Apollo Solo USB Manual 3

Console Indications
Gain Level
When Unison is active in the channel, the color of Console’s
preamp gain level display (the colored ring around the gain
knob), and the channel selection dot on the gain knob, is
orange instead of green.
If the Unison plug-in is inactive (either via the insert disable
switch or the power switch in the plug-in interface), the color reverts to green.
Note: Console’s preamp gain control only adjusts the first gain stage of any Unison
preamp plug-in, even when Apollo Solo USB is in Gain Stage Mode.
Gain Value Indicator

The preamp gain value display (the text value under the
knob) always shows the current value of the main parameter
within the Unison plug-in.
Additionally, the display is adapted to the parameter value
and range of the first gain stage within the plug-in. For
example, when the UA 610-A Tube Preamp plug-in is in the Unison insert, this field
displays either “HI” or “LOW” because these are the only two values available in the first
gain stage of this plug-in.
Note: This display shows “---” if the Apollo Solo USB hardware is not detected
when a Unison plug-in is in the Unison insert and the insert is not disabled.
Apollo Solo USB Manual 171 Unison

Top Panel Channel Selection
Level Knob Switch
In addition to the rotary control, Apollo Solo USB’s top panel level knob has a switch
function when the knob is pressed. The function of this switch varies depending on the
active mode (either Channel Select Mode or Gain Stage Mode), as described below.
Channel Select Mode (standard operation)
Channel selection determines which input channel can being adjusted with Apollo Solo
USB’s top panel preamp controls. This is the standard behavior when a channel is not in
Unison mode (top panel channel selection is not related to Unison functionality).
Either of these methods can be used for channel selection with Apollo Solo USB
hardware:
• Preamp Switch – After the PREAMP switch has been pressed at least once
to switch the unit to Input mode, pressing the PREAMP switch alternates the
currently selected input channel (CH1 or CH2).
• Level Knob – After the PREAMP switch has been pressed at least once to switch
the unit to Input mode, pressing the LEVEL knob alternates the currently selected
input channel (CH1 or CH2).
An Apollo Solo USB channel is selected for adjustment when its channel selection
indicator LED (CH1 or CH2, above the input meters) is lit. If stereo linking is active, both
indicators LEDs (CH1 and CH2) are lit.
Gain Stage Select (Unison operation only)
When the currently selected Apollo Solo USB channel is in Gain Stage Mode, pushing
the hardware level knob changes the Unison plug-in’s gain parameter that is being
controlled.
The color of Apollo Solo USB’s top panel level indicator (the LED ring around the knob)
changes to reflect the gain stage being controlled, and the gain stage is also indicated
by the matching color of the indicator dot within the Unison plug-in’s interface. For
complete details, see Gain Stage Mode.

Gain Stage Mode
Unison plug-ins have either two or three gain parameters. By activating Gain Stage Mode,
each of these gain stages can be independently adjusted using Apollo Solo USB’s top
panel gain knob.
Note: Gain Stage Mode can only be active on one preamp channel at a time.
Initially, when Unison is activated (before entering Gain Stage Mode), Apollo Solo USB’s
top panel gain knob controls the first gain parameter within the Unison plug-in. However,
when Gain Stage Mode is active, pressing Apollo Solo USB’s knob cycles through the
available gain parameters in the plug-in.
Activating Gain Stage Mode

To enable Apollo Solo USB’s Gain Stage Mode when using a Unison plug-in:
1. In Console, confirm a Unison plug-in is inserted in the Unison insert of the Apollo
Solo USB preamp channel to be controlled.
2. Using Apollo Solo USB’s top panel hardware, select the input channel to be
controlled using Top Panel Channel Selection.
3. Press AND HOLD Apollo Solo USB’s top panel knob for at least two seconds.
The state of Gain Stage Mode is indicated on Apollo Solo USB and in the Unison plug-in,
as detailed below.
Gain Stage Mode – Apollo Solo USB Top Panel Indication
Apollo Solo USB’s top panel channel selection indicator (CH1 or CH2) flashes when Gain
Stage Mode is active for the currently selected input channel.
Gain Stage Mode – Unison Plug-In Indication
A colored dot appears within the Unison plug-in interface on the target parameter being
controlled by the hardware knob.
See Gain Stage Colors for related information.
Apollo Solo Top Panel: Unison Plug-In:

Flashing Channel Selection Gain Parameter Outline
Gain Stage Mode indications — Hardware (left) and Software (right)

Deactivating Gain Stage Mode
Gain Stage Mode can be deactivated with any of these methods:
• Press and hold Apollo Solo USB’s top panel knob for at least two seconds
(Apollo Solo USB must be in Input mode by pressing the PREAMP button at least
once)
• Disable the Unison plug-in via the plug-in editor window within Console
• Disable the Unison plug-in via the on/off parameter within the plug-in interface
• Remove the Unison plug-in from Console’s Unison insert
• Change the selected channel by pressing the PREAMP switch on Apollo Solo
USB’s top panel
When Gain Stage Mode is deactivated, the following changes occur:

• The gain stage select function (pushing the top panel hardware knob) reverts to
the channel select function
• The channel selection indicator on Apollo Solo USB’s top panel stops flashing
• If a gain stage other than the first gain stage was being controlled, Apollo Solo
USB’s knob reverts to control of the first gain stage of the Unison plug-in, and the
level indicator color reverts to orange
Controlling Individual Gain Stages

Selecting Gain Parameters For Control
When the currently selected Unison plug-in channel is in Gain Stage Mode (when its
channel selection indicator is flashing), push Apollo Solo USB’s knob to cycle through
the available gain parameters within the Unison plug-in.
Note: Unlike Apollo Solo USB’s top panel knob, Console’s preamp gain control
only adjusts the first gain stage of any Unison plug-in when Apollo Solo USB is in
Gain Stage Mode. To adjust other gain stages from within Console, use Apollo Solo
USB’s gain knob or the Unison plug-in interface.
Gain Stage Colors

The gain stage being controlled is indicated by unique matching indicator colors on
Apollo Solo USB’s top panel and within the Unison plug-in’s interface.
The color of the level indicator on Apollo Solo USB’s top panel (the LED ring around the
knob) changes with each gain stage, and the matching color dot within the Unison plug-
in’s interface moves to the target gain parameter being controlled.
The gain stages available for control, and their associated colors, are:
• Orange – Gain stage one; the Gain parameter
• Amber – Gain stage two; the Level parameter
• Green – Gain stage three, the clean (non-modeled) output control

Note: Some Unison plug-ins have only two gain stages.
Matching Gain Stage Indicators

In Gain Stage Mode, Apollo Solo USB’s level indicator (the colored ring around the
top panel hardware knob) matches the colored dot on the target gain parameter in the
Unison plug-in’s interface, as shown below. The hardware and software controls are
mirrored and the gain stage can be adjusted using either control.
The color of Apollo Solo USB’s level indicator changes

to reflect the plug-in gain stage being controlled
The matching color dot on the parameter in the Unison plug-in interface indicates
which gain stage is being controlled by Apollo Solo USB’s top panel knob
Available Gain Stages

Unison plug-ins have up to three gain stage parameters. With Unison plug-ins that
contain two gain parameters, only the available gain parameters are cycled and
controlled in Gain Stage Mode.
Note: For details about the unique gain stage parameters available within
individual Unison plug-in titles, refer to the UAD Plug-Ins Manual.

Unison Load/Save Behaviors
Caution: Apollo Solo USB hardware preamp settings (including +48V phantom power and
PAD) can change when Console sessions are loaded. Details are explained in this section.
Loading Unison Plug-In Settings

When Unison plug-in settings are loaded in Console, the effect on currently active Unison
plug‑in settings varies depending on how the settings are loaded. It is important to understand
this distinction, because critical preamp settings can be affected.
Note: When Unison plug-ins are used in Console’s standard inserts and/or within a DAW,
this section does not apply. Settings load behavior outside of the Unison insert is like all
other (non-Unison) UAD plug-ins.
There are two ways Unison (and non-Unison) plug-in settings can be loaded in Console:
• Plug-In Presets – UAD Presets are loaded whenever a UAD plug-in is inserted (the default
preset loads). Presets can be loaded from disk files via the Presets Manager or the UAD
Toolbar. Preset files are used to save & load all settings of individual plug-in titles.
• Console Sessions – Console sessions are loaded from disk via the Sessions Manager
Popover, the Console Recall plug-in within a DAW, or by double-clicking Console session
files on disk. Console sessions are complete Apollo Solo USB configurations, containing
all hardware and plug-in settings (i.e., Console sessions are Console presets).
Loading Presets: Hardware settings are inherited
When a Unison plug-in is loaded in the Unison insert and a preset is loaded into the plug-in,
the plug-in inherits the current equivalent hardware settings of the Apollo Solo USB preamp, if
those settings are available in the plug-in.
In other words, Apollo Solo USB’s preamp settings always override a Unison plug-in’s settings
when a preset is loaded or the plug-in is inserted. This is done to prevent the plug-in’s settings
from switching the hardware to values that could cause extreme level changes and/or other
unwanted circuit changes such as +48V phantom power.
For example, if the PAD is ON in the Apollo Solo USB preamp, when the Unison preset is
loaded, the pad setting in the plug-in is enabled to prevent unexpected level increases.
Loading Sessions: Hardware settings are overridden
When a Console session is loaded (via Console Recall menu, DAW sessions containing the
Console Recall plug-in, or double-clicking Console files on disk), ALL Console settings are
overridden (changed) by the saved session, INCLUDING ALL Apollo Solo USB HARDWARE
PREAMP SETTINGS such as PAD and +48V.
In other words, Console sessions always override Apollo Solo USB’s preamp settings, even if
potentially harmful preamp settings are contained in the session file. This is done because the
very concept of Console session recall is to exactly reproduce all settings in the session.
For example, if PAD and +48V are OFF in the Apollo Solo USB preamp, when a Console session
with PAD and +48V enabled is loaded, the PAD setting in the plug-in is disabled and +48V in
the plug‑in is enabled. In this case, sensitive equipment could be affected, such as speakers
(level increases) and/or ribbon mics (+48V phantom power).

