A scaled-down version of the popular audio interface and plug-in host.
Universal Audio’s rack-mountable Apollo audio interface was an hit upon its 2012 release. Its stellar preamps, lucid design, and innovative software were perfect fits for project studios requiring great-sounding components and flexible operation, but not a vast number of preamps. (The original Apollo has four, plus additional analog and digital line inputs.)
I was an early adopter—Apollo replaced two more cumbersome systems in my home studio. Two years later I have nothing but praise for the device. My only beef: I wanted a smaller version for mobile work.
Now it’s here. The Apollo Twin is a 6"x6"x2" tabletop unit offering many of its big brother’s best features in a gig-friendly format. It’s a remarkable tool for the digital guitarist, though it requires a recent-model Mac with a Thunderbolt port running OS 10.8 or higher, plus a DAW. (UA currently supports Logic Pro, Pro Tools, Cubase, and Live.) There is no PC-compatible version.
Model Interface
The Apollo line offers more than great-sounding A/D/A conversion. It’s also a host for Universal Audio’s plug-ins, allowing you to run more plug-ins than your computer could otherwise handle. Such “assisted” hosting is increasingly unnecessary given today’s faster computers, but Universal Audio’s plug-ins are among the best in the industry. For many users, access to them is a major motive for using Apollo, especially since UA’s plug-ins only run on systems incorporating UA hardware.
The Twin comes in two versions: a dual-processor model that streets for $899 (reviewed here), and a $699 single-processor version. The larger version has twice the processing power, but beyond that, the models are identical. At risk of oversimplifying, I’d guess that the single-processor model is adequate for digital guitar gigs, but that you’d want the larger one for mixing multitrack sessions. See the usage charts on the UA website to determine which version best suits your processor needs.
UA specializes in officially licensed software versions of classic analog gear, forging deals to create software replicas of many popular studio components, including preamps, EQs, compressors, reverbs, tape simulations, effects, channel strips, and more. Their sound quality is remarkable—UA sets something of a gold standard for modeled effects. However, only a handful of plug-ins is included with an Apollo purchase, and a complete collection would cost many thousands of dollars. (All plug-ins are available for audition as fully functional, but time-limited, demos.)
Another Apollo innovation is the Console app, a virtual mixing board that not only lets you control Apollo hardware from your desktop, but also insert UA plug-ins on input channels upstream from your DAW. With its ultra-low latency, Console can duplicate the effect of recording via hardware preamps and compressors—an impressive feat. (Console only hosts plug-ins created specifically for the UA platform. Meanwhile, UA effects also appear as AU, VST, RTAS, and/or AAX plug-ins within your DAW alongside your other plug-ins.)
The Ins and Outs
The Twin records at 24 bits at sample rates up to 192 kHz. It has two input channels, switchable between mic, line, and instrument level, plus the option of eight more digital inputs via optical cable. There are three sets of stereo outs: main, monitor, and headphone. You enter most values via a single large knob. There’s phantom power as needed.
The sound quality is… well, identical to that of the larger Apollo, since the Twin uses the same preamps and SHARC processors. To my sub-golden ears, the studio results are as good as or better than from any convertors I’ve owned.
The difference with my mobile laptop rig is more dramatic. I’m one of those foolhardy souls who performs live on guitar via laptop, and the Twin blows away anything I’ve used in both sound and build quality. Mind you, I’m generally amazed that under-$200 interfaces sound as decent as they do, but the Twin delivers more depth and detail than any budget model I’ve tried.
It can be hard to describe exactly how one audio interface sounds better than another—it’s not as if the cheaper ones lack highs or lows, or demonstrate obvious distortion. But with a better interface, there’s more sense of solidity. There’s just more there there.
Not Built to Break
Far too many mobile interfaces are—let’s be blunt—cheap plastic pieces of crap. I’m embarrassed to confess how many I’ve destroyed through clumsy footsteps or hurried packing. (Hint: more than I can count on one hand.) And thank goodness, the Twin doesn’t have one of those horrid octopus-style breakout cables (though it does require the included 12-volt external power supply). With its rugged metal enclosure and quality connectors, the Twin is one of the few small-format interfaces that truly seems suited to the physical demands of the job.
Ratings
Pros:
Superb sound. Access to great plug-ins. Solid construction. Innovative software.
Cons:
Stingy bundled plug-in collection.
