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#1411
22nd February 2012
Old 22nd February 2012
  #1411
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Well I was already going to buy a UAD satellite Quad Omni so once the Apollo was announced I ordered that instead but then I told my self I should still get the satellite Quad Omni any way and just get it over with. I'm far from being rich. Just been saving my pennies ... Plus it's tax season . Might as well take advantage while I can. I'm going to make money with them doing some recordings & mixes for some friends any way... Mostly all the top engineers I look up to use UAD plugins and they've been proven to pretty much be the best plugins on the market... So it's not like I'm making a completely blind investment. I just don't know anything about the Apollo (minus the satellite chip in it). I already own the Waves diamond bundle and a few other good plugins, I have a new computer, Mic, Mic Pre-Amp, outboard compressor, good monitors, Pro Tools 10, etc... So it's not like I should be getting something more important first with that money. I've never been afraid to throw my money at new gear/software... I guess that's why i'm a "Gear Slut". You got to gamble sometimes If you want to stay ahead... What I could guarantee about the Apollo is that it will sound better then my old digi002 and my new Mbox 3 Pro which I'm using now! Once again, I doubt Universal Audio is going to go out of their way to put out a piece of crap and tarnish their name! This was definitely a power move on the "Audio Interface" market and a nice marketing tactic to get more people to start using UAD plugins. I'm sold! LoL... Will definitely be posting something as soon I get it!

Oh, and that's actually $7,500 (Apollo Quad $2,499, Satellite Quad $4,999)... Not to mention the Thunderbolt card will be $499 when it comes out this summer. SMH! These last 2 years have been killer on my pockets renovating my studio/equipment but it's all for the love of creating music and making my lab the best I can make it! I'm confidant it will all pay for it's self! The sooner the better!
#1412
22nd February 2012
Old 22nd February 2012
  #1412
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Quote:
Originally Posted by IAMCRISIS View Post
Just spoke to my "sales engineer" at sweetwater and he told me they'll be getting their 1st batch the 29th of this month then another batch the 1st week of march. He told me that when I pre-ordered it but I just wanted to confirm about "UA running in to production delays." Looks like it might be a rumor or for people who ordered theirs after the first 2 weeks from it being announced. Or it can be true just for other dealers. Who knows?... All I know is that I was told that sweetwater will be getting their 1st shipment of Apollos on time. Guess we'll just have to wait and see. I ordered my Apollo Quad the 1st week they were announced so I should be getting mine out of the 1st batch Feb 29th. I've been dealing with sweetwater and the same "sales engineer" since early 2006 so I doubt he's lying to me. So it looks like I'll have mine with in the next 2 to 3 weeks (fingers crossed). Decided to add a UAD-2 Satellite Quad Omni (with full UAD plugin Library) just to make the experience that much better. . My studio is about to get a shot of steroids. Like I said, if I can get really great mixes using my digi002 or my Mbox 3 Pro with waves plugins... I can't wait to hear what my mixes are going to sound like using the Apollo quad, a Satellite quad and adding UAD plugins to my arsenal. The Thunderbolt connection is just going to make it even better. Have yet to use the Thunderbolt port on my new full-blown 17" Macbook Pro so I'm anxious to see what it can do. This thing is a beast. Combined with the Apollo Quad & Satellite Quad they form Voltron.

Report back the day your Apollo arrives. Matter of fact, PM & Email me. We placed our preorder through VK the day it was announced (Jan 19th believe). We have a Sweetwater account/rep also. The "production delay" email we got was from VK. It was a response to an email we sent regarding rumors the Quad would ship before the Duo. Thankfully, it was preordered/purchased with the biz AMEX.
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#1413
22nd February 2012
Old 22nd February 2012
  #1413
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Quote:
Originally Posted by Jason Rabbit View Post
Hi Everybody! ! Question ! !

When Neve1073 plug-in is Up, is Apollo gonna sound like Neve1073?(in Mic pre wise)
Please answer in YES or NO.
Yes.

Once the Apollo is released, there will be no need for Neve, Trident, Helios, or SSL preamps. In fact, if you also use Antares Mic Modeler the only microphone you'd need to own is a SM57.