Unison Operation Notes
The operating notes in this section only apply to Unison functionality (when a Unison plug-in is
loaded in Console’s dedicated Unison insert).
These notes do NOT apply with Unison plug-ins that are used in Console’s standard inserts,
nor via VST/AAX 64 plug-ins within a DAW, even when a Unison plug-in title is used. In this
scenario, Unison plug-ins function the same as all standard (non-Unison) UAD plug-in titles and
there is no physical or electrical hardware interaction.
Note: Unison functionality is available only when Unison-enabled UAD plug-ins are
loaded within Console in the dedicated Unison inserts.
• Caution: When a Console session is loaded (via Console Recall menu, DAW sessions
containing the Console Recall plug-in, or double-clicking Console files on disk), ALL
Console settings are overridden (changed) by the saved session, including all Apollo Solo
USB hardware preamp settings such as +48V and PAD. See Loading Sessions: Hardware
settings are overridden for additional details.
• Unison insert processing is always recorded in the DAW (regardless of the current
Channel Insert Effects setting) because Unison plug-ins process the physical inputs.
• When a channel strip preset is saved from a preamp channel, the channel strip preset
contains the state of the preamp channel’s Unison insert.
• When a preamp channel strip preset is loaded into a preamp channel, the Unison insert
state is replaced by the Unison instance state in the preamp channel strip preset. For
example, if the preamp channel strip preset’s Unison insert is empty, the Unison insert
will be empty after loading the channel strip preset.
• Apollo Solo USB’s top panel preamp controls are always current. Therefore, changes
made to a Unison plug-in when the plug-in is bypassed are not retained when the plug-in
is reactivated.
• A Unison plug-in’s modeled behaviors and parameter ranges are used by the hardware
controls whenever possible, even if the attribute is different than Apollo Solo USB’s stock
preamps. For example, if the Unison plug-in has a 15 dB pad, then Apollo Solo USB’s
top panel PAD button value will use the Unison plug-in’s 15 dB value instead of Apollo
Solo USB’s stock 20 dB value.
• Default gain levels when a Unison plug-in is inserted can vary from Apollo Solo USB’s
default (non-Unison) preamp levels, and also between various Unison plug-in titles. This
is a by-product of accurate preamp modeling. Because hardware preamp designs from
each manufacturer vary, they all have different total gain amounts, control ranges, and
control response curves, whether Mic, Line, or Hi-Z.
(Continued)

• If a Unison plug-in does not contain settings that are available on Apollo Solo
(pad, low cut filter, etc), the Apollo Solo settings are not changed when the
Unison plug-in settings are loaded, and the Apollo Solo settings are still available
for control via Apollo Solo’s top panel and/or Console channel.
• When a Unison plug-in is removed from the Unison insert, Apollo Solo’s mic input
impedance reverts to its default value of 5.4K Ohms.
• Apollo Solo’s hardware preamp controls remain active even if the Unison plug-in is
disabled.
• When the original hardware preamp being emulated by the Unison plug-in
has a Hi-Z (instrument) input and associated Hi-Z input switch, this switch is
unavailable in the Unison plug-in interface. Instead, the Unison plug-in’s Hi-Z
input is automatically selected when a mono (tip-sleeve) plug is inserted into the
Unison channel’s front panel Hi-Z input jack.
• A microphone, line input, or Hi-Z instrument source must be attached to the
Apollo Solo input channel for Unison plug-in processing in the Unison insert to be
audible.

Console Recall Plug-In
Console Recall is a unique DAW plug-in supplied in VST and AAX 64 formats. It is
inserted and used within host DAWs as with any other plug-in.
The primary function of the Console Recall plug-in is to store Console’s current setup
within the DAW project via the SYNC (synchronize) switch in the plug-in. The plug-in can
also be used to view and adjust Apollo Solo USB’s monitor output level, mono, and mute
states without having to leave the DAW.
Note: The Console Recall plug-in is not required to use the Apollo Solo USB
interface hardware, the Console application, or a DAW.
SYNC
When a DAW project containing the Console Recall plug-in is saved and the SYNC switch
is enabled in the plug-in, the currently active Console configuration is stored within the
DAW project.
Note: The SYNC switch is not present within the Console application.
When the DAW project file is subsequently reloaded, Console is automatically restored to
its configuration from when the DAW project was last saved, regardless of any changes to
Console or Apollo Solo USB that were made in the interim.
Since plug-in settings are saved within DAW project files, using SYNC enables Console’s
current state to be stored within the DAW project file without saving or loading Console
sessions presets via the Cached Sessions functions.
This feature ensures the DAW project will sound exactly the same when reloaded at a
later date, even if Console contains customized settings that might affect the audio, such
as send mixes, signal routings, and/or Realtime UAD Processing.
Console Recall plug-in interface
Apollo Solo USB Manual 179 Console Recall Plug-In

Console Recall Controls
Most Console Recall plug-in controls are duplicates of those found in the Console
application. The exceptions are the SYNC switch, and the CONSOLE switch, which opens
the Console application.
SYNC Open Monitor Monitor Monitor

Switch Console Meters Level Options
Console Recall plug-In controls
Monitor Controls
The exact same control descriptions in the Console application apply to the Console
Recall plug-in controls. Refer to the Console Reference chapter for descriptions of the
duplicated controls:
• Monitor Meters
• Monitor Level
• Monitor Output Options
Console Switch
The Console application can be opened by clicking the CONSOLE switch within the plug-
in. Note that the Console application does not need to be open when using the DAW with
the Console Recall plug-in. Console settings are always captured by the Console Recall
plug-in as long as the SYNC switch is engaged.

How To Use Console Recall
To use Console Recall, simply place one instance of the Console Recall plug-in into any
insert slot in the DAW project. The plug-in is installed to the same location as all other
UAD plug-ins.
Note: The name of the plug-in is “Console Recall” (without the UAD prefix), so it’s
at the top of UAD plug-in lists within the DAW.
Important: To avoid unpredictable results, do not insert more than one occurrence
of the Console Recall plug-in within any single DAW project.
Because the plug-in does not process audio in any way, the insert location isn’t critical.
Although it can be inserted in any location (audio track, virtual instrument track, aux
bus, output, etc), inserting it in the master output is recommended for consistency
because projects usually contain an output channel.
Upon instantiation, the plug-in’s Monitor Level, Mono, and Mute controls mirror the
equivalent controls in the Console application. Enabling SYNC causes the current
Console settings to be stored within the DAW project.
Enabling SYNC
When Console Recall is first loaded, the SYNC switch is disabled (gray). To activate
SYNC, click the switch so it is enabled (lit).
SYNC switch when disabled (left) and enabled (right)
Enabling SYNC does not change the Console settings. SYNC doesn’t do anything until
the DAW project file is saved and subsequently reloaded.
Important: SYNC saves Console’s configuration within the DAW project, not the
Console application. Therefore the DAW project file must be saved to disk to retain
the Console settings in the project.
Effect on Session Name in Console

When a DAW project is loaded that contains the Console Recall plug-in with SYNC
enabled, “- Sync Session -” is displayed in Console’s title bar.
Console session name when SYNC is enabled in DAW

Loading Synchronized DAW Projects
If SYNC was enabled when a DAW project containing Console Recall was saved, then
loading that DAW project sends the Console settings saved in the plug-in to Console. If
the current Console settings are different than the Console settings in the DAW plug-in,
the Console settings that were active before the DAW project was loaded are overwritten.
Note: The Console settings that were active before the DAW project was loaded
can be easily recovered if desired using the Cached Sessions feature in the
Sessions Menu within the Console Application.
If SYNC was disabled when a DAW project file containing Console Recall was saved, then
loading that project will not change the Console settings that were active before the DAW
project was loaded.
Session State Parameter

The Console Recall plug-in has a parameter called “Session State” that is exposed for
DAW automation but is not in the plug-in interface. Session State ensures all changes
to Console settings and the DAW session are captured by the Console Recall plug-in. If
something related to Session State appears in the DAW, it’s best to just ignore it.
Important: To ensure proper functionality when SYNC is enabled in Console
Recall, do not create or edit DAW automations with the Session State parameter.

UAD Meter & Control Panel
The UAD Meter & Control Panel application is used to monitor and configure UAD device
resources. It is also used to manually authorize UAD plug-ins after a purchase as the
UA store. The application has two main windows: the UAD Meter, and the UAD Control
Panel.
The UAD Meter displays the current DSP, program, and memory status of UAD devices
in realtime. The UAD Control Panel has multiple panels that display and modify various
system, plug-in, and global configuration parameters.
Note: The UAD Meter & Control Panel application is for all UAD device models
(Arrow/Apollo audio interfaces and UAD-2 DSP Accelerators).
UAD Meter Window
The UAD Meter & Control Panel application can be launched or quit at any time. It does
not need to be open or active to use Apollo Solo USB or UAD plug-ins. It is completely
independent and does not require Console or a DAW. You can move the UAD Meter to a
convenient location on your screen by dragging its window title bar.
Note: If “No Devices Found” appears in the UAD Meter window instead of the
expected buttons and gauges, the UAD software is not communicating with the
UAD hardware. If this occurs, double-check hardware and software installations
and/or contact Technical Support.
Launching the Application

Either of these methods can be used to open the UAD Meter & Control
Panel program:
• Right-click the blue UA diamond logo in the Windows System
UAD Meter &
Tray (at lower right of screen), then select “Console” from the
Control Panel
contextual menu
application icon
• Access the program from:
Start Menu>All Programs>UAD Powered Plug-Ins>Console
3. Click
2. Right-click
1. Click
Apollo Solo USB Manual 183 UAD Meter & Control Panel
UAD Meter Window
Refer to the illustration below for descriptions in this section
Minimize DSP Load Meter Program Memory Meter Meter Menu
Quit
Averaged
Open
Loads
Plug-Ins
Panel
Memory Meter
UAD Meter window elements
Title Bar
The Title Bar (the strip across the top of the UAD Meter window) contains buttons to quit
the UAD Meter & Control panel application, minimize the UAD Meter window, and access
the Meter Menu.
Note: The Quit, Minimize, and Menu button positions shown above are as they
appear on Mac systems. These button positions are reversed on Windows systems,
reflecting the OS conventions.
Plug-Ins Panel Button

Clicking this blue button opens the Plug-Ins panel. It has the same function as selecting
“Plug-Ins...” from the Meter Menu.
UAD Resource Display

UAD plug-in loads are shown in the UAD Meter window. These three gauges (DSP, PGM,
and MEM) provide visual feedback, helping to determine which UAD plug-ins to use if
available UAD resources are limited.
The UAD resources are displayed as blue bar graphs and as percentages. These gauges
have no controls; they are visual indicators only.
Tip: The UAD Resource Gauges are also displayed in the Info Bar within Console.
Averaged Loads
The load for each gauge represents the average for all UAD devices in use. For example,
if a UAD-2 Satellite USB OCTO is connected, the UAD DSP load is an average of
the eight DSP processors in the unit plus the single DSP within Apollo Solo USB. If
additional UAD-2 accelerators are added, the average load is automatically adjusted.
Individual Loads
When additional UAD devices are added to the system, individual DSP loads within the
individual units can be viewed in the System Information panel.
UAD Plug-In Loads
The amount of UAD resources used by UAD plug-ins vary with each individual plug-in;
more complex algorithms require more resources.
UAD Instance Chart
The amount of DSP used by each individual UAD plug-in is available in the UAD
instance count chart. The chart can help determine which to plug-ins to use with
available resources. The chart is published online at help.uaudio.com.
Static Loads
Apollo Solo USB uses UAD DSP and memory for its internal digital mixer and Input
Delay Compensation engine. Therefore, the meters will indicate loads when Apollo Solo
USB is connected, even if UAD plug-ins are not inserted in Console or the DAW.
Note: Console’s Input Delay Compensation can be disabled in Console Settings to
slightly reduce UAD loads when IDC is not needed.
DSP
The DSP gauge indicates the amount of digital signal processing resources that are being
used by all UAD devices in the system.
DSP is the primary hardware resource that powers the UAD plug-In algorithms. When
UAD plug-ins are disabled, DSP requirements are decreased.
Note: When UAD plug-ins are disabled, DSP requirements are decreased EXCEPT
when the plug-in is disabled using the soft bypass control within the plug-in
interface. This control may be named bypass or power, depending on the plug-in.
Program
The Program (PGM) gauge indicates how much UAD program memory is in use. Program
memory is an on-chip memory that is specific to the UAD-2 DSP processor and is used
for certain UAD plug-in resources.
Each unique UAD plug-in uses a bit of program memory. If many different UAD plug‑ins
are loaded simultaneously, it is possible for this resource to run out before a DSP
overload occurs. This threshold is considered and factored in by the automatic UAD load
balancing routines.
Memory
The Memory (MEM) gauge indicates the percentage of UAD RAM that is currently in use.
It indicates the total available UAD memory available, regardless of the number of DSP
processors that are installed.
Memory is used for echo, delay lines, reverb, and other spatial processing. When UAD
plug-ins are disabled but not unloaded, memory requirements are not decreased. In this
case, the memory remains loaded so that reverb tails and delay lines are not cut off when
the plug-in is disabled.
Meter Menu
The Meter Menu can be used to access the UAD Control Panels and Always On Top
mode. To view the Meter Menu, click the menu button in the UAD Meter window title bar
as shown below. After clicking the menu button, select an available function from the
drop menu.
Tip: The Meter Menu functions can also be accessed by using the keyboard
shortcuts listed in the menu.
Click to reveal
Accessing the Meter Menu
Control Panels
The UAD Control Panels (System Info, Plug-Ins, Configuration, Help) can be accessed by
selecting them from the Meter Menu.
Always On Top
The UAD Meter & Control Panel application windows can be set to either normal or
Always on top view modes.
In normal mode, the UAD Meter and UAD Control Panel windows are covered by the
windows of the foreground application. Normal mode is active when the Always On Top
menu item is unchecked
In Always On Top mode, the UAD Meter and UAD Control Panel windows always float on
top of other windows, even when other applications are in the foreground. Always On Top
is active when a check mark appears next to the item in the Meter Menu.
UAD Control Panels
The UAD Control Panels are where detailed system information is displayed and global
UAD plug-in settings are modified. The main UAD Control panel window has four panels,
organized by related functions: System Information, Plug-Ins, Configuration, and Help.
Accessing the Control Panels

