Here, UA's Technical Marketing Guru, Gannon Kashiwa, explains the signal flow of Apollo and Apollo 16's new Console 2.0 Application.

Watch as UA's Technical Marketing Guru, Gannon Kashiwa, shows you how to get up-and-running with Apollo and Apollo 16's new Console 2.0 Application.

Watch producer/engineer Fab Dupont (Jennifer Lopez, Mark Ronson) demonstrate Apollo Interface basic setup, routing, and recording with UAD Powered Plug-Ins in Apollo Console 2.0. Features singer/songwriter Amber Skye.

The Sound Machine Wood Works plug-in for UAD-2 hardware and Apollo interfaces gives you exceptional studio microphone sound from any piezo-equipped acoustic guitar. In this short video, you'll see and hear the Wood Works plug-in used on various acoustic guitars.

The Sound Machine Wood Works plug-in for UAD-2 hardware and Apollo interfaces gives you exceptional studiogives you exceptional studio microphone sound from any piezo-equipped acoustic guitar. Now you can easily track rich multi-dimensional acoustic tones from piezo pickups — it’s the perfect solution for noisy environments, live performances, and supplementing previously recorded acoustic tracks. 

Developed by Brainworx, the Friedman Amps Plug-In Collection for UAD-2 hardware and Apollo interfaces features two stunning emulations of Friedman’s high-end, boutique masterpieces, each with its own take on god-like British tube tone. In this video, guitarist Doug Doppler takes you through the Friedman Amplifier plug-in's vast array of tone sculpting features.

In this video, guitarist Doug Doppler takes you through the features of the Tube Screamer, Bermuda Triangle and RAW Distortion stompbox plug-ins. Delivering powerfully authentic overdrive, distortion, and fuzz, the Distortion Essentials Bundle for UAD-2 and Apollo interfaces expertly models three vintage grind machines. Each of these classic emulations features Universal Audio’s Unison™ technology, giving you the individual touch, tone, and feel of these prized stompboxes. 

Image may be NSFW.
Clik here to view.

Apollo インターフェイスは、世界各地のレコーディングスタジオに
クラシックなアナログサウンドをお届けする
お手伝いをして参りました。
次は、フルThunderbolt システムへの挑戦です！

今回の Apollo Expanded リリースは、2012年のApolloインターフェイス登場以来、最大の進化と呼べるものです。Apollo Expanded は、Thunderbolt 搭載の Mac PC における統合オペレーションを実現しました。機能刷新の Console 2.0 は、ユーザーリクエストの多かった25以上の新機能を搭載しています。

注：Firewire (Mac / Windows) 用 Console 2.0 は、2015年秋にリリース予定。

Thunderbolt 端子を搭載したすべての Apolloインターフェイス (Apollo Twin、Apollo DUO、Apollo QUAD、Apollo 16) を最大で4台、トータルで6個のUAD-2デバイスとカスケード接続し、 I/O と DSP 増強を図れます。

Apollo Expanded により、Thunderbolt を備えた Apollo ユーザーは以下のことが可能になります：

• ユニット同士を Thunderbolt ケーブルを使ってカスケード接続
• パワフルな新規開発フレックスドライバにより、Core Audio I/O の設定に名前を付けて保存できます。種々のハードウェア構成、DAW設定のシェアも可能
• Thunderbolt 経由で、すべてのApolloデバイスに高精度クロックを供給できるスタークロック機能
• Apollo Twin をデスクトップ・モニターコントロール、追加DSP、接続デバイスとして利用可能

Image may be NSFW.
Clik here to view.

Thunderbolt を備えた Apollo ユーザーは、 Console 2.0 を使ったワークフローにより、オリジナル Console ソフトウェアの素晴らしさを再発見できるでしょう。機能強化は以下の通り：

• Thunderbolt接続されたApolloのために設計された高解像度（Retina対応）の 64ビットソフトウェアインターフェイス
• UADプラグインチェーンを保存・読み込み可能なチャンネルストリップ・プリセット
  機能
• 代替モニター、コントロールルーム機能、最新のヘッドフォンキュー管理 などの多くのモニター機能の改善
• ユーザーリクエストが多かった 25 以上の追加機能：
  • UADプラグインのカテゴライズ、個々のプラグイン表示/非表示
  • ドラッグ&ドロップ対応、プラグイン管理の強化
  • 新規プラグインのプリセット視聴機能
  • チャンネル毎の Rec/Mon エフェクト・スイッチ
  • 複数回のアンドゥー/リドゥー
  • リサイズ可能なドッキング・ウィンドウ
  • チャンネルストリップ、デバイスなどの表示/非表示

