Universal Audio Apollo x4 Gen 2. The Next Generation!

A brilliant piece of kit that’s more than a match for the demands of the modern producer/engineer

The next generation of Universal Audio Apollo is here.

At a glance

Universal Audio’s Apollo series has been amongst the most highly rated audio interfaces for some time. I’ve seen many professional engineers use the smaller variants in their travel or home setups, but for some, they’ve been lagging behind other manufacturers in the more premium audio interface space. Having been initially released in 2012, it’s not unkind to say the Apollo series is getting a little long in the tooth.

Enter the Universal Audio Apollo x4 Gen 2, which aims to redress the balance back into UA's favour, putting them back at the top spot of the interface league table, at both the hobbyist end and the professional engineer part of the scale. Boasting a look reminiscent of the original units, improved D/A converters, and some brand-new usability features, let's see what the new series has to offer.

Features

The new Apollo desktop interfaces are now available with two tiers of plugin bundles, with a third for x16 variants. The first level is called Essentials+ and features 32 plugins covering everything from preamps and compressors to reverb and delay, as well as a single instrument in the PolyMAX Polyphonic Synth. You also get Auto-Tune Realtime Access for perfecting your vocal takes and UA’s Luna DAW.

Upgrade to the Studio+ Edition and you’ll get 50 plugins to choose from as well as 6 software instruments. Auto-Tune Realtime X is included alongside Luna, and it’ll cost you around 300€ to make the jump from the Essentials version. Tiered plugin bundles with audio interfaces aren’t something I’ve really encountered before as typically you’ll get the same bundle with each interface, but it could be useful for those who already have a stacked plugin collection to cut back here.

One of the headline features is the inclusion of Apollo Monitor Correction, which allows you to import Sonarworks profiles to run on the interfaces DSP in real-time. It’s an additional purchase with various tiers for new and existing SoundID users, and you’ll need to buy a Sonarworks licence, measurement mic, and Apollo Monitor Correction Add-on to get up and running. A feature that allows easy loading of Sonarworks profiles for monitoring stereo or multichannel speaker systems, including subwoofer management. It also supports Calibration Target Modes, enabling you to fine-tune your space or simulate other monitors to ensure your mix translates well elsewhere. The process is incredibly simple, with the processing always applied last in the signal chain to minimize latency.

Finally, there’s a brand new auto-gain feature which I’ve seen before on the Scarlett 4th Gen interfaces, allowing you to play your instrument during a brief ‘training’ window and automatically set a level. You can do this across all four input channels, making it great for getting perfect levels when using a multi-microphone setup.

Hardware



As you might guess from the name, the Apollo x4 has four combi inputs, each of which is sporting UA’s famed Unison preamps. Next on the back panel are two monitor outs, and four line outs, all sporting 1/4-inch inputs. For additional connectivity you’ve got a Thunderbolt port, and an Optical in and out that allows you to connect up to four additional UA interfaces should you wish to keep the desktop functionality when expanding to a rack mount setup.

On the front panel, you’ve got two Hi-Z inputs which replace channels 1 and 2 on the back when plugged in and two headphone outputs make it great for collaborating with other musicians and clients. You can also bypass the preamps on the desktop versions, allowing you to utilise the mastering grade line-ins straight into the upgraded converters.

Apollo’s converters have had an upgrade to reduce their noise and distortion levels, abbreviated as THN+D, and enhance their dynamic range, referred to as DNR. We’re talking very small numbers here with increases in the single digits as we near the theoretical limit of what digital audio is capable of, but if you’ve heard of the 90/10 rule you’ll know that it takes a lot of effort to get push those last few points of performance.

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Software

Getting the interface is handled via UA Connect nowadays, which offers a centre point for all your UA plugins, hardware, and the Luna DAW if you decide to use it. If you’ve already had a UA device installed on your machine then with a quick update of the UA console software and quicker firmware installation you’ll be up and running in no time. If you’re new to the UA ecosystem then the installation process is quite convoluted, so just be sure to read all the dialogue boxes that appear properly and you’ll save yourself quite a few headaches.

The UAD Console looks remarkably like the original, but there are some subtle changes afoot. First up is the new Auto-Gain function which sits just below the input gain in your chain. Clicking it brings up a dialogue box that asks you how long you want to play for, your listening threshold in dBFS, and your peak target in dBFS. Once you’ve played for the duration required it’ll suggest the correct level for your instrument and you can click done to proceed. It’s very similar to the feature I tested on the Scarlett 4th Gen interfaces, and although I’d imagine most engineers and producers will like to control of setting their own levels, it’s a viable option if you’re in a hurry.

Other than that and the forthcoming option to integrate Sonarworks, the workflow is exactly as I remember it from previous UA devices. Much like you would work at a desk you go from the top of the channel strip to the bottom, adding preamps, EQs, compressors, and anything else you like before you start recording into your DAW.

There’s a lot of flexibility within the software, and the Console is really the heart of the Apollo x4, or any previous Apollo device for that matter.

Final verdict

The performance upgrades with the Universal Audio Apollo x4 Gen 2 are evolutionary rather than revolutionary, but UA is building on a brilliant piece of kit that’s more than a match for the demands of the modern producer / engineer. The analogue style workflow of the UAD Console is still its best feature, and UA hasn’t done much to change this other than add a few usability features.

In our opinion, a four-input interface is a much better option for the producer/engineer who has experience already under their belt, allowing you to do more whilst still remaining relatively compact. So if you’re ready to make a step up from your beginner audio interface, the Apollo X4 might be pricey, but it’s totally worth the entry cost.

AthensProAudio Team ©