Tones:
Ease of Use:
Build/Design:
Value:
Street:
$899 (dual-processor); $699 (single-processor)
Universal Audio Apollo
uaudio.com
I’ve used the review model Twin for my last few live laptop gigs, connecting through the interface to a MacBook Pro running Apple’s MainStage software, and then back out through the Twin to a Boomerang III looper en route to a pair of Fishman LoudBoxes. My tones have more impact and a greater sense of headroom—they simply feel bigger. And it’s reassuring to have an interface on my pedalboard that seems less likely to disintegrate.
Almost Analog
The Analog Classic plug-in bundle included with the Twin is modest: You get legacy editions of UA’s 1176 and LA-2A compressors, not the latest versions. There’s an underwhelming light version of Softube’s Amp Room, plus a channel strip and a reverb plug-in that are both a decade past their sell-by dates. However, the included 610-B Tube Preamp adds fine analog burn to any track—it’s perfect for inserting on a Console input channel as described above.
There’s not nearly enough room here to cover all the plug-ins UA sells separately, though I can’t resist calling out a few addictive favorites: The EMT plates are astonishingly deep and detailed recreations of those classic hardware reverbs. The simulated tape machines—a Studer multitrack and an Ampex mastering 2-track—add warmth and character to anything you run through them. You can hear those simulated devices on the audio examples included in the online version of this review.
The Verdict
The Apollo Twin is a compact audio interface and plug-in host boasting remarkable sound quality and smartly streamlined features. Paired with a recent-model Mac, it’s powerful enough to anchor a busy project studio, yet compact enough to pop into your gig bag for mobile work. The bundled plug-in collection is modest, but I’d still recommend the Twin even if came with no plug-ins. It earns top marks for audio quality, workmanship, and its many useful and innovative features.
Can you get a decent electric guitar for the price of a tank or two of gas?
A lot of people say you can’t find good deals at guitar shows anymore. But strangely, I can usually find something in the Bottom Feeder range to go home with. A while back I was looking around at the Spartanburg Guitar Show in South Carolina when I spotted this AXL Tele-style guitar (Photo 1), which was looking quite lonely on the very last row.
The last row is always my favorite place at that show because that’s where the cheaper guitars usually reside. I picked up the guitar and looked at it. With a price tag of $99, it wasn’t bad. What drew me to the guitar, however, was its visual appeal—there’s nothing quite like an aged-looking blonde Tele with a matching maple neck and black pickguard. Man, that guitar had me at hello.
I tried some licks and it played really well. The action was nice and low, and the maple fretboard didn’t have much polyurethane on it, which made it fun to bend strings. The neck was straight with just the right amount of relief, and it felt really easy to play.
Photo 2
I liked the guitar, but there were still more to see at the show, so I moved on. But that guitar stuck in my mind, and when I was done prowling, I went back for a second look. This time, I observed a rather deep gash on the upper bout (Photo 2), as well as a major ding on the headstock (Photo 3). I hadn’t noticed these before.
Bottom Feeder Tip #766: It’s always a good idea to do a thorough examination of the instrument before buying. It’s easy to overlook flaws when you’re in love, and these little flaws can really affect a guitar’s resale value later on.
Photo 3
Now $99 wasn’t bad, but I wanted to do better. So I talked to one of the workers at the booth and he brought the price down to $80. Cool! But I’m a bottom feeder. The boss finally came over and said, “Yeah, I see the dings. I tell you what, how about $60 cash? I don’t want to take it back.” We shook hands and I paid the man, who was gracious enough to throw in a nice gig bag to boot.
Bottom Feeder Tip #485: Always carry some cash to a guitar show. A credit card is fine for the big-ticket items, but dealers really like cash, and it can increase your negotiating power.
So how do I like it now? After changing strings and plugging into an amp, I thought the pickups sounded pretty good, though they’re a tad on the weaker side when compared to a real-deal Fender Tele. The two pickups were also wired out of phase, an easy fix. But for 60 bucks, it’s a steal in my book. I love the aged look, so I’m keeping her for now, but reserve the right to stick in some Seymour Duncans down the road.This commemorative version of Ralph Novak’s original Fanned-Fret wonder is easy to play and sounds fantastic.
The history of guitar is defined by reinvention, and when it comes to getting the geometry of 6-string sonics right, Ralph Novak’s fanned-fret instruments are some of the most beneficially imaginative guitar evolutions of the last three decades.