は、現在考え得る最高のプロデューサー＆エンジニア達 - 例えば、 Andrew Scheps (Adele, Black Sabbath), Darrell Thorp (Beck, Radiohead), Dave Isaac (Prince, Eric Clapton), Jeff Balding (Taylor Swift, Megadeth), JJ Blair (Johnny Cash, George Benson), Richard Chycki (Rush, Dream Theater), Ross Hogarth (Van Halen, Ziggy Marley), Steve Levine (Culture Club, Beach Boys), y Tony Maserati (Beyoncé, Jason Mraz) によるチャンネルストリップ・カスタム設定プリセットを101個搭載しています。

下では、UA 社の Gannon Kashiwa が Console 2.0 のパワフルな機能を紹介しています。

UAD v8.0 フィーチャリング Console 2.0 のダウンロードは こちらから。

Image may be NSFW.
Clik here to view.

“UAD plug-ins do what you’d expect from the analog versions — and then some,” says Chris Dugan.

Grammy award-winning engineer Chris Dugan helmed the console for Green Day’s 21st Century Breakdown and the acclaimed Broadway cast recording for American Idiot. But until recently, he’d never set up a mobile recording studio on a movie set —in this case, for the upcoming Lee Kirk-directed Geezer, to be released later this year, starring Fred Armisen and Billie Joe Armstrong as grown-up punk rockers giving the old band one more try.

A longtime UAD enthusiast, Dugan looked to his Apollo QUAD and Apollo 16 Thunderbolt audio interfaces — linked by the new Apollo Expanded software to provide him the perfect portable environment for capturing a 100% live band in two very demanding environments: a bustling movie set, and an underground rock club. The results, he tells us, were universally excellent.

In most films, the music is pre-recorded and then lip-synched. Why record it live?
Honestly, the live aspect is what made it fun for us. Billie Joe, who wrote these songs, was a big proponent of the live approach, that watching music actually being played for real would add a lot of flavor to the film, and fortunately, with the help of UA’s Apollo, we were able to pull it off.

It also helps that Fred is a great drummer, and Lucas Papaelius is a blazing guitarist, and it was also so much fun to watch these guys meet, rehearse once before the shoot, and then hear them gel so well together live, especially since the idea of the film was that they’d all played together for years. In the end, there were no fixes, no overdubs — just all great takes. They simply learned the songs and played and sang them live.

Did you have much experience with recording a band in a film shoot environment like that?
Absolutely not. It was my first experience on a movie set, and being involved in a film production. There’s an awful lot going on at a film set, and you have keep all that in mind even as you’re handling the recording aspect of it. What helped me a lot — as the guy tasked with recording everything into Pro Tools — was having the Apollo 16 and the Apollo QUAD working together using Apollo Expanded software and Console 2.0. It made my recording rig super mobile, but it was also incredibly flexible, in terms of the inputs and outputs, creating quick mixes, and routing.

Quite honestly, when the whole project was first conceived, there wasn’t a whole lot of discussion put into how the recording would happen, what my budget would be, and how the process would work. So I had to scramble a bit to find the best method, and I researched quite a lot of gear. I’ve always been a fan of UA, and have always loved their plug-ins and hardware, so I had this sudden brainstorm: “Okay, so I have this Apollo, but if I could only add 16 more channels and link them...” Well, it turns out that Apollo Expanded software was in development at that time, and it all worked out absolutely perfectly.

Image may be NSFW.
Clik here to view.

“I was basically operating my Apollo rig on the other side of this fake back wall,” says Dugan.

Tell us a bit about the actual recordings: where did they take place, and how did you set up for them?
We recorded two performances: one was on a movie lot in Greenpoint, Brooklyn, and one was downstairs at the Bowery Electric nightclub in Manhattan. The scene on the movie lot was filmed in a huge space to accommodate all the production gear, with the stage set built out to look like a hotel room. I was basically operating my Apollo rig on the other side of this fake back wall, and the sound of the amps and drums were just ricocheting everywhere around this huge space. Even more difficult, I also had to rely on my in-ear monitors for the tracking, because I couldn’t have proper monitors going. But even with all those limitations, it came out great.