Is technology amazing?
#1414
22nd February 2012
Old 22nd February 2012
  #1414
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Quote:
Originally Posted by Sean Sullivan View Post
Yes.

Once the Apollo is released, there will be no need for Neve, Trident, Helios, or SSL preamps. In fact, if you also use Antares Mic Modeler the only microphone you'd need to own is a SM57.

Is technology amazing?
Now I can haz studioz...
#1415
22nd February 2012
Old 22nd February 2012
  #1415
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Quote:
Originally Posted by DR Music View Post
Two Quads!!! Nice....All the power you need!
Why wouldn't you just buy two Apollo Quads? Aren't they supposed to be linkable at some point, which would give you 8 preamps, 16 i/o, 4 headphones, and 8 core processing...for less money?

Not trying to be a jerk, just wondering what I'm missing? Or is it the cost of the plug-ins that is contributing to the high cost of the satellite quad?
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#1416
22nd February 2012
Old 22nd February 2012
  #1416
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Quote:
Originally Posted by chrisrulesmore View Post
Why wouldn't you just buy two Apollo Quads? Aren't they supposed to be linkable at some point, which would give you 8 preamps, 16 i/o, 4 headphones, and 8 core processing...for less money?

Not trying to be a jerk, just wondering what I'm missing? Or is it the cost of the plug-ins that is contributing to the high cost of the satellite quad?
Yes it would have been the cost of the plug-ins that make the Satellite $5000
#1417
22nd February 2012
Old 22nd February 2012
  #1417
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Quote:
Originally Posted by Sean Sullivan View Post
Yes.

Once the Apollo is released, there will be no need for Neve, Trident, Helios, or SSL preamps. In fact, if you also use Antares Mic Modeler the only microphone you'd need to own is a SM57.

Is technology amazing?
#1418
22nd February 2012
Old 22nd February 2012
  #1418
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You got it.. The omni is all or 95% of there UAD plugins...
#1419
22nd February 2012
Old 22nd February 2012
  #1419
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Quote:
Originally Posted by AlphaDingo View Post
Thats what I meant!!
#1420
22nd February 2012
Old 22nd February 2012
  #1420
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Quote:
Originally Posted by superwack View Post
This thread has already gotten nowhere
keep it up baby! keep it up with the apollodashians !
#1421
22nd February 2012
Old 22nd February 2012
  #1421
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Quote:
Originally Posted by chrisrulesmore View Post
Why wouldn't you just buy two Apollo Quads? Aren't they supposed to be linkable at some point, which would give you 8 preamps, 16 i/o, 4 headphones, and 8 core processing...for less money?

Not trying to be a jerk, just wondering what I'm missing? Or is it the cost of the plug-ins that is contributing to the high cost of the satellite quad?

Since I'm bored I'm going to give some more life to this thread....

Me personally, I don't need all of those mic-pre's... The I/O on 1 Apollo is more then enough for me. I produce/record/mix Hip Hop & R&B (mostly Hip Hop). My beats are made in the box with FXPansion GURU or Geist combined with Pro Tools and some virtual instruments. Some times I use Reason. And I record one person at a time using my Great River Mic-Pre and dbx 160 Comp so I'm not to worried about the 4 Mic pre's which I'm sure I can get a good sound from if I did need them. As Far as the the Satellite Quad Omni, If I get that, it comes with almost the hole UAD library (minus 3 plugins) and I save about $3,000 rather then if I were to buy all of the plugins individually which would be $6,000+ with no satellite to run them. 1 UAD satellite quad is $1,500. That's $7,500+ for just 1 quad and the plugins or 1 Quad Satellite with all the plugins for $5,000. 2 Apollo Quads with the thunderbolt cards would be $6,000 with just 3 UAD plugins and to much I/O for me. I would still have to buy all the plugins ($6,000+) For $8,000 I get a quality interface (Apollo), 2 quad satellites and pretty much the entire UAD plugin library (minus 3). To me that make makes much more sense. Can't speak for other peoples needs. I mix strictly in the box so with 2 quads running the complete library of UAD plugins with the option to record using plugins for a vintage console sound with almost zero latency using the Apollo... Not to mention the processing power I would have at my disposal for mixing... It's a no brainer (at least for me). That'll be more then enough processing power for me plus my computer would be free to run my other plugins on top of that (if needed). Eventually I will gets a few instruments to add to my production but it'll be more for layering sounds rather then a bunch of instrument being played like a band. So 4 Mic pres on top of my Great River and 8 line inputs is more then enough for me. Every interface I've ever owned (digi001, 002, Mbox, Mbox 3 Pro) has had more then enough I/O if not to much I/O for what I do to be honest. At the end of the day, I save a lot in the long run and make my studio much better now rather then doing it little by little.