The UAD Control Panel window is accessed from the UAD Meter window. To open the
Control Panel, click the menu button in the UAD Meter window title bar as shown below.
After clicking the menu button, the available functions are listed in the drop menu.
Tip: The UAD Control Panels can also be accessed by using the keyboard
shortcuts listed in the Meter Menu.
Click to reveal
Control Panels drop menu
When the main UAD Control Panel window is open, the individual window panels are
accessed by clicking the panel name buttons at the top of the Control Panels window or
typing the keyboard shortcuts shown in the Control Panel drop menu.
Control Panel buttons with System Info panel selected
System Information Panel
The System Information panel displays detailed UAD software and hardware information
and contains several useful buttons. Refer to the screenshot below for descriptions in
this section.
Software Section
Version String
The currently installed version of UAD software is displayed here.
Check for Updates
This button checks the Universal Audio web servers for a newer version of the UAD
software. Running the latest version of UAD Powered Plug-Ins is recommended for
maximum stability and new platform features, such as the latest UAD plug-ins.
Plug-In Latency
UAD plug-in latency in the DAW, in samples and milliseconds, is displayed here when
the DAW is running.
Note: These plug-in latency values are unrelated to UAD plug-ins used within
Console.
The displayed values are calculated from the current audio I/O buffer size and the
session sample rate when Extra Buffering is off. When Extra Buffering is on, the
displayed latency is the I/O buffer size plus 64 samples.
The displayed latency value does not reflect the lowered latency when LiveTrack Mode is
active in UAD plug-ins within a DAW.
Note: The displayed sample latency number does not include the extra samples
produced by UAD plug-ins with additional latency. For more detailed information
about the extra samples and latency, see Latency & Apollo Solo USB.
Hardware Section
Detailed information about each active UAD device and its DSP is displayed in the
Hardware area. If several devices are installed, use the scroll bar to see the other devices
if they are out of view.
Hardware section as it appears with multiple UAD devices
Device Status
For each installed device, its status and a small hardware icon are displayed. When the
device displays “Status: OK” the hardware is operating properly. The total number of
UAD plug-ins loaded on each device is also displayed here.
Device Enabled
Individual UAD devices can be disabled using the Device Enabled button. This
can be useful, for example, if creating a session on a system with multiple
devices that will be transferred to a system with fewer devices, or to streamline
performance of the host system when multiple devices are not needed.
Click the button to disable an individual device. The device is enabled when the button
is blue. Devices remain disabled only while the UAD Meter & Control Panel application is
open. When the UAD Meter & Control Panel is quit, disabled devices are re-enabled.
Note: Disabling devices does not disable plug-ins already running on the device; it
only prevents additional plug-ins from being loaded onto the device.
Important: For optimum results, quit any host applications using UAD plug-ins
before disabling/enabling devices.
DSP Load
If more than one UAD DSP is installed, information for each DSP is displayed. DSP,
Program (PGM), and Memory (MEM) loads are displayed as a percentage of total
available load for that processor. The number of UAD plug-ins (PLG) running on each
individual processor is also displayed.
Save Detailed System Profile
Clicking this button will generate a detailed UAD system profile and prompt you for a
location to save the text file to disk. This file contains an even greater level of detail than
the System Information panel, which can be useful for troubleshooting or if UA Customer
Support requests this document when providing assistance.
The profile lists the version strings of the individual UAD software components, installed
device type(s) with serial and hardware ID numbers, host computer information, and
detailed authorization status for all UAD plug-ins.
Plug-Ins Panel
The Plug-Ins panel displays the current authorization and demo status of all installed
UAD plug-ins. Use the scroll bar to view plug-ins that are not visible in the list. Refer to
the screenshot below for descriptions in this section.
Tip: The Plug-Ins panel can be accessed by clicking the blue Plug-Ins Panel
Button labeled “UAD-2” in the UAD Meter window.
Authorize Plug-ins button

UAD plug-ins are automatically authorized each time the computer is started (internet
connection required). This button links to your account at the UA online store to
manually authorize licensed UAD plug-ins.
Note: Click this button whenever you buy a plug-in at the UA store to manually
authorize your new plug-in purchase.
The complete procedure for manual UAD device authorization is detailed in the UAD
Authorization Procedure. If the UAD computer is not connected to the internet, see
Offline UAD Authorization.
Important: UAD plug-ins require authorization before they can be used.
Plug-In Column
All currently installed UAD plug-ins are displayed in the Plug-In column. Plug-Ins are
listed by release order, with newest plug-ins at the top of the column.
Status Column
The Status column reflects the current authorization state of each UAD plug-in. After
authorization, the status will show one of the following:
Authorized for all devices – When the plug-in is licensed and authorized to run on all
devices in the system, “Authorized for all devices” is displayed in white text.
When a plug-in is licensed but not all devices in a multi-device system are authorized
with the license (when the devices are not in the same UA account system), the Status
column indicates which of the devices is authorized (for example, “Authorized for device
1 only”).
Start Demo – When this button is visible, the demo period has not been started for the
plug-in. Click the START DEMO button to begin the 14-day trial period.
UAD plug-in demos can also be initiated by the START DEMO button in the UAD Toolbar
at the bottom of the plug-in window. See Demo Mode for detailed information.
Important: The 14-day demo period can only be activated once, and cannot be
stopped or restarted during this period. Don’t activate demo mode unless you have
adequate time to thoroughly evaluate its sound and functionality.
Demo Active (days remaining) – If the 14-day demo has been activated but is not yet
expired, the number of days remaining in the trial period is displayed here in green text.
Demo Expired – If the 14-day trial period has ended, DEMO EXPIRED is displayed here
in red text.
Help Column
Clicking the Help button (?) opens a link to the plug-in product page at the UA
online store.
Buy Column
Clicking the Buy button ($) adds the plug-in to your shopping cart at the UA
online store. See Buying UAD Plug-Ins for details. This button does not appear if
the plug-in is already licensed.
Tip: The BUY button provides a quick visual reference to determine which UAD
plug-ins are unlicensed.
Configuration Panel
The UAD Configuration Panel is where most of the global UAD settings and preferences
are specified for UAD devices. Refer to the screenshot below for descriptions in this
section.
Note: Settings related specifically to Apollo Solo USB’s audio interface
functionality and Console are set in Console Settings.
The settings displayed in the Configuration Panel depend on the UAD hardware that is
currently installed.
Note: UAD settings apply to all UAD-2 DSP Accelerators and UA audio interfaces
unless specifically noted otherwise.
UAD-2 DSP Settings
Overview
Without UAD plug-ins, overloading the host computer system with native (host CPU
based) plug-ins can cause audio dropouts and other system issues. Some DAWs, for
example, provide a switch that allows you to trade latency for stability when the system
is overloaded. Similarly, the UAD DSP load cannot exceed 100% without unpredictable
behavior.
With the Limit DSP Load feature, the UAD DSP can also be limited so the load cannot
exceed 100%, thereby increasing overall system stability in high load situations. With
very heavy UAD loads, DSP load limiting may also improve host CPU performance.
There are many variables that affect DSP load (sample rate, I/O buffer size, parameter
values, mono/stereo, automation, host system performance, etc). Although these
variables are taken into account, the resulting measurement cannot be absolutely
accurate due to variations in system configurations, including computer bus loading,
which is impossible to measure.
Systems that are heavily loaded due to the presence of other devices or suboptimal
configurations may cause additional DSP loading that cannot be measured by the UAD
plug-in load calculator. The DSP load limit should be reduced in this case.
It is possible for certain (atypical) conditions to be met where another UAD plug-in can’t
be added, even when the UAD Meter says you should have DSP available when compared
to the DSP Load Limit value.
Note: When Limit DSP Load is enabled and the DSP load limit is exceeded when
instantiating a new UAD plug-in, an overload message will appear and DISABLED
will be displayed in the plug-in’s UAD Toolbar. In this case, even though the UAD
plug‑in loads, it will not process audio.
Limit DSP Load

This setting determines the maximum UAD DSP load. If performance issues such as
overloads, dropouts, stuttering, and/or other artifacts persist, change the UAD DSP load
value by clicking the triangles to the right of the percentage display or entering a value
directly with text entry.
Note: UAD‑2 DSP load limiting is always on. 100% (the default value) is the
maximum available setting.
DSP LoadLock
DSP LoadLock reserves the maximum UAD‑2 DSP load required by each plug-in, even
if certain plug-in features are disabled. This ensures there will always be enough DSP
if those features are later enabled, or when automating parameters that affect the DSP
load.
Disabling LoadLock increases available UAD‑2 DSP by disabling unused features in
certain plug-ins, but may cause problems with previously saved sessions that had all
plug-in features enabled, or when automating parameters that affect the DSP load.
The specific UAD plug-ins that have the ability to reduce DSP use when certain features
are disabled are listed in the UAD Instance Chart at help.uaudio.com. These plug-ins are
marked with an asterisk (*) in the chart.
Enabling DSP LoadLock is recommended for optimum performance. Disable LoadLock
only when you need to squeeze in that extra bit of DSP resources.
Note: Changes to this setting do not take effect until all open sessions containing
UAD plug-ins are reloaded.
Extra Buffering
Extra Buffering adds an additional 64 samples of buffering for increased DAW
compatibility.
Note: This setting is unrelated to UAD plug-ins used within Console.
If your DAW is incompatible with reduced latency when Extra Buffering is off, a dialog
will be displayed indicating that Extra Buffering must be enabled. If this dialog does not
appear, disable Extra Buffering to reduce latency in the DAW.
Note: Changes to this setting do not take effect until all open sessions containing
UAD plug-ins are closed.
User Interface Settings
Controls Mode
This setting determines how UAD plug-in parameter knobs respond to adjustment. Three
control modes are offered: Circular, Relative Circular, and Linear. Select the desired
mode from the Controls Mode menu.
Tip: To increase control adjustment resolution when in adjusting rotary controls
in circular and relative circular modes, increase the radius of the mouse relative
to the knob while dragging (move the mouse farther away from the knob while
dragging in a circular motion).
Linear (slider)
In Linear mode, the knob is adjusted by dragging horizontally or vertically instead of by
rotating. This behavior is similar to moving a fader or other slider control.
Circular (jump)
In Circular mode, the software knobs behave like physical rotary knobs. Values are
changed by clicking on the knob then rotating in a circular direction. When the edge of
the knob is clicked, the parameter value instantly jumps to the mouse position.
Relative Circular (grab)
Relative Circular mode operates similar to Circular mode, but the knob value does not
jump to the mouse position when clicked. Instead, the knob value is modified relative to
its original value.
In this mode you can click anywhere on the knob to make an adjustment originating at
the original value (it’s not necessary to click on the current knob position).
Use Host Setting
When Use Host Setting is checked, the control mode that is set within the DAW’s
preferences is used (if this feature is supported by the DAW). This setting forces the
DAW to override the control mode set here.
Note: When Use Host Setting is checked, the UAD Meter Controls Mode settings
have no effect if the control mode can be set within the DAW.
Automatically send usage statistics to Universal Audio