How were the Apollos configured?
For the hotel scene, I had the two Apollos talking to one another via Apollo Expanded and everything was miked-up running through Apollo’s onboard preamps, although most of the microphones were actually hidden, because of course, it’s supposed to look like a bunch of guys rehearsing in a hotel room. I couldn’t very well throw a couple overheads on the drums.

I used a Shure Beta 52A for the inside kick, a Telefunken M80 under the snare, a Shure Beta WB98H/C clamp-on for the floor tom, plus, Shure SM57s for the guitar amps, and Telefunken M80s for the vocals, and a DI for the bass. At both venues, I ran an Audio-Technica AT-825 stereo mic towards the back of the room to capture the ambience, and I hid a PZM mic somewhere near the drums, as well.

I also used these miniature DPA 4061 spot mics, the kind we often use on the road for a saxophone or an acoustic guitar, and I velcroed those to cymbal stands to capture cymbals, for example. I did whatever I could do to keep all the mics hidden from the camera, and it worked out way better than I ever imagined. All the mics were coming directly into the Apollos and I was getting time code from the on-set sound tech.

“Using my Apollos with Apollo Expanded software and Console 2.0, I was able to front a live mix, do a monitor mix, and record to Pro Tools, all at the same time,” says Chris Dugan.
“That’s pretty awesome.”

Did you track with any UAD plug-ins?
Of course! The key to all of this is that I was able to run all these rad UAD plug-ins while I was tracking. In my case, I printed using the Neve 1073 Preamp & EQ Plug-In Collection on guitars, and used the Neve® 31102 / 31102SE Classic Console EQ Plug-Ins and the 1176 Classic Limiter Plug-In Collection for monitoring and playback.

As a result, I became the go-to guy on the set for all the higher-ups to come hear the music. I’d have to bring at least a few extra headphones, because everyone wanted to hear the playbacks. Because of the Apollos, I was able to build these cool, quick mixes throughout the day, while still tracking, and tracking very smoothly. I’ve never worked like that on location — this was my first time, and it was just flawless. I was blown away by how well the system worked on the first day, and felt really confident the next day when we recorded at the club.

Image may be NSFW.
Clik here to view.

Dugan with his Apollo setup at the Bowery Electric club in NYC.

How was recording at the club different? Were you able to simply take outputs from the soundboard?
No. What happened at the Bowery Electric was really interesting. There was no set-up there to do a mic split, so I actually took all the direct mic signals into my Apollo system, and then sent the FOH guy the entire mix, sent out the monitor mix to the band, and recorded everything as well. So, basically, the Apollo system, with Apollo Expanded, was able to completely front a live mix, and do the monitor mix, and record to Pro Tools, all at the same time. That’s pretty awesome.

Overall, I found working with Apollo Expanded to be very smooth, fast, and easy to get around. The graphic interface makes sense, and I definitely exploited the ability to save my presets, because we were in these two spaces that were quite different sonically, but I was still using pretty much the same input list. So it was a big time saver to have all my mixes set up, saved and ready to recall — then it was just a matter of fine-tuning for the space. The Thunderbolt connectivity was an absolute necessity, too, because I was working on a MacBook Pro which requires Thunderbolt, and that was magic. Honestly, there were so few cables — it was almost too easy!

Photo Credit: Niall David Photography

Image may be NSFW.
Clik here to view.

Jacquire King at the controls at Peter Nappi's in Nashville.

Producer, engineer, and mixer Jacquire King has achieved multi-platinum success with various artists including Of Monsters and Men, Kings of Leon, Tom Waits, James Bay, Norah Jones and Modest Mouse. To date his work has received 30 Grammy nominations and in 2010, he received his third Grammy Award, the Record of the Year Grammy for Kings of Leon's "Use Somebody."

Last year, King produced and mixed the Robert Ellis album, The Lights From The Chemical Plant, mainly using API and Neve hardware along with starting the initial recording on an Ampex 440 tape machine.

In this Producer’s Corner, King wanted to demonstrate to UA users — and himself for that matter — that he could replicate the same analog workflow entirely “in the box,” and show off the capability of the Apollo platform.

Setting up an informal performance at the Peter Nappi Leather Shoes and Goods store in Nashville, King tracked Robert Ellis and his band live with two Apollo QUADs — piano and backing vocals were added as overdubs.