Now I can leave my MBox 3 Pro at home (was going to sell it) at my pre production set up/drawing board and use the Apollo at the studio and just bring the UAD Satellite back and forth with me. Even though I mix in the studio, I'll still be able to load sessions up that have UAD plugins on them just incase... By the summer I'll be adding a new iMac to the studio and using my Macbook Pro at home and when I travel. For the exception of a few outboard pieces (Avalon, 1073 Mic Pre, CL-1B, distressor, and a couple of Mics) I plan on adding to my studio in the future, I won't need anything else for a long time. .

This thread will never end in till some one posts a track that was recorded and mixed with the Apollo! God forbid it's some one that really doesn't know what they're doing..... We'll never hear the end of it!
#1422
22nd February 2012
Old 22nd February 2012
  #1422
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Quote:
Originally Posted by RightOnRome View Post
with all due respect sir.. i doubt that you are the target audience for this ... you dont have a digiOO2 in your rack ... and you arent in the market for a UFX
Exactly.

That's what I'm trying to say: don't expect the fireworks waiting for Apollo.

It's not long awaited Holy Grail, not a Porsche with Kia price tag. It's just a Kia dressed as Porsche
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#1423
22nd February 2012
Old 22nd February 2012
  #1423
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Quote:
Originally Posted by Bob Amirian View Post
Exactly.

That's what I'm trying to say: don't expect the fireworks waiting for Apollo.

It's not long awaited Holy Grail, not a Porsche with Kia price tag. It's just a Kia dressed as Porsche
I'm curious.. How exactly is it that you know this?
#1424
22nd February 2012
Old 22nd February 2012
  #1424
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Quote:
Originally Posted by Sean Sullivan View Post
Yes.

Once the Apollo is released, there will be no need for Neve, Trident, Helios, or SSL preamps. In fact, if you also use Antares Mic Modeler the only microphone you'd need to own is a SM57.

Is technology amazing?
At last.

I heard that God uses the Apollo in His studio as the only piece of gear.

The rest He can do Himself, because He's God.

#1425
22nd February 2012
Old 22nd February 2012
  #1425
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Quote:
Originally Posted by KBOY View Post
I'm curious.. How exactly is it that you know this?
I already explained it below.

I owned pretty much everything with UA tag (still have their great 6176, 1167 and UAD-2 Quad) and observe how their policy develops.

Vastly advertised Twin-Finity series is a beautiful shame.
I had 4-710d long enough to tweak it and thoroughly reveal its value.
It's pretty much worthless if you're looking for a serious piece of gear.

It's flat, dead, deceptive, it's the looks over the performance, it's just a trick to get your hard earned bucks

With 4-710d (4 channel pre, solid state/tube potentiometer, onboard AD converters, 4 backlit VU meters) UA entered the world of swiss army knives being nothing more than high polished turd and they soon will reign there.

Their last few pieces of gear look and sound like cheap chinese versions of great UA gear.

Of course they're now made in China.

Please, just don't expect the Apollo to be better than that.
It won't be, because nobody would make a studio grade gear priced like a home studio toys.

