UA enters the entry-level interface fray with a stylish unit that includes a track-transforming compressor and preamp.
Beautiful design. Fun to use. The 76 compressor is a true tone sweetener. Elevates quality of raw tracks without burdening host computer processor or involving extra effects.
More expensive than roughly equivalent competition.
$299
Universal Audio Volt 276
uaudio.com
Generally speaking, audio interfaces are tools we prefer not to think about too much. Even powerful interfaces like Universal Audio’s Apollo Twin are made as streamlined as possible, so you can focus on the tracking, editing, and mixing that goes on inside your DAW.
To date, Universal Audio has largely steered clear of the lower-priced side of the interface spectrum, focusing instead on the more professional-grade end of the production equation and leaving the entry-level business to companies like Focusrite, PreSonus and others. UA’s Volt series of interfaces, which range from the $139 1-in/2-out Volt 1 to the $369 4-in/4-out Volt 476 mark a change in that strategy
Entry level interfaces can be pretty similar, but UA’s Volt series are not just lookalike/soundalike equivalents of entry-level rivals. And three of the models in the Volt range, including the Volt 276, reviewed here, are distinguished by the inclusion of a UA 1176-inspired compressor emulation. The compressor on the Volt is not one of the superb 1176 emulations available as UAD plugins. Volt does not have the DSP processing chip required to run them (nor is there a direct path from Volt to upgrade to the company’s superb Apollo and Luna operating environments). But Volt’s onboard 1176-inspired comp is nonetheless an effective tone sweetener that, along with the onboard UA 610-inspired preamp, make the Volt an extra-appealing entry-level interface option.
Fender Deluxe Telecaster and black-panel Fender Tremolux into UA Volt 276 and GarageBand.
Pretty and Potent
A significant part of the mid-century design ethos was making beautiful, functional things available to consumers on a budget. It would be hard to find a piece of audio hardware that better embodies that thinking than the Volt 276. The wood and metal enclosure looks handsome and timeless on a desk and avoids the anonymous-to-ugly tech-minimalist look that is the prevailing design vernacular for this product category.
Controls are a streamlined affair: two TRS/XLR inputs, a phantom power button, buttons for each input to toggle between mic line and Hi-Z impedance, input gain knobs for each input, and monitor- and headphone-level knobs. UA also thoughtfully included MIDI-in and out jacks on the back. The important Volt-specific additions are the two buttons that activate the “vintage” preamp setting and the unit’s “76” compressor. The preamp is set and has no EQ capabilities, while the compressor lacks controls for altering attack, release, or gain, but has three presets for voice, guitar, and a fast attack setting. Their preset voices are very nice and very adaptive, all the same.
Lending a Hand in Garage Land
In its most basic application, the Volt is built to translate your input signal cleanly and with a minimum of latency to your DAW. And if you leave the vintage preamp and 76 comp out of the equation, the Volt performs that function well. There is little-to-no discernible extra noise and the basic preamp in the Volt massages the input from an electric guitar effectively. But the vintage preamp and 76 comp can change the sound of your input signal significantly. And it’s interesting to hear how they alter a signal in situations where an entry-level user/guitarist is most likely to use them.
One such application is recording an electric guitar to a simple DAW, like GarageBand or Ableton Live (the latter is included for free, along with Marshall and Ampeg amp emulation software). While DAW amp models have come a long way, they can still sound pretty thin, antiseptic, one-dimensional, and plagued by digital artifacts in spare mixes. But the 76 compressor and vintage pre both discernibly flatter GarageBand’s native guitar simulations, including some of the toughest to tame, like Fender tweed-inspired virtual amps.
The vintage pre and 76 are especially effective and go a long way toward making DAW-native models a lot more convincing in a mix.
