A handheld gateway to the world of home recording.
Doesn’t require a power supply or batteries. Works with any plug-in or DAW. Very simple interface.
Differences between preamp emulations are subtle.
$129
Positive Grid Riff
positivegrid.com
It’s never been easier or less expensive to take part in the home recording experience. And Positive Grid’s newest entry into the interface market, called RIFF, exists at an impressive nexus of portability, functionality, and price. For around the cost of a decent overdrive, it’s a handheld audio interface that skips the bells and whistles for the sake of making a tool that just plain works.
The design is streamlined. The front of the unit is home to a backlit LCD screen and a multi-function push knob. There’s also a headphone output and audio input jack on the bottom along with an output jack on top next to a USB port. Setting up RIFF is a breeze. Apple Logic recognized the unit right away on my own computer, and because it’s powered via USB (or Lightning in iOS applications), you just plug in to your computer to power up. You can adjust four primary parameters: input gain, output gain, direct (which blends direct and processed tones coming from your computer for monitoring purposes) and tone, which cycles through three preamp emulations. The preamps are effective, though their overall effect and the differences between them can be subtle.
The recording quality of the RIFF is stellar. It handles 24bit/96kHz sample rates and there is little-to-no detectable latency. RIFF also comes bundled with the company’s BIAS FX 2 LE software for amp emulation, which makes RIFF a super fun way to practice on top of an incredibly handy recording setup.
Test Gear: Fender HSS Stratocaster, Fender Jazz Bass, Neural DSP Archetype: Cory Wong
Get the meaty deets on an interface whose latency is so absurdly low that it feels like playing through hardware.
Like Cerberus of myth, Universal Audio is a three-headed beast. The company manufactures pro audio hardware, often inspired by the vintage designs of Bill Putnam—founder of the original Universal Audio company and father of the new UA’s leaders, James and Bill Jr. UA also concocts superb digital versions of classic and modern analog gear. Then there’s Apollo, a line of audio interfaces that double as plug-in hosts. These range from the flagship Apollo 16 to the small-footprint Apollo Twin, recently updated to the MkII reviewed here. (Apollo hardware/software runs on Mac OS and Windows.)
UA’s “heads” are often intertwined. UA plug-ins only run on UA hardware. And the Twin MkII’s bundled plug-in suite includes great-sounding models of the Universal Audio LA-2A and UREI 1176 compressors, and the UA 610-B preamp—which are all, to some degree, Bill Putnam Sr. designs. The MkII also comes with a Fairchild limiter model and additional long-in-the-tooth legacy plug-ins.
You don’t need to purchase additional plug-ins to make good use of Apollo. You might simply use its gorgeous mic preamps and A/D/A convertors to route audio to and from your DAW, relying on plug-ins you already own. Still, most Apollo users wind up purchasing additional software. I certainly did! I seldom fumble through a mix without my two favorites: Ampex ATR-102, a 2-track mastering deck simulation that makes everything bigger and warmer, and EMT 140, a drop-dead replica of the sweetest plate reverb ever. In a touch of old-school marketing savvy, UA also makes fully functional, two-week trial versions of all 89 UA plug-ins free.
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.
Tones:
Ease of Use:
Build/Design:
Value:
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.
This virtual collection of vintage amps is a real champ.
The latest plug-in for IK Multimedia’s AmpliTube modeling software goes after a handful of iconic tweed and blackface tones from the golden era Fender amps. Included are models of tweed versions of the Deluxe, Champ, Pro, Twin, Bassman, Bandmaster, and a blackface Super Reverb. Getting up and running is rather easy: I just plugged straight into my interface, fired up AmpliTube, and away I went.
A hallmark of tweed amps is how important the guitar’s volume knob is to the equation. It can move from a glassy funk tone to old-school Stones rather quickly if set up correctly. I wore out the Layla album, so I headed straight for the ’57 Custom Champ. The immediate response and feel was there, and the reaction with the single volume knob on the Champ allowed for rather believable tones.
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
Tones:
Ease of Use:
Build/Design:
Value:
This tiny stompbox recorder enables real-time riff capture and fast file sharing via Bluetooth.
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.
Ratings
Pros:
Easy to use. Records ideas while you play. CD-quality audio. Thoughtful app interface.
Cons:
None.
Street:
$99
TC Electronic Wiretap
tcelectronic.com
An ultra-portable, easy-to-use tool that helps you capture ideas before they’re a distant memory.
We all have moments when we want to throw our smart phone or tablet out the window. But when you’re in a more tech-appreciating mood, it’s fascinating to consider all the things these devices can do to make our lives easier. One such thing that continues to evolve is convenient and mobile recording for guitarists.
IK Multimedia’s new iRig Acoustic is a patent-pending, MEMS (microelectromechanical systems) mic pickup that easily clips to the lower rim of a soundhole. The iRig plugs into a device’s headphone/input jack, and there’s a female output jack on the in-line cable for headphones or routing to another monitor. Download IK Multimedia’s free AmpliTube Acoustic app and, voilà, you’re in business with a mobile acoustic-recording rig for under $50.
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