But at first glance, fanned-fret guitars are not everyone’s cup of tea. To the uninitiated, they can seem unnecessarily odd or even hubristic in comparison to traditional designs. But it’s the science behind this fanning that makes believers out of many skeptics—there’s a method to what may outwardly look like madness. If you look closely, you’ll see that it’s not just the frets that are splayed out in a funky-looking array: Each string’s bridge saddle is also staggered across the face of the instrument in order to conform to careful measurements optimized for that string. In layman’s, terms the objective is to get uniform harmonic content across the fretboard, and the fullest possible frequency range that can be generated from each note. The benefits aren’t all sonic, however. Varying string lengths also contribute to more consistent-feeling tension across each string. Once players get past the initial adjustment in feel, they often remark that the Novax feels easy to play and more in tune across the fretboard.
This year the Novax Fanned-Fret solidbody is 25 years old—an occasion Novak is commemorating with the release of 25 handbuilt anniversary versions of the innovative instrument. In the time I spent with this guitar—which included sharing it with some great players and guitar experts—it was hard to not be struck by what a versatile instrument it is.
Feast of Design
The 25th Anniversary edition Novax is available in two U.S.-made models: the Sassy Annie and our review guitar, the Sweet Annie. Sweet Annie has a mahogany body, maple neck, ebony fretboard, and two hum-cancelling Bartolini soapbar pickups, while Sassy Annie has a swamp-ash body and a choice of three Lollar or Bartolini single-coils.
Thoughtful design is evident everywhere on our test Annie. The tuning machines are situated for straight string pull past the bone nut—a fact that should decrease tuning issues due to reduced friction. The electronics cavities are shielded with copper foil and leave plenty of room for modifications. And the 500k pots, 5-way switch, and .02?F capacitor are all high quality—although the volume pot’s taper felt like it could be a bit more nuanced.
Surprisingly Easy to Know
Unsure about how effectively muscle memory would serve me on the unfamiliar Novax fretboard, I made a point of not looking down as I played. I was surprised how quickly my fingers found their mark, and it wasn’t long before I felt almost totally at home. It may seem wildly counterintuitive, but ultimately the fanned frets felt easier for me to play than a traditional guitar.
Ratings
Pros:
Excellent playability. Big, clear tones. Lightweight. Impressively accurate intonation.
Cons:
Could be more aesthetically pleasing.
Tones:
Playability:
Build/Design:
Value:
Street:
$2,500
Novax 25th Anniversary Sweet Annie
novaxguitars.com
Typically, I play a fairly ordinary Stratocaster through a ’67 Fender Super Reverb. Comparatively, the Novax is louder at the same amp settings, but also much clearer. And though the Annie sounds big, it’s also very controllable and responsive to playing dynamics. Bang on it, and the attack is loud and immediate. Play gently, and notes have a blooming quality. It is also remarkably noise free. The detail and dynamic sensitivity really reward articulation and precision. And the even tone response and output across the fretboard highlights the nuance and detail that come from a sensitive touch. A cool secondary effect of all this clarity is that it makes pedals feel more detailed and full of range, too.
I work in a busy guitar shop (Gary Brawer Guitar & Bass Repair in San Francisco) that sees a lot of traffic from high-profile players. It was fascinating to hear impressions as I gave a few of them a chance to play the Annie. Jerry Harrison (formerly of Talking Heads) enjoyed the ease of playing around the middle of the neck, though he noted that barre chords were awkward at first. Jim Martin (formerly of Faith No More) plugged in Sweet Annie and fell into a fifteen minute, dreamlike flamenco reverie. Gary Brawer, who counts Joe Satriani and Metallica among his clients, remarked on the quality of the fretwork and how effectively the .110" x .057" frets work with the setup. (One interesting aside: The popular PLEK computerized fret-mill system cannot be used with a fanned-fret instrument like the Novax.)
The Verdict
If you’re looking for the slightly out-of-control, teetering-on-feedback sound of a Les Paul through a 50-watt Marshall half-stack, an instrument like the Sweet Annie is probably not your first choice. It’s controlled and precise. It rewards a technical touch. That said, it’s not so civilized that it sounds sterile or innocuous. It’s sonically robust and loud. Most surprising, it’s truly easy to play after a short get-to-know-you period. Indeed, it’s the kind of guitar I could play all night.