How much time do producers spend just handling one or two inputs and stereo output (plus monitoring)? My guess is — a lot. Once you’re out of the studio, that amount goes up. But generally speaking, premium interfaces have tended to assume you need more I/O – even though a lot of electronic production now occurs in the box.

So part of the reason the Universal Audio Apollo Twin has been important is that it changes the value equation. It doesn’t do a whole lot of I/O – this is really about recording one thing at a time, listening, and monitoring. But by focusing on that, UA lavished all the expense on that I/O and adding DSP power for its modeled plug-in line. And per jack this is a no-expense-spared proposition.

And it can be perfect for recording one thing at a time, while also outputting up to four discrete channels (meaning live four-channel applications work).

I thought it was a significant entry when it came out for this reason, and that suspicion has been born out by two things – one, I personally can’t live without it in my own productions and my colleagues, and more importantly, I see a heck of a lot of these things popping up.



Let’s be honest: UA most certainly hope this thing is a gateway drug to get you hooked on their plug-in line. And those plug-ins, while terrific, don’t come cheap – they’re at least in line with a handful of other high-end software makers. But I might even go as far as recommending the model with the low-end DSP, because I think the driver and hardware quality of this box is unparalleled.

Or, that is to say, it was already unparalleled, and UA now promise it’s gotten better. The MkII is a “ground up” hardware redesign that promises greater audio quality, much-needed monitoring additions, and the option of getting QUAD processing if you need the DSP horsepower.

UA already addressed one of my biggest complaints – one that had us occasionally shouting expletives at Universal Audio. There’s now a unified driver model, so that you can swap different UA interfaces. That was essential to me and a colleague of mine, as we wanted to use a multi-port interface in the studio and the Twin on the go. That’s sorted, so now swapping is easy.

Being operating system agnostic is also totally possible – whereas Windows users were initially left out entirely, and then Windows and Mac required different drivers and interfaces, now you can swap hardware and OS as you please. That’s also I think a big deal, as some of us have (cough) decided to take the plunge and add a PC to our arsenal.

The MkII looks basically like the earlier model, apart from a Space Gray-styled darker color. The big change are in the innards:

Better audio quality. Universal Audio says the A/D and D/A converters have been “completely” redesigned for better audio performance and dynamic range.

More monitoring, talkback. These offerings were a little basic on the first generation. Now, you get mute, DIM, mono, and ALT speaker switching. That’s clearly useful for studio and recording applications, but I think it has probably a too-often ignored utility in live situations.

Now there’s a quad option. If you don’t care much about DSP or just need an occasional UA plug-in, there’s still the US$699 SOLO model. If you use DSP, though, you really want the $899 DUO. I’ve found that was more than enough for my needs most of the time, personally, but I have spent some time bouncing out tracks as a result. If you’re really into the UA ecosystem, there’s now also the QUAD model with extra DSP.

Mac, Windows. This is now true of the whole Apollo range (with the exception of the Windows-only Apollo Twin USB), but worth mentioning again – you don’t have to choose different hardware just to use both operating systems. You need Thunderbolt, but that’s becoming standard on serious current-generation Windows machines.

QUAD version of the Apollo Twin - those things labeled SHARC are the chips doing the heavy DSP lifting.

QUAD version of the Apollo Twin – those things labeled SHARC are the chips doing the heavy DSP lifting.

Unless you really want the QUAD, I think this mostly sweetens the pot for would-be new adopters rather than makes a must-have upgrade for existing users. That also means you might keep an eye out for used first-gen units. (That said, though, you can chain units together with Thunderbolt.)

But as before, UA justify their use of DSP hardware with tight software/hardware integration and high performance. The includes their Unison technology, which coordinates the preamps and gain with software models, so that the modeled preamps, guitar amps, stompboxes and whatnot can behave like the original in terms of impedance, gain stage behavior, and sound. The big deal, though, is that you can use these software models with near-zero latency, giving you the feeling of having the actual hardware when you’re recording or playing live. And that for me is what justifies using DSP hardware and not just native plug-ins.

These also still come with a set of entry-level plug-ins in a bundle, including some nice Softube amps and distortion, an excellent tube preamp model, and then some still-pretty-darned-good “legacy” models from their back catalog.

Yeah, there are some other options in this price range, like the RME. But at the moment, I can’t quite top the UA, at least for macOS and Windows, if you want the best possible box with this I/O configuration.

The software bundle.

The software bundle.

The other good news this month for fans of the Universal Audio ecosystem is the announcement of support from Softube on their Console 1 hardware. The Console 1’s price was also dropped to US$499, which is a lot more in the league of what we think of when we think control surface. And that really fills in a missing piece. It’s great to have this UAD software, but it’s slightly miserable to have to dig into software with the mouse just to turn a knob. It doesn’t matter how good the sound experience of the original hardware is if you can’t get control in your hands.