The song chosen off the album for this “Apollo-Only Project” was "Good Intentions."

Apollo Workflow

Image may be NSFW.
Clik here to view.

Apollo Console's setup.

All of my input paths started with the API Vision Channel Strip plug-in and then ended with the Studer® A800 Multichannel Tape Recorder plug-in, with the exception being the kick drum where I inserted the legacy version of the Neve 1073/1073SE EQ plug-in, and the lead vocal, where I ran through an LA-2A compressor from the Teletronix® LA-2A Classic Leveler Collection.

Being able to commit to these settings is absolutely a game-changing feature for me.

The choice for the API Vision plugs was about two things mainly. First, that they are complete signal paths with mic pre, EQ, and dynamics, and second, it's primarily the sound of what was originally used in the analog world for Robert's album recording.

Tracking the Lead Vocals

Image may be NSFW.
Clik here to view.

Vocal Tracking

Image may be NSFW.
Clik here to view.

Vocal Mixing

The album vocal was cut using a Sony C-37a condenser microphone, but it would not have been isolated enough onstage to avoid feedback from the floor wedge monitor and leakage from the band.

Instead, I used a Shure SM7 dynamic mic, which has lower output — hence the gain being way up on the API Vision plug-in. I didn’t EQ the vocal input. I feel it’s never a good idea to EQ a vocal to tape — it's more about picking the right mic and signal path.

Here is the lead vocal we tracked:

The output on the LA-2A is pretty close to standard. Nothing fancy here, just good signal into the LA-2A before I hit the “tape.”

The main thing of note about the vocal in the mix process is the use of phase reversal. Typically it's desired to have every track playing back into the final mix with the correct polarity, but in this case it was a better to flip the polarity to manage and reduce the sound of other instrumentation building up as a result of leakage.

Here is the vocal at mix down:

Vocals Wet

I also used the legacy version of the Neve 1073/1073SE EQ plug-in, the 1176 Rev A from the 1176 Classic Limiter Plug-In Collection, the Fairchild 660 from the Fairchild Tube Limiter Plug-In Collection, and I bussed out to the Roland RE-201 Space Echo and the EMT® 140 Classic Plate Reverberator plug-in.

Capturing the Guitar

Image may be NSFW.
Clik here to view.

Guitar Tracking

I miked the guitar amp with a Neumann U87 and used low preamp setting on the API Vision plug-in, as it’s a condenser mic on a loud guitar amp. The tone goes from cleaner to driven, depending on the part — and the force with which guitarist Kelly Doyle played. He also stepped on a gain pedal occasionally. To that end, I used a little of the API’s 225L compression module to keep the levels on a very dynamic sound reigned in a little before hitting the Studer plug-in, being careful to not oversaturate it. I also applied some upper EQ boost and low-mid cut to highlight articulation.

Here is the printed guitar track:

Kelly Amp Dry

For mixing guitars, I often find the classic combination of the Helios™ Type 69 EQ plug-in and the 1176 Rev E from the 1176 Classic Limiter Plug-In Collection couldn't be better. That combination is the sound of so many records from Led Zeppelin and the Rolling Stones just to name a couple.

Image may be NSFW.
Clik here to view.

Guitar Mix

Here is the mixed version of the guitar track:

The high frequency characteristic of the Helios is so unique and tied to so many great rock recordings of the past, it’s part of the sound that we know is right for guitar. I also used the EP-34 Tape Echo plug-in to add some dimension and stereo width.

Recording the Drums

Image may be NSFW.
Clik here to view.

Kick Drum

Image may be NSFW.
Clik here to view.

Snare

Image may be NSFW.
Clik here to view.

Overhead Stereo Mic

Image may be NSFW.
Clik here to view.

Drum Bus

The drums were tracked in a simple manner — a stereo mic for the overhead, a mic on the kick, and a mic on the snare.

For the kick I wanted that familiar low end “bump” that is specific to the Neve EQ sound, so I used the Neve 1073/1073SE EQ. I opted for a cleaner internal setting on the API Vision plug-in, and cranked its output to push the Neve’s input some.

On the snare, I used a high output condenser mic, so I padded the gain setting and used the API Vision plug-in for sweetening EQ into compression before hitting the Studer. I always find it's better to EQ into compression and then follow up with additional EQ for further shaping if needed.