The differences are often subtle, as you can hear in Clip 1. Switching on the vintage pre voice provides a very nice fattening agent—adding a darkish, warm, low-end coloration that’s not glaringly obvious, but makes models sound much more cohesive. The 76, meanwhile, makes treble notes more present, warmer, and rounder, which blunts the edge of many digital artifacts and adds a lot of the glued-together tonalities you hear from its more sophisticated cousins in the Apollo sphere. Together, though, the vintage pre and 76 are especially effective and go a long way toward making DAW-native models much more convincing in a mix. In fact, I would consider many of the sounds I created with this combination totally satisfactory for final mixes in certain song contexts and dense mixes.
There are some limits to this formula. High-gain fuzz on the front end, for instance, can still induce digital harshness if you’re not careful with the input gain. And there are no compressor adjustments or EQ functionality in the vintage pre to alter the signal as you might with analog gear or a more flexible plug-in. That said, the Volt’s ability to add body and soften the harsh elements in these models without a pedal or plug-in—just a guitar line into the interface—is a lovely thing, particularly if you’re creating with a bare-bones rig in a compact space or on the road.
Not surprisingly, the Volt shines more brightly when used with a miked electric guitar signal. As you hear in Clip 2, the effect of the vintage preamp setting is subtle—adding a touch more low- and low-mid resonance and a toasty glow compared to the segment using the Volt’s standard onboard preamp. But, here again, it’s the vintage preamp and 76 together that really shine. The Volt’s preamp and compressor may lack the flexibility, fidelity, and sculpting power of the UAD plug-ins and the original hardware that inspired them, but when used together they add a perceptible serving of the warm old-school effects you would hear from those more expensive solutions. And the inspiration and confidence those sounds can lend in the process of creation and tracking is no small thing.
The Verdict
We don’t often review interfaces. But given how impressed we’ve been with UA’s Apollo and UAD plug-ins in our own recording projects—and the company’s tendency to consistently bring something new to the table—it was hard to resist investigating how the Volt’s tools could empower recording guitarists in the entry-level sphere.
There’s no doubt that UA’s keen knack for design, both in the practical and purely aesthetic sense, pays big dividends. The Volt looks handsome, and the layout is smart and intuitive. In most basic, functional respects, it is every bit as good or better than rival interfaces. It’s super quiet and easy to set up. The big difference, apart from that very pretty deign, is the 76 compressor, but more crucially how the 76 and the vintage preamp voice work together. You may not want to use them on everything you track: The coloration can be strong when used in tandem. But for budget-constrained, entry-level users, the way it can spruce up a very basic guitar track without having to bog down a DAW and its host computer’s processor—as well as the pleasure and ease with which you can use them—make the 276 worth the extra money you’ll pay compared to the competition.
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Brent Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing.
Professional transcriber Levi Clay has done the deepest of dives into Brent Mason’s hotshot licks. At one point, he undertook the massive project of transcribing and sharing one of Mason’s solos every day for 85 or so days. Mason is, of course, on of the most recorded guitarists in history, who helped define the sound of most ’90s country superstars. So, whether you know it or not, you’ve likely heard Mason’s playing. Levi shares the insight he gleaned from digging deep, and he tells us what it was like when they shared a stage last year. Plus, Levi plays us some great examples of Mason’s playing.
For the first time ever, two guitar greats, John 5 and Richie Kotzen will be heading out on the road this year. The tour will launch October 16 and run through November, hitting markets across the U.S.
Find the full tour itinerary right plus a link for tickets & VIP, including additional dates featuring John 5 only. Reserved seating tickets will go on sale Friday May 16 though a fan presale will begin today at noon local time and fans are strongly encouraged to buy early to get the best seats.
Meet and Greets for both artists will be available. For John 5 please go to: https://john5store.com/collections/vip.
Today, John 5 also announces more details of his anticipated new album. Called The Ghost, it will be released October 10 and is led by the new track “Fiend,” featuring Kenny Aronoff.
John 5 continues running public tours this month for his Knights In Satan’s Service Museum of KISS Memorabilia in Los Angeles, California. Guided tours are open to the public for one month only (with a possible expansion). Current dates available are May 12-16, May 19-23 and May 27-30. Each will be led by John 5 himself who will provide tons of rich detail and answer any questions. Secure your place HERE.