Enabling this option helps make UAD software better. If checked, statistics will be
periodically sent to Universal Audio in the interest of product improvement. These
statistics are minimal, and do not impact your system performance. If this box is
unchecked, statistics are not sent.
Info Display
This area displays helpful text about parameters in the Configuration panel. Hover the
mouse over a Configuration setting to view the informational text.
Help Panel
The Help & Support Resources panel (shown below) contains helpful buttons to help you
get the most out your Apollo Solo USB and UAD plug-ins experience.
The button names are self-explanatory. Click a button to open its page on the internet. If
the UAD computer isn’t online, much of the information is in the manual you’re reading
now; find the topic in the Table of Contents or the PDF reader’s search feature.
Product Manuals is the only button that doesn’t link to the internet. Instead, this button
opens the UAD Documentation folder containing all UAD product operation manuals. See
About Apollo Solo USB Documentation for related information.
Using UAD Plug-Ins
Loading UAD Plug-Ins

Each plug-in host application (Console and/or a DAW) has its own methods for loading
(aka instantiating, inserting, launching) and using plug-ins. To load UAD plug-ins within
Console, see Inserting UAD Plug-Ins. To load UAD plug-ins within a DAW, consult the
DAW documentation.
The UAD Plug-In Interface

One typical UAD plug-in interface is shown below. Each plug-in contains various control
parameters for modifying the sound of the plug-in, display-only elements (such as
meters) for visual feedback, and the UAD Toolbar. The UAD Toolbar is common to all
UAD plug-ins, and is displayed at the bottom of the interface.
Typical interactive Typical display-only element

control parameters (not a control parameter)
UAD Toolbar
(common to all UAD plug-ins)
Typical UAD plug-in interface
Controls View
Some DAW applications have an alternate plug-in display mode feature called Controls
View, Parameter Mode, or similar terminology. This mode displays the control parameters
as a list with simple sliders, switches, and menus (the appearance is controlled by the
DAW), which some users may prefer. Consult the DAW documentation for how to display
this view. Controls view is not available within Console.
Typical UAD plug-in as displayed in controls view
Apollo Solo USB Manual 198 Using UAD Plug-Ins

UAD Toolbar
The UAD Toolbar is located at the bottom of every UAD plug-in (when the plug-in is not
in Controls View). Refer to the illustration below for control descriptions in this section.
Preset/Settings menu Status indicator Help menu
LiveTrack switch Buy plug-in
UAD Toolbar elements
Presets/Settings Menu
This menu can be used to manage UAD plug-in settings from within a DAW.
Tip: When using plug-in presets within Console, the Presets Manager within
Console is recommended for managing presets (instead of the UAD Toolbar)
because of its improved functionality.
The current settings within a UAD plug-in can be saved to disk as a preset file. The
preset can then be subsequently loaded into another instance of the same UAD plug-in
title and/or shared with other users. Current UAD plug-in settings can also be copied and
pasted between instances of the same UAD plug-in title.
These functions are available via the Preset/Settings Menu.
Note: UAD plug-in settings are saved within a project session file by the DAW
software and/or Console, and settings are recalled when the session is loaded.
This occurs automatically without using the Preset/Settings Menu.
Additional Factory Presets

Many UAD plug-ins include additional factory presets that are not within the factory
bank (factory bank presets are accessed directly within the DAW). The additional factory
presets are automatically installed to the Default Preset Location.
To access the additional presets from within a DAW, use the Load Preset function in the
Preset/Settings menu within the UAD Toolbar. the Presets Manager within Console.
Preset/Settings Compatibility
Load/save and copy/paste of parameter values between the same UAD plug-in title is
allowed, as well as load/save/copy/paste between SE and standard plug-ins of the same
title (for example, between Neve 33609 and Neve 33609SE).
Note: Presets and settings between Legacy titles and their newer equivalents with
the same title are not compatible (e.g., Fairchild 670 Legacy and Fairchild 670).

Load/Save Preset
Preset/Settings Menu
The Preset/Settings menu is used to load/save plug-in presets and copy/
paste plug-in settings when UAD plug-ins are used within a DAW.
To access the Preset/Settings menu, click the folder icon in the UAD
Toolbar, then select an item from the drop menu.
Tip: When using UAD plug-ins within Console, use Console’s Presets
Manager instead for its improved functionality.
The Preset load/save features support presets but not banks. To load and save banks, use
the DAW’s bank management feature (if available).
When Load Preset or Save Preset is selected from the Preset/Settings Menu, the
standard operating system load/save file dialogs are presented. Preset files can then be
loaded (if the plug-in is the same type), or saved to any disk location.
Copy/Paste Settings
Settings can copied and pasted directly between UAD plug-ins
(within the Preset/Settings Compatibility guidelines) without
using the interim step of creating a preset file.
To copy/paste settings between UAD plug-ins, select Copy
Settings from the drop menu of the source plug-in, then select
Paste Settings from the drop menu of the destination plug-in.
Note: If the menu displays “Cannot Paste Settings,” then settings were not copied
first or the paste destination has incompatible settings.
Default Preset Location

When the load/save functions are used, the OS load/save file dialogs are automatically
directed to the default preset location. Although UAD presets can be loaded from (and
saved to) any disk location, using the default preset location automatically organizes all
your presets of the same UAD plug-in title within the same folder.
The Presets folder path below is the parent folder for all UAD plug-in presets. Within
the parent folder is a subfolder for each individual UAD plug-in title, and the subfolder
contains all the presets for that UAD plug-in.
• C:\Program Files (x86)\Universal Audio\Powered Plugins\Presets

Status Indicator
The Status indicator in the UAD Toolbar displays information about the current state of
the plug-in. Each state is described below.
Start Demo – When START DEMO is displayed, the 14-day trial period for the particular
plug-in has never been activated. Clicking this button will start the demonstration period
(you can also start the demo in the UAD Control Panel’s Status Column.
Important: The 14-day demo period can only be activated once, and cannot be
stopped or restarted during this period. Don’t activate demo mode unless you have
Demo Active – After starting the demo, and when the plug-in is still within the active
14-day trial period, the number of days remaining in demo mode is displayed here.
Disabled – When DISABLED is displayed in red, the plug-in will not process audio. This
can occur in two situations: either the demo period has expired (click the Buy button!),
or the UAD DSP is overloaded and there are not enough UAD resources to run the
plug-in.
Blank – When no text is displayed in the Status area, the plug-in is licensed and
operating normally. In this state, the Buy button is not displayed.
Buy ($)
If the UAD plug-in is unlicensed, the Buy ($) button is displayed. Clicking the “$”
button opens the plug-in’s page at the UA store so you can purchase the license. See
Buying UAD Plug-Ins for purchasing details.
Help (?) Menu

The Help drop menu contains two convenient shortcuts. To select the
shortcuts, click the “?” button in the UAD Toolbar, then a choose shortcut
from the menu.
Manual – This option opens the UAD Plug-Ins Manual, where all features and
functions of all individual UAD plug-ins developed by Universal Audio are
documented.
Note: With Direct Developer (3rd-party) plug-ins, the manual provided by the
developer is opened.
Web Info – This option opens the plug-in’s page at the UA store so you can learn more
about and/or buy the plug-in.

LiveTrack Mode
LiveTrack mode reduces latency on an active UAD plug-in to the lowest possible amount
when the UAD plug-in is used within a DAW. This feature is useful for monitoring UAD-
processed audio when recording live performances via software monitoring in the DAW.
Note: LiveTrack is not available for UAD plug-ins used within Console, where
Realtime UAD Processing always minimizes latency.
Reduced latency with LiveTrack is accomplished by circumventing standard I/O buffering
processes. In LiveTrack mode, UAD signal data is transferred and processed immediately
instead of being buffered.
Note: LiveTrack mode is unavailable on all UAD-2 devices whenever any UAD-2
FireWire device is connected to the system.
Increased Host Loading

When LiveTrack is active, host CPU loading increases. The host load is directly
proportional to the DSP load of the UAD plug-in(s) in LiveTrack mode. However, host
CPU is never used for UAD plug-in processing with LiveTrack.
Extra Latency with LiveTrack

When Extra Buffering is enabled or when Upsampled UAD Plug-Ins are used with
LiveTrack, latency is increased. Extra Buffering adds 64 samples, and each plug-in with
additional latency using LiveTrack adds the value from the chart in the UAD Plug-Ins
Manual.
Note: For more detailed information about latency and buffers, see Latency &
Delay Compensation
LiveTrack Activation
To activate LiveTrack Mode, click the microphone icon switch in the UAD Toolbar.
LiveTrack Mode is active when the mic icon is red.
LiveTrack Mode can be activated simultaneously on multiple UAD plug-ins. However,
host system CPU loads will increase with each LiveTrack Mode instance.
LiveTrack switch as it appears when active

Adjusting Parameters
The parameter settings within each UAD plug-in can be adjusted to achieve a desired
sonic effect. Parameter values are easily modified by dragging sliders, rotating knobs,
clicking switches and buttons, or by selecting values from a drop menu. The functions of
all individual UAD plug-in parameters are detailed in the UAD plug-in manuals.
The parameter adjustment style can be Circular, Relative Circular, or Linear. For
descriptions of these options, see User Interface Settings.
Tip: To increase adjustment resolution when adjusting rotary controls in circular
and relative circular modes, increase the radius of the mouse relative to the knob
while dragging (i.e., move the mouse farther away from the knob while dragging).
Text Entry
Parameters that have a value display field can be modified directly with text entry. To
enter a parameter value using text entry, single-click the parameter value text field. The
text value will highlight, indicating it is ready to receive a new value. Type in a new value,
then press Return, Enter, or Tab, or click outside of the text box. Press Esc if you want to
revert to the prior setting without entering the new value.
Values entered via text entry are rounded to the closest significant digit. If an entered
value is out of range, it will be ignored.
Time Values
To enter time values, the units must be specified; m = milliseconds, and s = seconds.
For example: To enter 400 milliseconds, type 0.400s or 400m. To enter 1.5 seconds,
type 1.5s or 1500m.
Mouse/Wheel Scroll
If your input device has a scroll function, it can be used to adjust knob and slider
controls. Place the mouse cursor over any knob or slider control, then use the scroll
function to change the parameter value.
Note: Some DAWs do not support parameter scrolling.