For the stereo overhead mic I used an AEA R88 ribbon mic, the EQ setting represents adding air and splash to the drum’s overall picture as well as control some of the mid tone of the drums themselves.

Here are all of the drums as tracked:

In my opinion, the most essential thing to a balance of drums in a mix is blending in parallel compression. In this case, the FATSO™ Jr./Sr. Tape Sim. & Compressor plug-in was used to give the essential aggressive treatment to be blended back into the mix, along with and uncompressed path of the drum mix.

Here is the drum bus after mixdown:

Notice how the Spank setting and Tranny options are engaged, as well as a Warmth setting of 5 to get a drum sound that is very punchy and aggressive to blend back in.

Photos by Sundel Perry

The EMT® 140 Classic Plate Reverberator plug-in for UAD-2 hardware and Apollo interfaces expertly replicates the sonic signature of three uniquely different EMT 140s installed at The Plant Studios in Sausalito, CA. In this 5-Minute UAD Tips video, you’ll learn how to apply the unique sound of the EMT® 140 Classic Plate Reverberator plug-in to your mixes. 

Watch producer/engineer Fab Dupont (Jennifer Lopez, Mark Ronson) record a live collaboration between Snarky Puppy and Jay Stolar through the Apollo interfaces and UAD Powered Plug-Ins as they perform “When I’m Acting Crazy.”

This short video covers everything found inside the Apollo 8, Apollo 8p and Apollo 16 box. In addition, it demonstrates how to connect to your computer, downloading & installing the UAD software, updating the Firmware, and registering and authorizing your Apollo.

Image may be NSFW.
Clik here to view.

Lars Stalfors (Left) and Dann Gallucci (Right). “Hold My Home was mixed entirely in the box,” says Stalfors.
“So having the UAD plug-ins to add the analog sound was a powerful tool.”

Recorded and mixed at the Cold War Kids’ studio in San Pedro, California, Lars Stalfors (The Mars Volta, Marnie Stern, The Soft Pack) breaks down how he and Dann Gallucci (TV On The Radio, Tim Curran, We Barbarians) used UAD Powered Plug-Ins on the track “First” from the Cold War Kids’ album, Hold My Home.

"First" by the Cold War Kids
This whole record was mixed in the box, so having the UAD plug-ins to add the analog sound was a powerful tool. We really worked hard to keep the instrumentation in “First” very minimal, creating lots of space for the song to breathe.

First

Vintage Piano Vibe

We tracked the piano with a Royer R-121 ribbon mic running through the 4-710d Four-Channel Tone-Blending Mic Preamp w/ Dynamics.

Here’s the piano dry:

Piano Dry

At mixdown, we used the UAD 610-A plug in from the UA 610 Tube Preamp & EQ Plug-In Collection to really drive the piano and give it that vintage character we’re looking for. In fact, the 610 was our go-to plug-in for any overdrive or saturation.

Here is the track with UAD plug-ins:

Piano Wet

Image may be NSFW.
Clik here to view.

We rolled off a bit of the low end with the 610’s simple, yet great-sounding EQ. We also used the gray Teletronix LA-2A limiter from the Teletronix® LA-2A Classic Leveler Collection. Its slow attack allowed the piano stabs to really come through, while still bringing out the harmonics.

Dialing-In the Verse Vocal

We tracked the vocal through a Shure SM7B dynamic mic running through the LA-610 MkII Classic Tube Recording Channel.

Here's the vocal dry:

Vocal Dry

We needed to de-ess the vocal before hitting any compression, so we inserted the Brainworx bx_digital V2 EQ plug-in before adding the Teletronix® LA-3A Classic Audio Leveler plug-in and the gray Teletronix LA-2A in order to really compress the vocals. The 610-A plug-in was then added to drive the vocal, giving it some bite. You can see the cranked Level control and the low Output setting that allowed us to achieve this.

Here is the vocal with UAD plug-ins:

Vocal Wet

Image may be NSFW.
Clik here to view.

The LA-3A grabs the faster transients while the LA-2A really compresses the signal. Finally, the EP-34 Tape Echo plug-in was put directly on the vocal track so we could add slap and drive. Often times, we put a delay right in the channel strip rather than an aux. Then, by using the plug-in’s mix control, you really get the character of the effect — sometimes more than the dry signal.

