effectively simulate those behaviors, including impedance, “sweet spots” in the gain stage, and other behaviors of input circuits. Part of what makes a tube or solid-state mic preamp sound a certain way is the whole signal chain, from input to output.
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The problem had been this: no matter how good the software model of analog gear, the software didn’t have any idea of how you were recording into it. UA is pushing what they call “Unison Technology” – basically, a set of software behaviors that make analog models behave as expected when you connect your gear to record. CDM had a briefing with UA’s Gannon Kashiwa last week on the technical side. And this is the first plug-and-play solution that brings UA’s DSP and mic pre / audio interface tech within reach of an individual musician or producer on a budget.īut it’s when the hardware and software start to combine that things start to get really interesting. If you think they’re hoping guitarists and vocalists will pick this up, you’re probably right. (SOLO/DUO refers to how much DSP muscle you get.) And it’s a bundle of UA models of analog hardware, including a rather nice pair of limiters, an EQ, amp models, and tube preamps. It’s a real-time DSP processor, adding the ability to run UA’s suite of (mostly analog-modeling) sound processing goodies.
It’s an audio interface, with connections for line, mic, or instruments. Universal Audio’s new Apollo Twin (in SOLO and DUO variants, starting at US$699) gives you quite a lot of value on a single Thunderbolt connection to your Mac. But what sets the new Apollo apart is that the software can now intelligently control the audio interface, making its models of favorite analog gear more accurate. It’s a premium Thunderbolt audio interface with DSP power – good so far.
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