Perhaps one day we'll all bow down to some Really Nice All-in-one, but understanding UA's current policy I'm quite sure it's not the Apollo
#1426
22nd February 2012
Old 22nd February 2012
  #1426
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Im getting ready to go to the Caribbean to jam and hang with some friends .. man i wish i had this unit now!
#1427
22nd February 2012
Old 22nd February 2012
  #1427
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Quote:
Originally Posted by Avening View Post
With all due respect, 3 issues:

1) You're assuming. You know what they say about assuming ....

2) There are many other places along the recording chain that can make a recording sound "3D". Anything from the way the song as written, to the room the song was recorded in, to verbs, to delays, to proper phase management, to mics, compressors, ect. can all lead to a nice "3D" sound. I'm not sure why you've singled out the converters as being the gatekeeper of "3D"??

3) A good engineer never makes excuses, and never blames the gear for not getting a good sound. I don't think I can recall a single session where I've had amazing talent on the floor, and it has sounded anything but on playback, without it directly being my fault. IMHO, the guys who consistently blame their tools for a poor outcome are generally the ones who are not comfortable in admitting they've made a mistake.
1. I sure am. I observe the current UA's policy and use logic. Not Logic the DAW, the logic that makes me understand the world and saves my money.

2. I never said that only the converters are the gatekeepers of 3D. It's the whole chain and the process.

3. I never blame my gear when I don't like my sound. I know when to blame a singer, a drummer and of course myself. Actually, I already screwed up what I had to screw as a beginner. Since quite some time I like what I do, so do our domestic and foreign clients. And the reason why we still meet and my schedule is busy is that we (clients and studio crew) all don't believe that stuff like the Apollo plus MacBook Pro with a USB mic and a vocalist covered with a blanket can suddenly work magic

You want a good sound - get good equipment and record good musicians.

You want whatever sound - get stuff like the Apollo, you won't regret.

And still you'll always find yourself dreaming of the gear your favorite albums were recorded with... and finally stumble upon a clue that literally none of them was recorded through the Apollo and will never be
#1428
22nd February 2012
Old 22nd February 2012
  #1428
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Quote:
Originally Posted by Bob Amirian View Post
1. I sure am. I observe the current UA's policy and use logic. Not Logic the DAW, the logic that makes me understand the world and saves my money.

2. I never said that only the converters are the gatekeepers of 3D. It's the whole chain and the process.

3. I never blame my gear when I don't like my sound. I know when to blame a singer, a drummer and of course myself. Actually, I already screwed up what I had to screw as a beginner. Since quite some time I like what I do, so do our domestic and foreign clients. And the reason why we still meet and my schedule is busy is that we (clients and studio crew) all don't believe that stuff like the Apollo plus MacBook Pro with a USB mic and a vocalist covered with a blanket can suddenly work magic

You want a good sound - get good equipment and record good musicians.

You want whatever sound - get stuff like the Apollo, you won't regret.

And still you'll always find yourself dreaming of the gear your favorite albums were recorded with... and finally stumble upon a clue that literally none of them was recorded through the Apollo and will never be
You sound like no matter what, you got your mind set that the Apollo isn't good even though it hasn't been released yet. If that's how you feel, more power to you brother. But like I said, I guarantee this will sound better then what I'm using now and maybe even a lot of other interfaces. You sound like your one of those guys that has to hear a big record or album recorded and mixed on it before you can give it it's props regardless if it sounds good or not. Who knows, I may be the one who makes that 1st classic/great album using a Apollo. You never know. Their were great/classic albums created before there was Pro Tools... There's great albums that were created using Pro Tools... Same goes for plugins that are out now that weren't out before. So you can't say there will never be a great album recorded through an Apollo. Your not Nostradamus my friend... Tuh... How dare you... LoL... I don't know about a usb mic but I do know with my new JJ Audio Akita or my AT4033a, my Great River ME-1NV, my dbx160, my brand new fully blown 17" Macbook Pro, Pro Tools 10, The Apollo Quad & A Satellite Quad with all the UAD plugins, Waves and a few others in this treated room, equipped with a booth ... I'll be making many hits my friend... Believe that!
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#1429
22nd February 2012
Old 22nd February 2012
  #1429
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Quote:
Originally Posted by Bob Amirian View Post
I had 4-710d long enough to tweak it and thoroughly reveal its value.
It's pretty much worthless if you're looking for a serious piece of gear.