Polishing the Background Vocals

For this vocal stack, we tracked through the 4-710d on tube mode using a Blue Mouse condenser mic.

Here are the background vocals dry:

Big Ahhhhs Dry

At mixdown, we wanted to add some top end to the vocals, as well as remove a bit of the lower midrange. To that end, we summed all of the parts through an aux, and hit the API 550A EQ from the API® 500 Series EQ Plug-In Collection. We love this EQ because it’s never harsh when adding highs, and its very musical.

We used the gray Teletronix LA-2A again to tie all of the parts together and then added the Cooper® Time Cube Mk II Delay plug-in directly on the track to add a nice stereo slap and spread them out.

After that, we added the Shadow Hills Mastering Compressor plug-in to really smash the vocals (the Steel transformer setting being our favorite). On an aux was an EMT® 140 Classic Plate Reverberator plug-In set to Plate C.

Here are the background vocals with UAD plug-ins:

Big Ahhhhs Wet

Image may be NSFW.
Clik here to view.

The EMT’s Input Filters are super handy. We used them to clean the low-end up and add quite a bit of sheen to the effected sound.

Developed by Softube — and available exclusively for UAD-2 hardware and Apollo audio interfaces — the Marshall Plexi Super Lead 1959 plug-in is not only an expert emulation of this 100-watt British classic, right down to its EL34 power tubes and hand-wired circuit, it offers uniquely powerful multi-mic sounds from legendary AC/DC engineer Tony Platt.

Universal Audio’s all-new Neve 88RS Channel Strip for Apollo and UAD-2 precisely emulates the unique circuit behaviors of Neve’s flagship large-format mixer. Modeling the mic/line preamp, cut filters, dynamics, four-band EQ, plus post-fader output amplifier with fanatical detail, the Neve 88RS Channel Strip plug-in replicates the luxurious, high-fidelity sound of Neve's ultimate mixing console.

Image may be NSFW.
Clik here to view.

Since its unveiling at the 2014 Winter NAMM Show, Apollo Twin Thunderbolt audio interface has been put through the paces by producers, studio engineers, musicians, and industry tastemakers alike.

Here are some of the online reviews by industry-leading publications.

Image may be NSFW.
Clik here to view.

Sound on Sound - “The Apollo is a very attractive proposition with no direct competition. It was well worth the wait.”

Image may be NSFW.
Clik here to view.

Tape Op - “I love it. Tracking vocals through a chain including the new 610-A and B preamp models, with the Studer A800 and LA-2A inserted, I had virtually no perceptible latency. This is nuts! And as far as in-the-box tracking and mixing go, having that tonal flexibility and power is a game-changer for me.”

Image may be NSFW.
Clik here to view.

Premier Guitar - “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.”

Image may be NSFW.
Clik here to view.

Keyboard Magazine - "Between their hardware specs, Unison preamps, and included collection of classic processors, the UAD Apollo Twins are quite possibly the best two-channel interfaces in their class."

Image may be NSFW.
Clik here to view.

Pro Sound Network - "The Apollo Twin is a winner in my book — it sounds great, the Unison mic pres are remarkable, and it performs flawlessly along with the UA Console software and DAW of choice."

Image may be NSFW.
Clik here to view.

DJ Tech Tools - "Phenomenal sound quality and unmatched output levels. The high quality of the plug-ins, as well as the external processing power of the DSP make the Apollo Twin a welcome relief for laptop producers both at home and on the road."

Image may be NSFW.
Clik here to view.

AskAudio - “Everything about the Twin feels, looks, and sounds wonderful. Those of us who have embraced the UAD plug-ins finally have our mobile solution to take those amazing plug-ins with us on the go.”

Image may be NSFW.
Clik here to view.

Future Music - “Apollo Twin’s Console software is more than a mere control panel; it’s like a fully- fledged virtual recording studio.”

Image may be NSFW.
Clik here to view.

Electronic Musician - “With Apollo Twin, Universal Audio has succeeded in creating a lower-priced version of Apollo without sacrificing quality.”

The Neve 88RS Channel Strip Collection for UAD-2 hardware and Apollo interfaces expertly replicates the startling depth, airiness, and clarity of Neve's ultimate analog console. In this 5-Minute UAD Tips video, you'll learn how to bring a drum kit to life, shape vocals, and record pristine acoustic guitars.