Shortcuts
The table below lists the keyboard shortcuts that are available for modifying UAD
plug-in parameter values. When using keyboard shortcuts, the last edited control will be
modified.
Note: Not all DAW applications support sending keystrokes to plug-ins.
UAD Plug-In Keyboard shortcuts

Keyboard Action Result
Shift + Drag Fine Control
UpArrow Increment Fine
RightArrow
Shift + PageUp
DownArrow Decrement Fine
LeftArrow
Shift + PageDown
Shift + UpArrow Increment Coarse
Shift + RightArrow
PageUp
Shift + DownArrow Decrement Coarse
Shift + LeftArrow
PageDown
Control + Click parameter Toggle initial editor setting (the value when the
editor window was last opened)
Control + Shift + Click parameter Revert to initial editor setting (the value when the
editor window was last opened)

DSP Loading Notes
• UAD devices feature either one, two, four, or eight (SOLO, DUO, QUAD, or OCTO)
on-board DSP cores for UAD plug-in processing. Apollo Solo USB features UAD-2
SOLO core processing.
• UAD DSP use is proportional to the sample rate. Twice as many UAD plug-ins can
be used at a 48 kHz sample rate versus a 96 kHz sample rate, and so forth.
• UAD plug-ins within Console can only run on Apollo Solo USB’s built-in DSP. If
a UAD-2 DSP accelerator is added to the system (such as UAD-2 Satellite), the
additional DSP can be used for UAD plug-ins within a DAW, but not for Realtime
UAD Processing within Console.
• Bypassing individual components within some UAD plug-ins can conserve UAD
resources. For example, bypassing the compressor in the Precision Channel
Strip when only the EQ is in use, and/or bypassing any of the unused bands of
the Precision Channel Strip EQ will use less UAD DSP (unless DSP LoadLock is
enabled).
• The UAD Instance Chart at help.uaudio.com lists the amount of DSP used by each
UAD plug-in. The chart can help determine which UAD plug-ins to use within
available UAD resources.
• Specific UAD plug-ins have the ability to conserve UAD resources when individual
features within the plug-in are inactive. These plug-ins are marked with an
asterisk (*) in the UAD Instance Chart at help.uaudio.com. Note that DSP
LoadLock must disabled to take advantage of this feature.
• Apollo Solo USB uses UAD DSP and memory for its internal digital mixer and
Input Delay Compensation engine. Therefore, the UAD Meter gauges will indicate
loads (when UAD hardware is connected) even if UAD plug-ins are not inserted in
Console or the DAW.
• The host computer system memory and CPU are never used for UAD plug-in
processing within a DAW. However, there will be a small additional load on
the host CPU induced by data transfers and user interface operations. This is
unavoidable when using any DSP device.
• When LiveTrack Mode is active, host CPU load is increased.
• Within a DAW, UAD plug-ins can run at the same time as native (host CPU based)
plug-ins, and in any combination. However, native plug-ins cannot be loaded
within Console.

Mono (m) UAD plug-ins
UAD VST plug-ins with “(m)” in the name are monophonic versions of the plug-in for use
within VST-based DAWs.
Standard UAD VST plug-ins (which support both stereo and mono configurations) do not
consume additional UAD DSP on mono sources when loaded in DAWs that use true-mono
processing (for example, Avid Pro Tools and Steinberg Cubase).
Some DAWs (for example, Ableton Live and Cakewalk Sonar) do not use true-mono
processing on mono signals. In these DAWs, using the mono (m) versions may conserve
UAD DSP when used on mono sources.
Note: Apollo Solo USB’s Console always uses true-mono processing, therefore
Mono (m) UAD plug-ins are not available within Console.
UAD mono (m) plug-ins are not available in AAX 64 format. All major AAX 64 DAWs
(e.g., Avid Pro Tools) support true-mono processing.
Note: Some UAD plug-ins do not consume less DSP even when used in a true-
mono configuration. For details about mono vs. stereo DSP use, see the UAD
Instance Count Chart.

Tempo Sync
The time-based parameters of some UAD plug-ins can be synchronized to the tempo of
the host application using the Tempo Sync feature.
Note: Not all DAW applications support Tempo Sync. In these hosts, the tempo
sync features will not function.
When Tempo Sync is activated, the time-based parameters that are available for
synchronization are changed to note duration values, and will sync to the tempo of the
host application using the displayed note value.
Tempo Sync switch within Precision Delay Mod
Tempo Sync Plug-Ins

The Tempo Sync feature is available with the UAD plug-ins listed below.
CS-1 Channel Strip Moog Multimode Filter XL

Cooper Time Cube MXR Flanger/Doubler
Galaxy Tape Echo Precision Delay Mod
EP-34 Classic Tape Echo Precision Delay Mod L
Korg SDD-3000 Digital Delay Precision Reflection Engine
Moog Multimode Filter Roland RE-201 Space Echo
Moog Filter Multimode SE
Note: This table does not include UAD Direct Developer (3rd-party) plug-ins.
Apollo Solo USB Manual 207 Tempo Sync

Sync Activation
To activate Tempo Sync, click the “Sync” button within the plug-in interface. The Sync
button LED will illuminate and the time parameters will change from a time-based
display to a note value display.
Note: When Tempo Sync is activated, the plug-in will automatically switch the
time or rate parameter(s) to the nearest available note value(s) given the range of
the parameter in question and the current tempo.
Available Note Values

The note values that are available for selection are listed below. The values are listed in
musical notation as a division of measures. For example, 1/4 = one quarter note, 1/1 =
one whole note, 4/1 = four whole notes, and so forth.
The available note values were chosen to allow syncing to tempo in odd time signatures
as well the common 4/4 time signature.
LFO rate parameters have their note values listed from longest to shortest, since long
note values correspond to slow LFO rates.
Available Tempo Sync Note Values

1/64D* 1/8 5/8 4/1
1/64 5/32* 1/1T 5/1
1/32T 1/4T 1/2D 6/1
1/32 1/8D 1/1 8/1
1/16T 1/4 5/4 9/1
1/32D 5/16 1/1D 12/1
1/16 1/2T 7/4 16/1
1/8T 1/4D 2/1
1/16D 1/2 3/1
D = Dotted
T = Triplet
* = Galaxy Tape Echo & RE-201 only
A quarter note is always a quarter note, independent of the time signature. In different
time signatures a quarter note can represent different numbers of musical beats (e.g.
6/8) or different fractions of a bar (e.g. 5/4).
Example: The time signature is 6/8 and the delay time tempo sync note value is 1/4. If
a sound occurs on beat one of the measure then its delay will occur on beat 3, which is
1/4 note (i.e., two 8th notes) later.
Note: The “beat” value in a sequencer’s BPM tempo setting always refers to a
quarter note, independent of time signature.

Range Limits
Some Tempo Sync parameters cannot access the entire note range in Available Tempo
Sync Note Values. Because the original (non-tempo sync) range of the time-based
parameters within each plug-in is limited, if the host tempo is too fast or too slow, the
tempo sync note value may not be able to be achieved within the constraints of the
original parameter.
Out of range
When a parameter note value is out of range of the current tempo note value, the note
value is displayed in parentheses. In this case, the parameter’s minimum (slow tempo) or
maximum (fast tempo) value is used instead of the displayed value.
Tempo Sync value out of range (parentheses)
Entering Values
In addition to adjusting the parameter control, the following methods can be used for
entering Tempo Sync values.
Arrow Keys
After clicking the parameter to select it, the computer’s arrow keys can be used to
increment/decrement through available note values.
Text Entry
Any notation values can be entered (fraction or decimal), and the values are
automatically converted to the nearest appropriate setting.
Example: If 3/4 or 6/8 is entered using text entry, 1/2D is displayed because a dotted
half note equals three quarter notes, which is the duration of one measure in a time
signature of 3/4 or 6/8. If 12/8 is entered with text entry, 1/1D is displayed because a
dotted whole note equals six quarter notes, which is the duration of one measure in a
time signature of 12/8 (or two measures in a time signature of 3/4 or 6/8).
This means you can create a tempo sync duration of one measure for any time signature
by simply typing in the time signature (assuming there is a match in the beat table).
Similarly, if 1/12 is entered with text entry, 1/8T is displayed because an eighth note
triplet is equivalent to one-twelfth of a measure (if in 4/4 time).

Precision Delay Modes with Tempo Sync
The UAD Precision Delay Mod and UAD Precision Delay Mod L plug-ins have a Mode
menu that switches the plug-in operation between delay, chorus, and flanger mode. In
these plug-ins, when the Mode is set to DUAL DELAY and PING PONG, the delay Time
and modulation Rate parameters are simultaneously available for Tempo Sync.
However, when the plug-in is set to a CHORUS or FLANGER mode, only the Rate is
available for Tempo Sync. This enables the more typical and musical chorus/flange
effect by only syncing the modulation Rate to the tevmpo while the delay time remains
constant.
Galaxy Tape Echo & Roland RE-201 Sync

When the Galaxy Tape Echo and Roland RE-201
plug-ins are in Tempo Sync mode, note values
can be imprecise due to the fixed tape head
relationships.
Values that are imprecise approximations (but are within the available delay time
range) are displayed with a “+” or “-” symbol. The leading head in the current mode is
accurately synced; the other values are based on the fixed tape head relationship.
Note: When a parameter note value is out of range of the current tempo note value
in these plug-ins, the note value flashes instead of in being parentheses.

UA Account & Store
Account Overview
Your Universal Audio account is where all your UAD devices, and their associated UAD
plug‑ins, are registered and managed. A UA account is required to register and authorize
your Apollo Solo USB hardware, download UAD software, and receive customer support.
Device Registration
The account creation and device registration process is triggered automatically whenever
a new UAD device is recognized by the UAD software. Our web pages guide you through
the process.
Accessing Your Account

To view your account pages, click
the MY ACCOUNT link at the top of
web of pages at www.uaudio.com.
When you’re not already logged in,
the LOG IN link appears instead of
the MY ACCOUNT link. In this case, click LOG IN to enter your email and password and
access your account.
You have the option to stay logged in so you don’t have to enter credentials with each
visit. If you forgot your password, the store can email a password reset link to you.
Account Details
The My Account pages are available when logged in. These pages
contain all details about the account such as registered UAD
devices, licensed UAD plug-ins, and account preferences.
The account menu, shown at right, is used to navigate the
account pages. Click an item in the menu to view that account
page.
Apollo Solo USB Manual 211 UA Account & Store

Store Overview
The Universal Audio online store is where optional UAD plug-in licenses are purchased
and UA coupons are redeemed.
Bundled Plug-Ins
UAD plug-ins that are bundled (included) with Apollo Solo USB are automatically
issued to your UA account when the device is registered. After registration is complete,
authorize the UAD system to run the bundled plug-ins.
Note: UAD devices must be registered and authorized to use bundled plug-ins.
Optional Plug-Ins
UAD plug-ins that are not bundled with the UAD device require an optional license to
run without restrictions. After purchasing a UAD plug-in, the UAD device(s) in the system
need to be manually authorized to run the additional plug-in.
Our web pages guide you through the purchase and authorization process.
UAD Plug-Ins Are Already Installed

The UAD software installer always installs the complete suite of available UAD plug-ins
during installation. When you purchase an optional license, you don’t download that
individual plug-in. Instead, you simply re-authorize your system, which activates the
plug-in file that is already installed.
Important: Older versions of UAD software may not include all the latest UAD
plug-ins. To ensure all UAD plug-ins are installed, and for optimum performance,
update to the latest UAD version (see Check for Updates).
Coupons
Promotional coupons have dollar values that are as “good as cash” for buying UAD
plug‑ins. Coupons are applied to your UA account automatically. The coupon dollar
amount is displayed in your account as a credit, ready to be applied to your store
purchase.
Coupons expire after a limited time period, and they can be used only once.
Tip: Coupons are a great reason to sign up for UA’s promotional email. These
options are set in the Newsletter Subscriptions page in My Account.