JOHN 5 continues to tour with Mötley Crüe including an upcoming residency in Las Vegas in 2025.RICHIE KOTZEN &
JOHN 5 FALL 2025 TOUR
October 16 El Cajon, CA @ Magnolia
October 17 Riverside, CA @ Fox Performing Arts
October 18 Roseville, CA @ Goldfield Trading Post
October 19 San Jose, CA @ The Ritz
October 21 Phoenix, AZ @ Celebrity Theatre
October 22 Albuquerque, NM @ KiMo Theatre
October 24 Dallas, TX @ Granada Theater
October 25 Leander, TX @ The Haute Spot
October 27 New Orleans, LA @ House of Blues
October 28 Memphis, TN @ Minglewood Hall
October 29 Nashville, TN @ Fogg Street Lawn Club
October 30 Atlanta, GA @ Variety Playhouse
October 31 Orlando, FL @ House of Blues
November 1 Fort Lauderdale, FL @ Culture Room
November 2 Clearwater, FL @ Capitol Theatre
November 4 Richmond, VA @ The National
November 5 Leesburg, VA @ Tally Ho Theater
November 6 Patchogue, NY @ Patchogue Theatre
November 11 Glenside, PA @ Keswick Theatre
November 12 Derry, NH @ Tupelo Music Hall
November 13 Foxborough, MA @ Six String Grill & Stage
November 14 Stroudsburg, PA @ Sherman Theater
November 15 Lorain, OH @ Lorain Palace Theatre
November 16 Columbus, OH @ The King Of Clubs
November 17 Warrendale, PA @ Jergels
November 19 Wyandotte, MI @ District 142
November 20 Flint, MI @ The Machine Shop
November 21 Fort Wayne, IN @ Piere’s
November 22 St. Charles, IL @ Arcada Theatre
November 23 Belvidere, IL @ Apollo Theatre
November 25 Denver, CO @ Oriental Theater
November 29 Pioneertown, CA @ Pappy & Harriet's*
*John 5 only
AEROSMITH guitarist and songwriter JOE PERRY is set to return to the road for a series of August performances with THE JOE PERRY PROJECT. The 8-date run kicks off August 13 in Tampa, FL and wraps August 23 in Port Chester, New York, with an August 19 performance in PERRY’s Boston hometown (see the itinerary below). For the North American trek—which marks the first solo shows for PERRY this year—the legendary guitarist will be joined by his Aerosmith bandmates Brad Whitford (guitar) and Buck Johnson (keys), along with The Black Crowes’ Chris Robinson (vocals), and Stone Temple Pilots’ Robert DeLeo (bass), and Eric Kretz (drums).
“Well…it’s time to let the music do the talkin again,” PERRY says. “I’m really excited about the JPP line up this year!!!! Most of these guys played with me at The Roxy in L.A. at the debut event for my latest solo album [Sweetzerland Manifesto] in January 2018. They’re all busy as hell but thankfully they’re able to carve out some time for this run. And I’m not only lucky enough to have Brad Whitford onstage with me but Chris Robinson of The Black Crowes! [who sang ‘Fortunate One’ on Sweetzerland Manifesto MKII], Robert DeLeo and Eric Kretz from STP!!! and Buck Johnson who plays keys and sings with Aerosmith, the Hollywood Vampires, and is also a solo artist in his own right.”
For the shows, the Rock and Roll Hall of Fame inductee says “the set list is gonna include my fav JPP cuts, STP, Black Crowes, and with Brad we’ll be hitting the Aero hits and some deep cuts and then ya never know!!!! Gonna be a BLAST, and if you’ve ever been to one of my shows you know the words GARAGE BAND on STEROIDS come to mind! See you there!!!!”
DATE | LOCATION | VENUE |
Wednesday, August 13 | Tampa, FL | Seminole Hard Rock - Tampa |
Thursday, August 14 | Hollywood, FL | Seminole Hard Rock - Hollywood |
Saturday, August 16 | Toronto, ON | HISTORY |
Sunday, August 17 | Muskoka, ON | Kee to Bala |
Tuesday, August 19 | Boston, MA | Wang Theatre |
Wednesday, August 20 | Hampton Beach, NH | Hampton Beach Casino Ballroom |
Friday, August 22 | Mashantucket, CT | The Premier Theater at Foxwoods Resort Casino |
Saturday, August 23 | Port Chester, NY | Capitol Theatre |
A sample page from the author’s analog log.