Please, just don't expect the Apollo to be better than that.

Perhaps one day we'll all bow down to some Really Nice All-in-one, but understanding UA's current policy I'm quite sure it's not the Apollo
Thank you for your honest opinion about 4-710d.
It is really helpful.
I always have been interested in how good the 4-710d is.
But you meant about AD/DA quality?

By the way you sound like there's no Apollo landed on the Moon. I see, you are located in Holland.(just kidding.)
#1430
22nd February 2012
Old 22nd February 2012
  #1430
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Quote:
Originally Posted by IAMCRISIS View Post
I can't wait to hear what my mixes are going to sound like using the Apollo quad, a Satellite quad and adding UAD plugins to my arsenal. The Thunderbolt connection is just going to make it even better. Have yet to use the Thunderbolt port on my new full-blown 17" Macbook Pro so I'm anxious to see what it can do. This thing is a beast. Combined with the Apollo Quad & Satellite Quad they form Voltron.
Dang!.

You'll be able to launch nuclear submarines with 2 UAD Quads (one an Omni).

The F.B.I will be watching you. Be sure to put a limiter on your 2-Bus for no one man should have all that POWER! lol.

#1431
22nd February 2012
Old 22nd February 2012
  #1431
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Quote:
Originally Posted by IAMCRISIS View Post
You sound like no matter what, you got your mind set that the Apollo isn't good even though it hasn't been released yet. If that's how you feel, more power to you brother. But like I said, I guarantee this will sound better then what I'm using now and maybe even a lot of other interfaces. You sound like your one of those guys that has to hear a big record or album recorded and mixed on it before you can give it it's props regardless if it sounds good or not. Who knows, I may be the one who makes that 1st classic/great album using a Apollo. You never know. Their were great/classic albums created before there was Pro Tools... There's great albums that were created using Pro Tools... Same goes for plugins that are out now that weren't out before. So you can't say there will never be a great album recorded through an Apollo. Your not Nostradamus my friend... Tuh... How dare you... LoL... I don't know about a usb mic but I do know with my new JJ Audio Akita or my AT4033a, my Great River ME-1NV, my dbx160, my brand new fully blown 17" Macbook Pro, Pro Tools 10, The Apollo Quad & A Satellite Quad with all the UAD plugins, Waves and a few others in this treated room, equipped with a booth ... I'll be making many hits my friend... Believe that!
Where can we hear your music? Foam is ok at best with room acoustics... Try acoustic panels, your room is very small... U need as much 4" to 6" treatment...
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#1432
22nd February 2012
Old 22nd February 2012
  #1432
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Quote:
Originally Posted by Bob Amirian View Post
You want a good sound - get good equipment and record good musicians.

You want whatever sound - get stuff like the Apollo, you won't regret.

And still you'll always find yourself dreaming of the gear your favorite albums were recorded with... and finally stumble upon a clue that literally none of them was recorded through the Apollo and will never be
You want good sound - get a musician that knows how to play and put them in a great sounding room. Make sure their comfortable, and cater to their needs. Insipre them, and evoke the performance. Properly place a mic in front of them and record it on something that you're comfortable and familiar in using. Pay attention to phase. End of story. If it sounds amazing in the room and it doesn't through the monitors, it's your fault. Not the gear, but yours alone. Never been in a situation where the role is reversed. Great musicians make your job easy. Mic selections, eqs, compressors, converters become less and less an issue when the source is at its best.

Snare isn't popping? Get the drummer to hit harder, push more towards a rim shot, tune the drum, change the snare, verse the vocal a little differently to give it space, push some extra room mic, eq the guitars a little .... it's not your converters, it's not your compressor ... it happens on the floor. The difference between good and great happens at the source. The difference between a good engineer and a great one is this understanding. I could put a grilled cheese sandwich in front of Adele, and she'll still sound like Adele.

Nothing to do with whether or not the Apollo is made in China, or how you've tried the 4-710d and didn't like it, or the fact that you don't have any clue what the Apollo sounds like (none of us do). None of it matters.