UAD Authorization Overview
Note: This section is an overview of the UAD authorization system. For step-by-
step authorization instructions, see UAD Authorization Procedure.
My Hardware
The UAD devices (Apollo Solo USB is a UAD device) and UAD plug-ins that you own are
found on your MY HARDWARE page at www.uaudio.com/my/account/hardware. The My
Hardware page keeps track of your registered UAD devices and UAD plug-in licenses and
is managed automatically by the UA store and UAD software.
Tip: The current UAD plug-in license state is also shown in the Plug-Ins Panel
within the UAD Meter & Control Panel application.
UAD System
All UAD devices registered to the UA account, and all UAD plug-in licenses for those
devices, are grouped as a system on the My Hardware page. Licensed UAD plug-ins are
only authorized to run on the UAD devices associated with the same account and system.
Account Creation and Device Registration

Creating a UA account and registering the UAD hardware is only needed once during
initial device installation. After registration, authorization is performed automatically in
the background by the UAD Meter & Control Panel application each time the computer is
started.
Adding Additional UAD Devices

If a second (or more) UAD device is added to the computer that already has the UAD
software installed, the new device(s) is automatically detected by the UAD software.
Upon detection, the web browser opens, you are guided to register the new device, and
the new device is added to your account.
Authorizing Newly-Purchased UAD Plug-Ins

When a UAD plug-in is purchased at the UA store, it needs to be manually authorized.
The store guides you through the process, or see the UAD Authorization Procedure for
instructions.
Authorizations Are Stored On UAD Device

During authorization, the UAD plug-in license state is stored on the UAD device. If the
device is moved to another computer, it’s not necessary to reauthorize the device.

Demo Mode
All unlicensed UAD plug-ins include a free 14-day trial evaluation period. When the
demonstration mode is activated, the plug-in runs without functional limitations for 14
days. Demo mode can be activated once only. After the demo trial period has expired,
demo mode cannot be activated again on the same UAD device.
If an unlicensed plug-in is loaded and its demo has never been started, a dialog appears
with instructions to start the demo and the option to visit the UA store to purchase the
license. If you don’t start the demo or purchase a license, the plug-in interface appears
and its controls can be manipulated, but audio is not processed by the plug-in.
Important: The 14 day demo period can only be activated once, and cannot be
stopped or restarted during this period. Activate demo mode only when you have
Demo Reset
As a courtesy, each time a new UAD plug-in is purchased, all expired demo periods are
automatically reset so all UAD plug-ins with expired demos can be evaluated again.
Demo Activation
To activate demo mode:
1. Ensure the UAD hardware and software is already installed and properly
configured.
2. Open the Plug-Ins Panel within the UAD Meter & Control Panel application.
3. Locate the row for the UAD plug-in you want to evaluate (scroll if necessary).
4. In the Status Column, click the START DEMO button for the UAD plug-in. A
confirmation window appears and the timed demo can be activated or demo
activation can be cancelled.
Note: Manipulating the computer’s system date and time may result in a
decreased demo period.

Buying UAD Plug-Ins
To obtain optional UAD plug-in licenses, simply visit www.uaudio.com, browse the
available plug-ins at the secure UA store, complete your purchase with several payment
options, and authorize the new plug-in(s). You can also apply any coupon credit that is
available from promotional offers.
Lots of product information such as features, specifications, audio/video examples, and
reviews are available on the plug-in product pages to help you make informed buying
decisions.
Purchase Procedure
To purchase optional UAD plug-in licenses:
1. Visit the UA store at www.uaudio.com.
2. Add the items you want to purchase to your shopping cart. You’ll need to login to
your UA account if not already logged in.
3. When ready to complete your purchase, click the Shopping Cart icon at the top of
the page, then click the CHECKOUT button. The payment page appears.
4. Select payment method and provide payment details. If applicable, apply any
discount coupon codes.
5. Click the PLACE YOUR ORDER button once only. The transaction is processed,
the order confirmation page appears, a confirmation email is sent, and the UAD
plug-in license(s) is issued to your UA account.
6. Authorize the UAD device(s) by following the instructions on the next page.

UAD Authorization Procedure
UAD plug-ins are automatically authorized each time the computer is started. However,
the UAD system must be manually authorized whenever a plug-in is purchased from the
UA store.
Note: Follow this procedure to manually authorize a new UAD plug-in purchase
whenever you buy a plug-in at the UA store.
To manually authorize UAD plug-ins to run on the UAD device:
1. Open the UAD Meter & Control Panel application (see Launching the Application
for methods).
2. Access the Plug-Ins Panel within the application by clicking the blue “UAD-2”
button in the UAD Meter window.
Click
Click
3. Click the “Authorize Plug-Ins” button in the Plug-Ins panel.
Click
Click
4. After a few moments the Authorization Status window appears. Click OK to close
the window.
UAD plug-ins are now authorized and ready for use.

Offline UAD Authorization
Important: UAD devices must be registered and UAD plug-ins must be authorized
before they can be used.
UAD plug-ins are automatically authorized each time the computer is started if the
system is connected to the Internet. If the UAD computer is not connected to the
Internet, you will need:
• Manually transfer a URL into the browser of a web-enabled computer
• Download an authorization file onto the web computer
• Transfer the authorization file back to the UAD computer
These steps are detailed below.
To obtain and apply the UAD authorization file if not connected to the internet:
1. Install the UAD software and the UAD hardware before proceeding. The system
must be operating properly. See for Getting Started details.
2. Launch the UAD Meter & Control Panel application and open the Plug-Ins Panel.
3. Click the Authorize Plug-ins button. The default web browser opens with the
registration URL in the address bar (and you may get an error that the computer is
not connected to the Internet).
4. You must enter this URL into a web-connected computer, so either:
a. Drag the URL icon in the browser’s address bar to the Desktop to create a
weblink shortcut (preferred, to prevent transcription errors) then transfer the
weblink shortcut to the internet computer via a storage device or network, OR
b. Copy/paste the URL into a file that can be transferred (or carefully write down
the URL, EXACTLY as it appears in the address field).
1. Click+Hold URL icon

in browser address bar
2. Drag URL icon to

Desktop or flash drive
to create a link shortcut
Creating a web location shortcut on the offline UAD system

for easier transfer of the URL file to an online system

5. Go to the URL using a web browser on an Internet-connected computer. Double-
click the transferred weblink shortcut, or enter the URL as previously noted.
• If you don’t already have a UA account, you are directed to create one. Follow
the online instructions.
• If you already have a UA account, login with your email address and password.
If your password is lost, the store can email password reset link to you.
6. Your device will be automatically registered and added to your My Hardware page,
and your authorization file is generated.
7. The authorization file named “auth.uad2” should begin downloading automatically
(if not, click the download authorization link).
8. Transfer the authorization file to the UAD computer via a storage device or
network.
9. For optimum results, quit all open audio host applications (DAWs).
10. Double-click the authorization file. The authorization is loaded onto the UAD
device(s) and after a few seconds the “Authorizations Status” window appears.
Offline UAD authorization is complete and UAD plug-ins are ready for use.

Latency & Apollo Solo USB
Delay Compensation with Apollo Solo USB

System latency encapsulates all latencies induced within the typical digital audio
workstation environment. See Latency Basics for a detailed overview of where, when, and
how latency (delay) is induced in the DAW environment.
Note: Upsampling latency, input latency, and all other system latencies
are automatically compensated by Console and modern DAWs when delay
compensation is enabled in the host application.
Driver Reporting
Any system latency that is induced by Apollo Solo USB’s I/O, Console, and/or UAD plug-
ins is reported by Apollo Solo USB’s device drivers to the host audio software that is
using the device.
The host software (e.g., Console and the DAW) uses this reported device latency for
its automatic delay compensation (ADC) engine. When ADC is enabled in Console and
the DAW, phase coherency (time alignment) is maintained throughout the recording,
overdubbing, and mixing process.
Upsampled UAD Plug-Ins

Some UAD plug-ins are upsampled, meaning their internal sample rate is increased
to achieve sonic design goals. Depending on the session sample rate, upsampled UAD
plug‑ins can add additional latency when used in the Console Mixer and/or a DAW.
Although the latency added by upsampled UAD plug-ins is negligible (typically between
0-300 samples, depending on the plug-in and sample rate), this extra latency can affect
phase coherency in a session. However, phase alignment is managed automatically by
Input Delay Compensation in Console and Automatic Delay Compensation in the DAW
when these features are enabled.
Note: Specific upsampling latency values for UAD plug-ins are listed in the UAD
Plug-Ins Manual.
Automatic Delay Compensation in the DAW

Generally speaking, ADC should always remain enabled in the DAW when using Apollo
Solo USB (and any other audio interface), regardless of whether or not Console is used
at the same time. The DAW’s ADC engine performs all necessary housekeeping to keep
tracks phase‑aligned, regardless of the latency source (if any).
Apollo Solo USB Manual 219 Latency & Apollo Solo USB
Input Delay Compensation in Console
Console has automatic Input Delay Compensation (IDC), which is controlled by the Input
Delay Compensation menu in Console Settings. Console IDC maintains phase alignment
across all Console inputs when upsampled UAD plug-ins are used in Console.
Console’s IDC is useful when multiple Console inputs are used on a single source. For
example: If two microphones are used on an acoustic source (such as a acoustic guitar)
and an upsampled plug-in is used on one of the mic channels but not the other, without
input delay compensation, the phase of the two mic channels would no longer be aligned
(mics must be exactly equidistant from the sound source to remain phase aligned).
How Console IDC works
To maintain phase alignment, Console IDC automatically adds small amounts of delay to
each Console input that is not delayed by Upsampled UAD Plug-Ins. In other words, all
compensated inputs are automatically delayed by the same amount.
When To Use Console Input Delay Compensation
Console IDC is required to maintain phase alignment only when BOTH of the following
conditions are active:
1. Multiple Console inputs are used for a single source (such as a drum kit using
multiple microphones), AND
2. Any of those input channels contain upsampled UAD plug-ins.
Tip: When IDC is not needed, disable Console IDC for the lowest possible input
latency.
Effect of Console’s IDC setting

Note: Console’s IDC value is set with the Input Delay Compensation menu in
Console Settings. By default, Console IDC is enabled with the Short value of 100
samples.
In Console
In Console, the amount of delay added by the IDC engine is automatic. Only the
minimum amount of delay actually required to compensate the input(s) is applied (up
to the maximum value of the setting), maintaining the lowest possible latency for phase
alignment at all times.
For example: When Console’s IDC value is set to Short (100 samples – the default value)
and only 31 samples is actually required to compensate, then only 31 samples of delay
will be applied to the other Console inputs.
In the DAW
In the DAW, the amount of delay added by Console’s IDC engine is static. The extra
samples are always added to all inputs in the DAW, even if no upsampled plug-ins are
active. However, this overall additional input latency is reported by Apollo Solo USB’s
drivers, so it is automatically compensated by the DAW’s ADC.
For example: When Console’s IDC value is set to Short (100 samples – the default value)
and only 31 samples is actually required to compensate, 100 samples is still added to
all inputs in the DAW. If using software monitoring via the DAW, the extra (unnecessary)
delay could be detected.
Software monitoring with Console IDC
When software monitoring via the DAW and Console IDC is enabled, the lowest effective
Console IDC setting is recommended to minimize monitoring latency. If using Console
for monitoring and software monitoring via the DAW is disabled, the IDC value isn’t as
critical because Console will dynamically deliver the lowest possible monitoring latency.
UAD-2 DSP Resources
Console IDC uses a small percentage of Apollo Solo USB’s DSP. To maximize UAD
resources available for UAD plug-ins, disable Console IDC if it is not needed.
Special Cases: Precision Multiband, Ampex ATR-102, and AKG BX 20
These three UAD plug-ins have extra latency values that exceed the capacity of Console’s
IDC engine even at the maximum setting (Long). These plug-ins are designed to be
used on the outputs of a DAW during mixdown, where latency is not a consideration. If
using these plug-ins in Console, the Input Delay Compensation feature may need to be
disabled or ignored.
Minimizing UAD Input Latency When Software Monitoring