Seasonal changes are tough on your acoustic. Here’s how you can take better care of your prized instrument.
As you read this, spring is in bloom in most of the US, or maybe it has been for some time. I’m timing this column specifically to ask acoustic guitarists, in this season of increasing humidity and comfortable conditions, to prepare for what’s coming. It’s never too soon, and time flies. Before you know it, we’ll be back to the maintenance phase and you might be blowing up the phones of your local guitar shops, luthiers, and techs. I’m here to encourage a decidedly old-school approach to preventative guitar maintenance, and yes, it starts now.
Why, you ask? Well, as the lead luthier at Acoustic Music Works, I can tell you that in my nearly 15 years in this position, this was the worst winter ever for preventable repairs on acoustic guitars. Fret sprout, bridge lifts, top sink, soundboard cracks, back cracks, loose binding, general malaise… These hit us very hard in the winter that spanned 2024 and 2025. Am I complaining? On the one hand, no. This is part of how we make our money. On the other hand, yes! Repair schedules related to dryness and humidity issues can stretch into weeks and even months, and nobody wants to be without their favorite instruments for that amount of time. With a little thoughtfulness, however, you might get through next winter (and every one thereafter) without hefty repair bills or time apart from your musical companion.
Our preparation is going to start with an unlikely but very important guitar accessory: the humble notebook. Plain, lined, grid, day planner… it doesn’t matter. We all need to actively participate in our instrument maintenance, and in my experience, fancy apps that track humidity via Bluetooth breed a kind of laziness, a feeling of safety that might prevent us from actually physically looking in on conditions. Better we keep an analog, well, log, so that we know where things stand, and I suggest checking in daily.
“This was the worst winter ever for preventable repairs on acoustic guitars.”
Track your relative humidity, both in the case and in the room where your instruments mostly reside, but also take notes on your action height, top deflection (StewMac has some great tips for measuring this) and anything related to playability that you believe you can observe empirically.
Dryness is the root cause of most guitar issues that manifest in the fall and winter months. Symptoms of dryness include sharp fret ends, falling action and dead frets, sunken top around the sound hole, and cracks and bridge lifts. With your trusty notebook, you’ll get a feel for the sensitivity level of your instrument, and that knowledge is power!
A few other basic implements will not only assist you in your observations, but may also satisfy your need to buy guitar-related things (at least for a minute). Getting quick and comfortable with a fret rocker is a great skill to have, and is invaluable in diagnosing buzzes due to high frets or frets that have come unseated due to dryness. A well-calibrated relief gauge might seem luxurious, but it can prevent you from making unnecessary or extreme truss rod adjustments. A string action gauge, or even a simple machinist’s rule or set of feeler gauges, will help you keep track of your action. Get a three-pack of hygrometers so you can average their readings, rather than depending on one.
Lest we forget: A guitar can not only be too dry, it can also be too wet. By beginning your maintenance diligence in the spring/summer, you’ll also be able to tell if your instrument is the victim of a too-humid environment. The signs of over-humidification are subtle: Your action may rise from a puffed-up top, and in extreme cases, glue joints could begin to fail. In my experience, an over-humidified guitar will suffer from dulled tone, almost like a sock in the sound hole. If you’re sensing a lack of clarity in your guitar all of a sudden, start with new strings. If it persists, it might be due to over-humidification, and you may want to introduce a desiccant to the case for a time. The more lightly built your guitar is, the more sensitive it will be to seasonal changes.
By getting into these habits early, you’ll be empowered by knowing your instrument more intimately. You’ll understand when and why changes in tone and playability might have occurred, and you’ll hopefully save on repair bills year-round. Feel free to reach out with any questions. Who knows? I might just send you a notebook with an AMW sticker on the cover!