Apollo Twin: yay or nay?

[Len911]

I forgot to add to that review, caveat, it has been a red flag in my experience any review that uses descriptions such as, "As good as units costing thousands more, or sounds as good as units costing fill-in-the-blank times as much."

[andygabrys]

Again if you hear it, it's worth it. If you don't hear it, it likely doesn't matter.

[Len911]

I am honestly just here for the good times.

Aren't we all! I just wished I got paid, and paid by the word even,lol!

[Len911]

Again if you hear it, it's worth it. If you don't hear it, it likely doesn't matter.

But never ever, but never, pay a big price for something when you can get better for less!


And...
Get something you will only replace when it dies!

[mojobone]

I would describe the Zen/Antelope preamps as neither Nevish nor API-ish; they have their own thing going, an expensive console sound that's extremely fast and accurate with crazy headroom and more clean gain on tap than anything in its price range. They're really good for acoustic instruments in acoustic spaces, particularly the stuff with loud, fast transients, like pianos and drums, but they can also make humble dynamic mics sound amazing. For instance, if you miked a dreadnought with an SM57, most preamps would give you a sturdy, solid, utilitarian tone, but the Zen's extra gain gives you a lot more flexibility, enough to play with some distance, even on a fairly quiet instrument. This means you don't get that weird, unnatural pick attack that happens when you mic too close.

It's not a 'prosumer' sound and it's not hard to hear, and it will definitely reveal the limitations of your room and/or mics. I theenk I'd compare it to an SSL but with more treble extension and a slightly tighter, less tubby bottom-or rather, I should say the low mids are a tad less meaty. There's really not so much to pick from among high-end preamps; they all just have a slightly different character-this is that premium sound at a more budget-friendly price point.

What I'm finding with the Zen is that I no longer need a bunch of plugins to get things sounding like a record, and this is in part due to the superior clocking, which provides an ability to hear deeper into a mix, if that makes any sense. It's definitely a 'next-level' piece of kit.

[mojobone]

Any Apollo Twin fans out there? I haven't heard of any negative things about it, except for pricy plugins. I only need 2 in's, nothing more than that as far as inputs go. I mostly do mic'd up acoustic music, but also EDM, rock n roll, country/bluegrass, and new age ambiance music. I'm simply looking to upgrade my $100 Presonus interface with something higher end that's desktop friendly.

Many Thanks Forum Family!

Todd

The Apollo Twin is probably way better than what you're using, but unless you really feel the need to monitor through plugins whilst tracking, there may be better options, depending on your platform and configuration. Audient's ID22 is about the same money and includes a monitor controller, for instance. That could be better for your workflow than any number of plugins.

[mojobone]

funny about the lunchbox.

some claim that the size reduction in some cases means less powerful (and bulky) transformers and they can hear a difference.

I think Mojo probably had a good call getting one of those Antelope Audio interfaces.

The 500 series format does have somewhat less voltage available on the power rails than some large consoles, and which and what kind of modules you load can affect the performance somewhat, in some circumstances, but while all such racks conform to a standard, some racks punch above their weight in terms of both features and headroom-in the same way that some guitar pedals are cleaner and less noisy when operating at 18V. Racks from Radial and Purple have a few extra tricks up their sleeve, and API's latest has some slick new variations, as well. There are some modules that don't quite conform to the standard, but are downright useful, like a Dual Vandergraph.

The reduced size of 500 modules (as compared to a standard rackspace or console versions of the same processor) can and does affect things like circuit layouts, IF you're porting a design from a larger format; other than that, the modules can be expected to perform to spec, and if the transformers have to be downsized, there are ways of compensating.

Further complicating the picture are modules that take up two slots, and a few that double (or more) the voltage internally, but basically you can just trust that they'll work as advertised; the designers aren't dummies. However, pulling modules from old consoles and sticking them in a 500 rack would not be advisable without some modification, in most instances; the exception being API modules, though I theenk there are maybe a few oldies that won't tolerate a modern rack. Don't quote me, LOL


The bigger question is, do you need outboard? Some folks get by just fine, in the box. If you need more than two inputs (and who doesn't?) a 500 series rack is a fine way to get your signals into the box, and there's an assortment of high-end converters available for the format as well. If you wanted to EQ and maybe compress or add FX, a USB digital or hybrid mix console is yet another option, and Presonus' XMax preamps are well-regarded. A console takes up a lot of real estate, but it's nice to have knobs.

[MJRivard]

Hi,
The switch that is used to change the voltage from 110vac to 220vac is used to get the proper voltage from the power supply output. For example; If your power supply output is designed to give you a +15vdc / -15vdc and it has a 110 / 220 switch, using the 220vac setting in the U.S. or Canada will not give you the +15 / -15vdc required to properly run the equipment. The power transformer is a " stepdown " transformer to bring the 110vac to the working level of the power supply. A power transformer that includes a 220vac setting will stepdown the 220vac to the proper working voltage of the power supply. Using the 220vac setting in the U. S. or Canada ( 110vac ) could damage your equipment as it will give the wrong stepdown voltage to the power supply.

Tube amp power supplies use stepup transformers to get the higher voltage for tube circuits. The wrong setting of the 110 / 220vac switch will give the wrong voltage to the power supply here aswell.

The 110 / 220vac switch will not make your equipment sound better, it is so you can use the equipment in locations that have 220vac as the local electrical voltage.

The statement above made it sound like it could make your equipment sound better. It won't and could damage the equipment if it is in the wrong setting for the AC voltage available.

I just wanted to clear this up.

- Myran

[mojobone]

Right, Myran, I was referring to internal voltages supplying the modules, not what's available at the AC wall socket, which is pretty much irrelevant, unless you get the setting wrong.

[Len911]

Right, Myran, I was referring to internal voltages supplying the modules, not what's available at the AC wall socket, which is pretty much irrelevant, unless you get the setting wrong.

It started with:

funny about the lunchbox.
some claim that the size reduction in some cases means less powerful (and bulky) transformers and they can hear a difference.

then I said:

Funny thing, doesn't most gear have a 120v/230v power switch? 120v for U.S. and 230v for Europe? I'm surprised there's not any comments, maybe there is?? , of someone in the U.S. who uses 240v instead of 120v because it sounds better.

And a few quotes from API on a forum and Rupert Neve weaved here and there which pretty much agree with getting the settings right. I was being facetious, however, I probably should have said don't try this at home, because as I remember, the Amek 9098 EQ actually came with a power cord that only had 3 wires to wire your own power plug! I used a standard cord already made. I probably still have it laying around somewhere.