If the DAW’s I/O buffered software monitoring is used when performing and UAD plug‑ins
are used within the DAW, input latency can be much higher versus using Console for
hardware input monitoring. However, there are ways to mitigate the additional input
latency if software monitoring is preferred.
When software monitoring, input latency is determined by the session sample rate,
the DAW’s buffer size setting, and the number of serial (i.e., stacked or chained) UAD
plug‑ins. To minimize input latency, try any or all of these mitigations:
• Use a higher session sample rate
• Use a lower I/O buffer size
• Use fewer serially inserted (stacked/chained) UAD plug-ins
• Use UAD-2 LiveTrack Mode
UAD‑2 LiveTrack Mode

UAD‑2 PCIe cards, UAD-2 Satellite USB, Apollo Twin USB, Apollo Solo USB, and
Thunderbolt-equipped Apollo audio interfaces (all UAD devices except UAD FireWire
devices) offer an advanced buffering architecture that delivers reduced latency when
tracking through UAD plug-ins that are loaded in a DAW. To enable the feature, activate
LiveTrack Mode on the UAD plug-in(s) when software input monitoring. LiveTrack Mode
is enabled by clicking the mic button in the UAD Toolbar at the bottom of the UAD plug-
in interface. LiveTrack is active when the mic button is red.
Latency Basics
Latency (delay) is an inherent factor in digital audio systems because of A/D-D/A
conversion, I/O buffering in the DAW, plug-in signal processing, and other aspects.
Although there are ways to mitigate latency (such as delay compensation and/or
low‑latency monitoring), it always exists to some degree when working with systems that
combine analog and digital audio. These concepts are explained in greater detail below.
Audio Interface Latency

Every audio interface that performs A/D and/or D/A conversion induces latency as a result
of the conversion process. This inherent A/D–D/A latency is essentially undetectable.
A/D–D/A latency usually depends on the sample rate, with higher sample rates inducing
less latency (higher rates = less time required for conversion).
An audio interface’s “analog I/O round-trip latency” specification refers to how long it
takes for an analog signal at an interface input to reappear at the same interface’s analog
output after both A/D and D/A conversion. Apollo Solo USB’s audio interface analog I/O
round-trip latency is 1.1 milliseconds at a sample rate of 96 kHz.
DAW Latency
Most DAWs use hardware I/O buffering to shuttle audio data back and forth between
the audio interface and the DAW. This I/O buffering induces additional latency with any
audio interface (not just Apollo Solo USB).
I/O Buffer Size
The amount of DAW latency is usually determined by the DAW’s I/O interface buffer size
setting. With Apollo Solo USB, the buffer is set in the Hardware panel within Console
Settings. Low buffer sizes reduce latency, but increase the host computer’s CPU loading.
If the buffer size is set too low, host CPU overloads and/or audio artifacts such as clicks,
distortion, or dropouts can occur.
Monitoring Live Performance During Recording
DAW latency can be a problem during recording when software monitoring via the
DAW’s mixer, because the buffering delay is a distraction; an artist cannot hear their
performance in realtime. DAW latency when recording with Apollo Solo USB is mitigated
by using Console for live performance input monitoring, where I/O buffering latency does
not apply.
Time-Alignment Of Newly-Recorded Tracks With Previously-Recorded Tracks
Dealing with latency is also important with DAWs for time-alignment of newly-recorded
tracks and previously-recorded tracks which are inevitably shifted from the I/O buffering
process.
The solution is to use the automatic delay compensation (ADC) feature of the DAW.
Modern DAWs, and Console, have automatic delay compensation. For more information
about system latency and its compensation, see Delay Compensation with Apollo Solo
USB USB.
Console Latency
Apollo Solo USB’s Console mixer is used for low-latency input monitoring (cue mixing)
of Apollo Solo USB’s analog inputs. Using Console to monitor Apollo Solo USB’s inputs
may or may not add to the inherent analog I/O round-trip latency, depending on how it is
configured, as described below:
Console without UAD plug-ins – When Console is used without UAD plug-ins, monitoring
Apollo Solo USB’s inputs via Console does not add any latency. In this configuration,
Apollo Solo USB’s analog I/O round-trip latency is still 1.1 milliseconds at 96 kHz.
Console with Realtime UAD Processing – When Console is used for Realtime UAD
Processing with UAD plug-ins that are not upsampled, monitoring Apollo Solo USB’s
inputs via Console does not add any latency.
In this configuration, Apollo Solo USB’s analog I/O round-trip latency is still 1.1
milliseconds at 96 kHz, even if up to five UAD (non-upsampled) plug-ins are serially
inserted (chained) on a single Apollo Solo USB input.
Multiple Apollo Solo USB inputs can have up to five UAD (non-upsampled) plug-ins each
(up to the limit of available DSP resources), and this configuration also does not add any
latency.
Note: Upsampled UAD plug-ins add latency when used in Console or a DAW. See
Upsampled UAD Plug-Ins for details.
Console Auxiliary Buses – The outputs of the auxiliary buses in Console have 69 samples
of additional latency. This is necessary to maintain the lowest possible input latency.
DAW UAD-2 DSP Latency

When UAD plug-ins are used within a DAW (not Console), I/O buffering is used to shuttle
audio data back and forth between the UAD-2 inside Apollo Solo USB and the DAW,
which induces additional latency.
UAD-2 DSP latency from UAD plug-ins within the DAW is determined by the DAW’s I/O
Buffer Size setting. This latency is unrelated to the (indiscernible) audio interface I/O
latency — they are separate processes.
DAW UAD-2 DSP latency makes tracking through UAD plug-ins in the DAW via
software monitoring problematic for the performer because an artist cannot hear their
performance in realtime.
The issue of UAD-2 DSP latency when recording with Apollo Solo USB is eliminated
by using Console for live performance input monitoring with optional Realtime UAD
Processing, where buffering latency does not apply.
Does all this latency stuff matter?

With Apollo Solo USB, not really. Performance input latency is not a factor because of
Console’s low latency hardware input monitoring, and recording (track alignment) latency
during recording, overdubbing, and mixing is automatically compensated by Apollo Solo
USB’s device drivers and the DAW’s automatic delay compensation engine.
Device Drivers
Apollo Solo USB Drivers Overview

The Apollo Solo USB device drivers are low-level system software files that instruct
the computer’s operating system about how to communicate with the Apollo Solo USB
hardware. Apollo Solo USB’s drivers control Apollo Solo USB’s audio interface, Console,
and UAD-2 functionality.
The drivers are loaded during computer system startup so that whenever Apollo Solo
USB is connected, the device is ready to accept instructions from the OS and audio
applications.
ASIO
Apollo Solo USB’s audio drivers use the ASIO APIs. Apollo Solo USB’s normal (non-
DSP) audio interface features are simply seen as an ASIO device; therefore any ASIO
compliant software can use Apollo Solo USB for audio I/O.
UAD Mixer Engine
The Console application and Console Recall plug-in don’t actually communicate directly
with Apollo Solo USB. Instead, they communicate with the UAD Mixer Engine, which is
the central software hub for all Console and Console Recall functionality. The UAD Mixer
Engine behaves as a server for Apollo Solo USB’s internal DSP mixer that runs in the
background, so Console does not have to be open for Apollo Solo USB to function.
The UAD Mixer Engine is a system-level application that is automatically launched
during system startup and is always running during normal operation. The UAD System
Menu is it’s only interface, which can be accessed from the Windows System Tray.
Driver I/O Complement
The specific inputs and outputs that are available to the DAW depends on the active
configuration. The I/O complement changes at high sample rates and when multi-unit
cascading. Default I/O values are listed in the Driver I/O Table in this chapter.
Driver Names and Numbers
Apollo Solo USB’s drivers describe all I/O channels by name and number, but what is
actually displayed in the DAW’s I/O assignment lists depends on each particular DAW.
Names are not displayed by all DAWs (e.g., Ableton Live), or the driver name display
mode may need to be changed in the DAW.
Virtual I/O
Apollo Solo USB’s device drivers carry various virtual (software only) input and output
channels in addition to those directly associated with the hardware inputs and outputs.
The virtual channels consist of all of Console’s mix bus outputs (the main monitor mix,
HP mix, and AUX mixes) and Console’s virtual inputs. Virtual I/O facilitates highly flexible
signal routing via the DAW. See Virtual I/O for details about this feature.
Apollo Solo USB Manual 224 Device Drivers

Driver I/O Table
The table below lists the I/O channel numbers and names for all available ASIO streams.
Tip: For convenient reference with DAWs that don’t display driver I/O channels by
name, print this page.
Driver I/O Table Notes

• The number at the left of both columns is the channel number used by the DAW if
the channel names are not displayed by the DAW.
• At sample rates of 176.4 kHz and 192 kHz, AUX 2 and VIRTUAL channels are
unavailable.
Apollo Solo USB Default I/O Table

INPUTS OUTPUTS
1 MIC/LINE/Hi-Z 1 1 MON L
2 MIC/LINE 2 2 MON R
3 MON L* 3 VIRTUAL 1†
4 MON R* 4 VIRTUAL 2†
5 VIRTUAL 1* 5 HP L
6 VIRTUAL 2* 6 HP R
7 AUX1 L*
8 AUX1 R*
9 AUX2 L*
10 AUX2 R*
*Software Outputs †Software Outputs
(for DAW inputs) (for Console inputs)
Apollo Solo USB Manual 225 Device Drivers

Troubleshooting
If Apollo Solo USB isn’t behaving as expected, some common troubleshooting items
to confirm are below. If you are still experiencing issues after performing these checks,
contact Technical Support.
SYMPTOM ITEMS TO CHECK
• Confirm USB 3 cable is connected to Apollo Solo USB
• Confirm Apollo Solo USB is connected to built-in USB 3 port on computer
Unit won’t power on • Confirm computer is started
• Try a different USB 3 SuperSpeed cable
• Note that not all USB 3 cables are SuperSpeed cables
• Confirm USB 3 SuperSpeed cable is fully inserted at both ends

Unit is not recognized
• Confirm latest Apollo Solo USB software is installed (reinstall if necessary)
by computer
• Confirm computer port is USB 3 SuperSpeed port
• Confirm connections, power, and volume of monitoring system

• Confirm Apollo Solo USB monitor level is turned up
No monitor output
• Confirm monitor outputs are not muted (push MUTE button when in monitor mode)
• Confirm monitor LEDs are displaying signal activity (check signal flows)
• Confirm mic/line switch setting is correct for the channel

Can't hear mic
• Confirm preamp gain is turned up for the channel(s)
or line input(s)
• On channel 1, confirm nothing is plugged into the Hi-Z input
Can’t hear mic input(s) • Confirm +48V phantom power is enabled if required by microphone
• Confirm volume on connected device is turned up