And go figure, a lot of my favorite albums were recorded using those dreaded Digidesign 192's everyone seems to hate so much. Probably had something to do with the musicians and the Engineer who had such an easy session recording them.

This really isn't as hard as hard as it seems. If the source sounds bad at the source, it will never be anything different.
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#1433
22nd February 2012
Old 22nd February 2012
  #1433
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Quote:
Originally Posted by IAMCRISIS View Post
I ordered my Apollo Quad the 1st week they were announced so I should be getting mine out of the 1st batch Feb 29th. I've been dealing with sweetwater and the same "sales engineer" since early 2006 so I doubt he's lying to me. So it looks like I'll have mine with in the next 2 to 3 weeks (fingers crossed). Decided to add a UAD-2 Satellite Quad Omni (with full UAD plugin Library) just to make the experience that much better.
Hey, congrats on scoring the Apollo! I am seriously thinking of doing a studio upgrade and adding one of these myself. I am on Windows, so I can't get one before Summer anyway. More likely I will sell some things on ebay and start saving $100 bucks a month and then treat myself to an Apollo come November. I have a QUAD & a SOLO already and most every UAD-2 plug-in. Being able to simply apply an updated authorization file and then be able to use all of my licensed UAD-2 plug-ins on the Apollo is quite appealing to me. With it's near realtime latency, it will be like having a massive hardware multi-FX box (Massive Passive, FATSO, Lexicon 224, Ampex 102, RE-201, Moog Multi-Mode Filter, dbx 160, etc.), but with the distinction of being able to use scores of these effects at one time and up to (4) chained to each input/bus.

You are going to enjoy the QUAD Omni package! It is quite exhilarating to know each time I fire up my DAW and work on a mix I have a massive rack of some of the most sought after virtual gear at my fingers tips 24/7.


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#1434
22nd February 2012
Old 22nd February 2012
  #1434
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Quote:
Originally Posted by Avening View Post
You want good sound - get a musician that knows how to play and put them in a great sounding room. Make sure their comfortable, and cater to their needs. Insipre them, and evoke the performance. Properly place a mic in front of them and record it on something that you're comfortable and familiar in using. Pay attention to phase. End of story. If it sounds amazing in the room and it doesn't through the monitors, it's your fault. Not the gear, but yours alone. Never been in a situation where the role is reversed. Great musicians make your job easy. Mic selections, eqs, compressors, converters become less and less an issue when the source is at its best.

Snare isn't popping? Get the drummer to hit harder, push more towards a rim shot, tune the drum, change the snare, verse the vocal a little differently to give it space, push some extra room mic, eq the guitars a little .... it's not your converters, it's not your compressor ... it happens on the floor. The difference between good and great happens at the source. The difference between a good engineer and a great one is this understanding. I could put a grilled cheese sandwich in front of Adele, and she'll still sound like Adele.

Nothing to do with whether or not the Apollo is made in China, or how you've tried the 4-710d and didn't like it, or the fact that you don't have any clue what the Apollo sounds like (none of us do). None of it matters.

And go figure, a lot of my favorite albums were recorded using those dreaded Digidesign 192's everyone seems to hate so much. Probably had something to do with the musicians and the Engineer who had such an easy session recording them.

This really isn't as hard as hard as it seems. If the source sounds bad at the source, it will never be anything different.
Brother... Words of wisdom coming from this Nonsense tread! What a beautiful world.
#1435
22nd February 2012
Old 22nd February 2012
  #1435
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Joined: Sep 2006
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So I'm a bit confused about the idea of some here that Apollo is going to change everything. It doesn't do anything that you can't already do. It's a mid-level multiformat "swiss army knife" interface not really different in i/o scope from any number of offerings from MOTU, RME, MH, Steinberg, Digi/Avid, Apogee.... It unloads the UAD plugins from your DAW PCI card to the interface. However, having internal FX DSP isn't new either: MOTU, RME, MH....

