Nicely enough, UA has managed to price out these systems for that full range, from the entry-level model at two grand (in reach of at least some serious independent producers) up to a maxed-out $3499 model.
This is still about those situations where time is money and quality is everything, even if that use case may or may not be a studio per se. A “studio” isn’t what it once was, to be sure, but then that’s also been the advantage of UA’s mobile interfaces. (That’s a nice way of saying your CPU will suddenly peg and make a horrible glitching noise out of your sound.) That’s good to have anywhere, but especially in production environments in studios, in TV and video and games, in live tracking. These are the people who do depend on the reliability of the DSP hardware – because native processing, while enormously powerful, lacks the same predictability. The new Apollo really speaks to the high end of the market. And then, over time, we’ve seen UA bake in greater functionality using that DSP horsepower. It said to users, hey, what if that add-on was also one of the best audio interfaces you can buy, even before adding in the DSP benefits. But the Apollo line was from the beginning the hardware that changed that. “UA’s hardware are just dongles for their plug-ins” – yeah, I hear that a lot. It’s the Apollo X line for Mac and Windows – the 圆, x8, x8p, and x16, all with Thunderbolt 3 connections to the computer and loads of I/O. There’s a lot here, but maybe the most significant development is that 5.1 and 7.1 surround monitoring support is coming later this year. Universal Audio’s Apollo flagship audio interface and DSP platform is getting a big generational refresh and Thunderbolt 3.
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