Busy Box
The Twin MkII is powerful enough to serve the I/O needs of a modest project studio, but small enough to bring to rehearsals and gigs. As one of the few guitarists foolish enough to perform via a laptop more than once, I’ve been using the original Twin since its 2014 release. The software and hardware have performed flawlessly. The sound quality equals that of the large-format Apollo in my studio. And I’ve been able to gig with sounds that simply don’t exist in the stompbox world.
Processing capacity differentiates the three versions of MkII. The $699 model has a single SHARC processor. The $899 version has two processors, and the $1,299 version we tested has four. Processing needs vary from plug-in to plug-in. But at risk of oversimplifying, a single processor lets you add a few favorite UA plug-ins to your mixes. The dual-processor version might shoulder much of mixing’s processing demands, though you may need to incorporate native plug-ins on big mixes. The quad version may let you mix using UA plug-ins exclusively—at least on less-than-huge sessions. Additionally, all Apollo interfaces can be linked. So, for example, I can wire the Twin to my larger 8-channel Apollo for extra I/O and processing power come mix time.
Twin MkII communicates with your computer via Thunderbolt cable. It houses two pristine-sounding mic preamps, fed by two balanced mic/line inputs plus a 1/4" guitar input. There’s also an ADAT cable jack for eight additional input channels (digital only). There are stereo monitor and headphone outs, two additional analog outs (perfect for sending musicians a headphone mix), plus eight digital outs via ADAT cable. As on MkI, you set all levels via the large encoder wheel and assign functions via a set of physical switches.
Ratings
Pros:
Superb audio quality. Compact, solid, and ergonomic. Access to stellar plug-ins.
Cons:
None.
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Street:
$1,299 street as reviewed with quad-core processor (models start at $699)
Universal Audio Apollo Twin MkII
uaudio.com
Console Me
The Twin package includes UA’s Console app—a virtual mixer so attractive and full-featured that most DAW mixers weep in envy. You don’t have to use Console. You can input directly to your DAW without launching the app. However, Console unlocks one of Apollo’s coolest features: “Unison technology.” Here, you can record through certain plug-ins before the signal reaches your DAW. Unison’s latency is absurdly low. It truly feels like tracking through hardware.
Only a fraction of UA’s plug-ins can run Unison-style, but they’re the ones you’re likeliest to use that way: compressors, preamps, and virtual guitar and bass amps and effects (but not the amp models included in the MkII bundle.)
New for II
MkII offers several new and improved features. According to UA, the A/D/A conversion has been redesigned for improved sound quality. I don’t doubt the claim, though I confess I don’t hear a massive difference when recording electric guitars. (It might be more apparent with fuller-frequency material, or to engineers with better ears.) There’s a nice new feature for project studios: a built-in talkback mic that lets you speak to performers over the headphone mix.
But this may be the coolest MkII feature: no price increase. The single- and dual-processor MkIIs cost the same as the MkI versions. (The quad-processor version is new.) Also, note that since MkI’s release, UA developed a fine library of virtual guitar and bass amps licensed from Marshall, Fender, Chandler, ENGL, Friedman, and Ampeg. These aren’t included in the MkII bundle, but you can explore them via the two-week demos.
The Verdict
We raved about the original Apollo Twin in the September 2014 issue, and the rave goes on. Twin MkII has enough connectivity for ambitious project studios, yet it’s small enough for a gig bag. The audio quality is superb. The build isn’t just studio-worthy; it’s stage-worthy. Unless you specifically need the new features, there’s probably no rush to dump your MkI. But MkII is a perfect entry portal for UA newcomers.
As I maxed out the virtual Champ’s volume, there was plenty of grind and I found myself reaching for the volume knob on my guitar more than I had expected. I went for the “Derek Trucks” setting on the Super Reverb (treble all the way up) and that biting, but not piercing, tone was there. Just a heads up: There is a bit of a learning curve in decoding the ins and outs of the AmpliTube software, but once you get past that you access a stash of holy grail amps that require way less maintenance than the originals.
Test gear: Fender Telecaster, Focusrite Scarlett 2i4
Ratings
Pros:
Very convincing amp tones. More options than you’d ever need.
Cons:
Rather steep learning curve.
Street:
$149
IK Multimedia Fender Collection 2
ikmultimedia.com
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TC Electronic’s Wiretap Riff Recorder might seem like an answer to a problem few have considered. But that doesn’t mean it isn’t a great idea. It enables the capture of ideas right in the middle of a jam—without ever breaking stride or sacrificing a magical mood or moment. And with Bluetooth and USB connectivity, and a clever file management app, it facilitates fast sharing of musical ideas.
If you guessed at the intent of the Wiretap, you might think it works something like a cross between your smartphone’s audio recorder and a looper. You wouldn’t be too far off. Like a looper, you just hit the bypass switch while you’re playing and it begins recording. You can play back the recording through your amp. But the real upside comes via the downloadable app, which enables file naming, organization, and fast sharing.
There’s no limit to file length, save for the eight-hour ceiling on the unit’s memory. You can also play back recorded sections and scan through them using the simple, tape-recorder-like 3-switch array. Wiretap may seem like a solution to a problem you thought you had sorted. But few methods for capturing ideas are as easy or immediate.
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With a Larrivée parlor in hand and an iPad Air as my mobile device of choice, I tuned up through AmpliTube Acoustic’s tuner function and went through the app’s calibration check. In no time at all, I was dialing in the EQ and flavoring my tone with a bit of reverb. The sound I produced through the iRig Acoustic and its partner app was impressive for such a small and simple setup. No, this little rig isn’t going to replace a traditional mic setup for recording, but to get warm and surprisingly natural tone from a pick-shaped, clip-on device and my iPad? That’s pretty cool. Take note: Given the positioning and sensitivity of the iRig Acoustic, it picks up everything happening on the soundboard, so care should be taken if you shift around a lot while playing.
Test gear: Larrivée P-01, iPad Air
Ratings
Pros:
Super simple to use. Ultra-portable. Affordable.
Cons:
Sensitive mic can pick up unwanted soundboard noise. Cable a little flimsy.
Street:
$49
IK Multimedia iRig Acoustic
ikmultimedia.com
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