So, if you are recording through some decent interface already and are using UAD plugins, you can probably be 99% sure what it's going to be like using the Apollo. The only thing it might change for you is maybe encourage you to print some compression and EQ or whatnot at tracking time if you aren't already doing so.

This device shouldn't really make anything different for you. If it revolutionizes your recordings, you were probably doing something wrong before. If you need to upgrade to a larger multifunction interface, then it's worth looking at. If you want to more conveniently track through UAD plugins with low latency, it's worth looking at. That's about it.

As far as sound goes, though, it's not promising to be any sort of a game changer. Given that the range of difference in conversion is at best discernible or appreciable to few, it will be slightly better or slightly worse than what you are already using.

This isn't a "sell everything and get that!" product. It's meant as a recording hub for the kind of recordist who wants to upgrade from a smaller interface like a Duet, or needs one box that has a little bit of everything, or someone who wants a small mobile setup. This really isn't meant to be the sort of device that you would bolt on to an existing i/o setup. It shouldn't get you any more excited than what's been out there for years already.

Conveniently tracking through UAD plugs at low latency is a nice idea. It looks like a good piece of gear. But I look at my modest setup and can't really see how it would add anything.

I am thoroughly disappointed that the Thunderbolt option is reportably going to be $500. Thunderbolt isn't expensive technology. That option should be $150 tops. If you get it, please feel gouged. Shame on UA for this.
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I'm not a producer, but I play one on Gearslutz.com
#1436
22nd February 2012
Old 22nd February 2012
  #1436
Lives for gear
 
DR Music's Avatar
 
Joined: Feb 2011
Location: Chicago Subs, IL
Posts: 3,038

DR Music is offline
Quote:
Originally Posted by Bob Amirian View Post


You want a good sound - get good equipment and record good musicians.
That's the best point you made.

If you can't make a record with a Apollo, Apollo that's not the issue.

I don't think the Apollo is going to be killer, buy not a converter that will in any way hurt you in the Recording process...
#1437
22nd February 2012
Old 22nd February 2012
  #1437
Gear Head
 
Joined: Oct 2011
Posts: 38

Chris_455 is offline
Apollo Quad Omni...eh eh
#1438
22nd February 2012
Old 22nd February 2012
  #1438
Gear maniac
 
Artist4's Avatar
 
Joined: Apr 2011
Location: Planet Earth, Solar System, Milky Way
Posts: 175

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Quote:
Originally Posted by travisbrown View Post
So I'm a bit confused about the idea of some here that Apollo is going to change everything. It doesn't do anything that you can't already do. It's a mid-level multiformat "swiss army knife" interface not really different in i/o scope from any number of offerings from MOTU, RME, MH, Steinberg, Digi/Avid, Apogee.... It unloads the UAD plugins from your DAW PCI card to the interface. However, having internal FX DSP isn't new either: MOTU, RME, MH....

So, if you are recording through some decent interface already and are using UAD plugins, you can probably be 99% sure what it's going to be like using the Apollo. The only thing it might change for you is maybe encourage you to print some compression and EQ or whatnot at tracking time if you aren't already doing so.

This device shouldn't really make anything different for you. If it revolutionizes your recordings, you were probably doing something wrong before. If you need to upgrade to a larger multifunction interface, then it's worth looking at. If you want to more conveniently track through UAD plugins with low latency, it's worth looking at. That's about it.

As far as sound goes, though, it's not promising to be any sort of a game changer. Given that the range of difference in conversion is at best discernible or appreciable to few, it will be slightly better or slightly worse than what you are already using.

This isn't a "sell everything and get that!" product. It's meant as a recording hub for the kind of recordist who wants to upgrade from a smaller interface like a Duet, or needs one box that has a little bit of everything, or someone who wants a small mobile setup. This really isn't meant to be the sort of device that you would bolt on to an existing i/o setup. It shouldn't get you any more excited than what's been out there for years already.

Conveniently tracking through UAD plugs at low latency is a nice idea. It looks like a good piece of gear. But I look at my modest setup and can't really see how it would add anything.