The Console 1 and Apollo Twin as a combination, though, make a pretty ideal studio and mobile setup. Not all the UAD stuff is covered – and this requires using Softube’s software host, not the UA Console. But most of the stuff you’d likely use is covered, and I suspect not having to go into the UA Console makes more sense for workflow, anyway.

Watch for more on these solutions – and we’ll see if I can defend my enthusiasm for them.

  • Robin Parmar

    I remain sceptical that this could have drivers as good as RME, or mixing software as flexible. Also, RME does not require me to invest in a new data bus and gives me more channels over good old USB. But then again I am an odd bird. I don’t want my hardware to sound like antique equipment, so all those plugins are useless. In fact, I don’t want my transducers to sound like anything at all!

  • I see those Sharc chips and it takes m back to c. 2000 and the Creamware Pulsar. Very cool system but in retrospect a big waste of $$$, even though I got it for a bargain price.

  • Gabriel Rey-Goodlatte

    Any opinion on how the Apogee Duet stacks up (if you don’t care about the DSP stuff)? I had thought of it as in roughly the same class as this and the RME stuff.

  • sux

    I would advise everybody to remain skeptic about the prevalance of thunderbolt. This doesn’t exclude the Apogee for everybody but let me tell you about my current interface which has firewire. This was around a lot back then (more than thunderbolt today). And the story they told you is how much superior to usb it was and that it will eventually be on every machine. Guess what: Nowadays there are online laptop retailers who don’t even have one single model equipped with firewire.

    • Polite Society

      Can always get a thunderbolt to firewire adapter for all those firewire devices you still need to use.

      • sux

        Yes this is true. However, I tried to get across something different. Basically the claim that thunderbolt will be wide spread and it will stay wide spread for long is highly speculative. It didn’t happen to firewire and it most likely won’t happen to thunderbolt.

        • Polite Society

          I think by any measure firewire was pretty successful, lasted several revisions over many generations of machines and on mac/pc. Certainly not as ubiquitous as usb, but it was only needed for audio and video, which is always a bit of a niche. It certainly wasn’t a flop.

    • KneeJerk

      You can count on thunderbolt being around for a while since they have integrated it with the USB C connection.

  • An issue I have with premium interfaces like this with an optical input and no optical / clock output is that if you want to expand your input channels with an inexpensive interface via ADAT, you have to clock your primary interface off of the expansion one with an inferior clock that’s subject to more jitter. Seems like this defeats half the purpose of a premium interface. Some units resample internally but I don’t think the Apollo series does.

    • You are absoutely right, didn’t even think of that. To me the worst or not having ADAT out is not to be able to connect it to expert sleepers ES-8, so no interface w/ modular world… I’ll keep my trusty uln2 then.

  • zozo

    Needless to say Apple’s connectivity strategy is (beyond) perplexing. That said, Thunderbolt is faster than USB and in my experience more stable.

    Hopefully the new implementation of Thunderbolt 3, in and compatible with the USB-C form factor, will persist. One would also think that Apple would have updated the iPhone’s Lightning port to the USB-C compatible port ¯_(ツ)_/¯ but that is a separate conversation.

    Anyways, I own an APOLLO 8P and had been waiting patiently (with the occasional furtive glance at the Babyface Pro) for the TWIN MK2 to come out….

    I was hoping to have a second unit that I could expand my studio setup with and take on the road for use with my Macbook Pro and iPad Pro.

    It’s really great to see the incorporation of a talkback mic onboard, the updated a/d d/a and doubling of the processing power.

    However, In line with the competing interfaces (like the Duet and Babyface Pro) I was hoping for MIDI i/o and iOS connectivity… also, as waveplant pointed out it’s somewhat disappointing not to have ADAT out.

  • Olivier Arson

    Hi Peter, you wrote 5 years ago about the UAD Satellite. Do you still own it? How would you evaluate your experience with it? Thx!

  • polysix

    Please note you CAN monitor, even record through zero latency modern native plug-ins ‘live’, ie Slate VMR by using what some DAWs have, like Studio One, a Zero Latency monitoring mode that will allow you to set your audio interface to the fastest speed (that can’t normally run a mix with crackles) but will put a buffer to prevent that while making the live monitoring instant. So the live input will run at 32 samples inc low latency plugs, while the mix runs at much higher samples like 2048 (if max is selected).

    You don’t need UAD for that, however it’s true it doesn’t work exactly the same to ‘mimic’ the impedance etc but a lot of that is smoke and mirrors and you can get much the same using Slates Pre-Amp emus in VMR (or others) on the way into the box using the above.

    UAD is 75% marketing. remember that kids. Also no mention on how good these actual pre-amps and convertors are vs the big guys or even the medium high guys like RME and MR816 which has great pres. I can’t help feeling a lot of the cost in this UAD thing has gone on the usual, DSP and software brand licensing that acts as a dongle so hardware makers allow it.