I am thoroughly disappointed that the Thunderbolt option is reportably going to be $500. Thunderbolt isn't expensive technology. That option should be $150 tops. If you get it, please feel gouged. Shame on UA for this.
I understand your point

Currently im working with a Motu Ultralite,

So i was thinking get better conversion and preamps for my mic and my new synths ( SPhatty, Prophet and Nord L2)

Mostly for Dance and Pop, i dont record bands.

Instead of buying a Channel Strip like a SSL Alpha or a expensive converter, the Apollo could be a nice solution for an studio upgrade right?
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#1439
22nd February 2012
Old 22nd February 2012
  #1439
Gear nut
 
IAMCRISIS's Avatar
 
Joined: Apr 2011
Location: Bronx
Posts: 86

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@ DR Music... Never judge a book by it's cover... The foam is more for decorations... Lol. My walls were built "treated" from the inside out... So was my booth... I spent about $8,000 on building that "small room". Walls, ceiling and floor have all been treated. They're About 6 inches thick and the booth has an extra layer of mdf board. There's no windows and a near silent vent system. I think I'm good...

http://www.soundcloud.com/iamcrisis
http://www.datpiff.com/profile/Crisis_187
#1440
22nd February 2012
Old 22nd February 2012
  #1440
Gear addict
 
Billy Buck's Avatar
 
Joined: Oct 2005
Posts: 430

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Quote:
Originally Posted by IAMCRISIS View Post
Who knows, I may be the one who makes that 1st classic/great album using a Apollo.
Just want to say, I really like your positive attitude and drive.

Check out this just released UA Artist Interview with Grammy winning mixing and recording engineer Jason Schweitzer:

Jason Schweitzer on Mixing for Snoop Dogg, Wiz Khalifa, and Indie-Soul Sensation Mayer Hawthorne - Blog - Universal Audio

Some enlightening quotes:

What are you looking forward to when it comes to the Universal Audio’s new audio interface, Apollo?

As I mentioned, I’ve been building my whole sound trying to figure out how I want to process in Pro Tools and the biggest missing piece for me has been quality analog-to-digital and digital-to-analog conversion. I’ve been looking at converters a lot and with the Apollo, I’ll finally have a way to split out of my Pro Tools and get some analog summing, which is what I’m really looking to do in mixing. I’ll mix in the box, but I’d like to have some outputs that I can play with to get some analog warmth and crosstalk as well. The Apollo is going to allow me to do that.

The way I run things right now, I basically monitor through my 2192, which is great. But I would like to have some good analog outs that I can plug in somewhere. I’m excited to go from the analog out of the Apollo to the analog in of my 2192. The 2192 is a class A, discreet, hand-built converter. So when you go in on the analog side, you’re getting some of the UA signature warmth. When you hit it harder, you get natural compression and other cool effects that I don’t have access to right now.


And people dig the signal path you’ve come up with?

I’ve done double-blind tests with mastering engineers and every single time, they pick UA signal paths over non-UA signal paths — and that path is the 2192 along with the UAD plug-ins. At the NAMM show in January, I did presentations of the Mayer Hawthorne song “The Walk,” which is a single from the new album I mixed.

Universal Audio got the song a couple of months in advance so they could load it up and get it ready for NAMM, and meanwhile, UA’s Chief Scientist, Dave Berners had already been listening to the song on the radio. He told me that he’d been admiring how good and vintage-sounding that song was, and wondering if it was possible to achieve that sound with plug-ins. When I sent UA the session for “The Walk,” he realized that it was that same track he’d been hearing on the radio — and that it had been mixed completely in the box, using UAD plug-ins!

That was a great “I’m on the right path” moment. The Chief Scientist for the company that makes plug-ins themselves had no idea that he was listening to UAD software, but he loved the analog sound that I got on the album. When he told me, I said, “Congratulations! It only happened because of the work your company did.”


I thought that last quote was pretty funny. Here you have UA's own Dr. Dave Berners liking the vintage sound of a song he was hearing on the radio and wondering if that vintage analog sound could be achieved with plug-ins, only to later find out that it was indeed mixed totally ITB with UAD plug-ins!

Cheers,

Billy Buck
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