Can't hear Hi-Z input
• Confirm Hi-Z input cable is 1/4” TS (TRS cables cannot be used with Hi-Z input)
Preamp controls have no effect • Confirm desired channel is selected for control
on channel (push PREAMP button to select channel when in PREAMP mode)
Audio glitches and/or dropouts

during • Increase hardware I/O buffer size value in Console
DAW playback
Undesirable echo/phasing • Confirm input monitoring is not enabled in both Console and DAW
• Mute or lower preamp gain to minimum on unused preamp channels

Static and/or white noise is (mic preamps can emit noise even when nothing is plugged in)
heard when nothing is plugged • Some UAD plug-ins model the noise characteristics of the original equipment
in (defeat the noise model in the UAD plug-in interface, or mute the channel
containing the plug-in to temporarily mute the noise)
Various LEDs inside

• This is normal operational behavior and can be safely ignored
the unit are blinking
Acoustic clicking heard within

• This is normal operational behavior and can be safely ignored; mechanical relays are
hardware unit when powering
temporarily muting the outputs
on and/or changing settings
• As a last resort, perform a hardware reset on the unit by following these steps:
1. Power off Apollo Solo USB
Apollo Solo USB is behaving
2. Press and hold the main LEVEL knob, FILTER button, and POLARITY button while
unexpectedly
powering on Apollo Solo USB
3. After all front panel LEDs ash rapidly for several seconds, release the controls.
Apollo Solo USB Manual 226 Troubleshooting

Glossary
A/D A n acronym for “Analog to Digital,” which refers to the conversion of analog signals
to digital data.
AcronymA word formed from the first letters of other words (e.g., GUI, ADAT, TRS, etc.).
ADATAn acronym for “Alesis Digital Audio Tape.” ADAT was the name given to the
Alesis-branded products of the 1990s which recorded eight tracks of digital audio on a
standard S-VHS video cassette. The term now generally refers to the 8-channel optical
“Lightpipe” connection that is used in a wide range of digital products from many
manufacturers.
AES(sometimes written as “AES/EBU“) The name of a digital audio transfer standard
jointly developed by the American-based Audio Engineering Society and the European
Broadcast Union. Designed to carry two channels of 16-, 20- or, 24-bit digital audio at
sampling rates of up to 192kHz, the most common AES physical interconnect utilizes a
3-conductor 110 ohm twisted pair cable, terminating at standard XLR connectors. (See
“Dual Wire” and “Single Wire”)
AnalogLiterally, an analog is a replica or representation of something. In audio signals,
changes in voltage are used to represent changes in acoustic sound pressure. Note that
analog audio is a continuous representation, as opposed to the quantized, or discrete
“stepped” representation created by digital devices. (See “Digital”)
APIAcronym for Application Programming Interface. A software layer between an
operating system and third-party hardware (such as an audio interface) and/or software
(such as a DAW). For example, a computer OS’s audio API enables audio hardware and
audio software from different vendors to communicate with the OS and each other.
Apollo U
niversal Audio’s line of high-resolution audio interface products featuring low-
latency monitoring of hardware inputs with Realtime UAD Processing.
Apollo Expanded U niversal Audio’s name for connecting more than one Apollo device
together via Thunderbolt in a multi-unit cascading setup for increased I/O.
Arrow U
niversal Audio’s entry-level audio interface featuring Realtime UAD Processing.
ASIOAcronym for Audio Stream Input/Output. ASIO is an audio interface driver protocol
for Windows operating systems developed by Steinberg GmbH.
BalancedAudio cabling that uses two twisted conductors enclosed in a single shield,
thus allowing relatively long cable runs with minimal signal loss and reduced induced
noise such as hum.
BitA contraction of the words “binary” and “digit,” a bit is a number used in a digital
system, and it can have only one of two values: 0 or 1. The number of bits in each
sample determines the theoretical maximum dynamic range of the audio data, regardless
of sample rate being used. Each additional bit adds approximately 6 dB to the dynamic
range of the audio. In addition, the use of more bits helps capture quieter signal more
accurately. (See “Sample” and “Dynamic range”)
Apollo Solo USB Manual 227 Glossary

Bit Depth(See “Bit Resolution”)
Bit ResolutionOften used interchangeably with “bit depth,” this is a term used to
describe the number of bits used in a digital recording. Apollo converts analog audio and
transmits digital audio with a resolution of 24 bits (thus yielding a theoretical dynamic
range of approximately 145 dB), the highest audio interface resolution in common use
today. (See “Dynamic Range”)
BNCA bayonet-type coaxial connector often found on video and digital audio equipment,
as well as on test devices like oscilloscopes. In digital audio equipment, BNC connectors
are normally used to carry word clock signals between devices. BNC connectors are
named for their type (Bayonet), and their inventors, Paul Neil and Carl Concelman. (See
“Word Clock”)
Buffer, buffers, bufferingThe transference of data in small batches instead of
continuously. Buffering induces latency (delay) and is inherent in most digital audio
systems.
BusA signal path that carries more than one signal, e.g., a mix bus, auxiliary bus,
headphone cue bus, etc.
Channel Input StripA group of controls that pertain only to the functions contained
within a particular mixer input channel. In most mixing consoles, the “strips” are
duplicated for each input.
Class AOne design technique used in electronic devices such that their active
components are drawing current and working throughout the full signal cycle, thus
yielding a more linear response. This increased linearity results in fewer harmonics
generated, hence lower distortion in the output signal.
Condenser MicrophoneA microphone design that utilizes an electrically charged thin
conductive diaphragm stretched close to a metal disk called a backplate. Incoming
sound pressure causes the diaphragm to vibrate, in turn causing the capacitance to vary
in a like manner, which causes a variance in its output voltage. Condenser microphones
tend to have excellent transient response but require an external voltage source, most
often in the form of 48 volts of “phantom power.”
ClockIn digital audio or video, a clock serves as a timing reference for a system. Every
digital device must carry out specified numbers of operations per period of time and at
a consistent speed in order for the device to work properly. Digital audio devices such as
Apollo normally have an internal clock, and are also capable of locking to external clock
routed from other digital devices. In order to avoid signal degradation or undesirable
audible artifacts, it is absolutely critical that all digital devices that are interconnected in
a system be locked to the same clock.
Clock DistributionRefers to the process of routing a master clock signal (either from an
internal clock or an external source) to multiple devices by means of multiple outputs,
thus removing the need to cascade the clock through external devices, which can
degrade the signal.
Core AudioThe audio API for macOS.

D/AAcronym for “Digital to Analog,” which refers to the conversion of a digital data to an
analog signal.
DAWAcronym for “Digital Audio Workstation” – that is, any device or software that can
record, play back, edit, and process digital audio.
dBAbbreviation for “decibel,” a logarithmic unit of measure used to determine, among
other things, power ratios, voltage gain, and sound pressure levels.
dBmAbbreviation for “decibels as referenced to milliwatt,” dissipated in a standard load
of 600 ohms. 1 dBm into 600 ohms results in 0.775 volts RMS.
dBVAbbreviation for “decibels as referenced to voltage,” without regard for impedance;
thus, one volt equals one dBV.
DIAcronym for “Direct Inject” or “Direct Input,” a recording technique whereby the
signal from a high-impedance instrument such as electric guitar or bass is routed to an
input. DI into mixer or tape recorder inputs often employ use of a “DI box,” which raises
the signal to the correct voltage level at the right impedance.
DigitalInformation or data that is stored or communicated as a series of bits (binary
digits, with values of 0 or 1). Digital audio refers to the representation of varying sound
pressure levels by means of a series of numbers. (See “Analog” and “Bit”)
DitherMinute amounts of shaped noise added intentionally to a digital recording in order
to reduce a form of distortion known as “quantization noise” and aid in low level sound
resolution.
DryRefers to a signal that is unprocessed, e.g., recording a dry signal. The antonym of a
“wet” signal.
DSPAcronym for “Digital Signal Processing” (or “Digital Signal Processor.”)
DSP AcceleratorA device dedicated to digital signal processing. UAD-2 devices are DSP
accelerators.
Dynamic MicrophoneA type of microphone that generates signal with the use of a very
thin, light diaphragm which moves in response to sound pressure. That motion in turn
causes a voice coil which is suspended in a magnetic field to move, generating a small
electric current. Dynamic mics are generally less expensive than condenser or ribbon
mics and do not require external power to operate.
Dynamic RangeThe difference between the loudest sections of a piece of music and
the softest ones. The dynamic range of human hearing (that is, the difference between
the very softest passages we can discern and the very loudest ones we can tolerate) is
considered to be approximately 120 dB. (See “Bit resolution”)
EQAbbreviation for “Equalization,” a circuit that allows selected frequency areas in an
audio signal to be attenuated or boosted.
External ClockA clock signal derived from an external source. (See “Clock”)
FETAcronym for “Field Effect Transistor.” A type of transistor that relies on an electric
field to control the shape, and hence the conductivity, of a “channel” in a semiconductor
material.

FirmwareSoftware that is embedded in hardware.
Flex RoutingApollo technology that enables its physical inputs to be routed to various
physical outputs. Compare to Virtual I/O.
FPGAAcronym for “Field Programmable Gate Array.” A type of integrated circuit that can
be programmed after manufacturing (“in the field”) to perform specialized functions.
Front EndRefers to a device that provides analog and digital input/output (I/O) to a
digital audio workstation (DAW). Apollo is a front end.
Graphical User InterfaceA software window, panel, or screen containing controls where
parameters are adjusted by the user. (See “GUI”)
GUIAcronym for Graphical User Interface.
Hi-ZAbbreviation for “High Impedance.” Apollo’s Hi-Z input allows direct connection of
an instrument such as electric guitar or bass via a standard unbalanced ¼” jack.
High ResolutionIn digital audio, refers to 24-bit signals at sampling rates of 88.2 kHz or
higher.
HzAbbreviation for “Hertz,” a unit of measurement describing a single analog audio
cycle (or digital sample) per second.
ImpedanceA description of a circuit’s resistance to a signal, as measured in ohms,
thousands of ohms (Kilohms), or millions of ohms (megohms).
Internal ClockA clock signal derived from onboard circuitry. (See “Clock”)
I/OAcronym for “input/output.”
I/O MatrixApollo technology that enables customized I/O mapping at the Core Audio /
ASIO driver level.
kHzAbbreviation for “kiloHertz” (a thousand Hertz), a unit of measurement describing a
thousand analog audio cycles (or digital samples) per second. (See “Hz”)
JFETAcronym for Junction Field Effect Transistor, a specific type of FET which has some
similarities to traditional bipolar transistor designs that can make it more appropriate for
use in some audio circuit designs. (See “FET”)
JitterRefers to short-term variations in the edges of a clock signal, caused by a bad
source clock, inferior cabling or improper cable termination, and/or signal-induced noise.
A jittery signal will contain spurious tones at random, inharmonic frequencies. Usually,
the jitter will be worse with higher signal frequencies. The internal digital clock of
Apollo was designed for extreme stability and jitter-free operation, and its onboard phase
aligned clock conditioner circuitry removes jitter from external sources, so conversion
quality is uneffected by clock source.
LightpipeA digital connection made with optical cable. This was a phrase coined by
Alesis to make a distinction between the proprietary 8-channel optical network used
in their ADAT products and standard stereo optical connectors used on CD players and
other consumer products.

Line LevelRefers to the voltages used by audio devices such as mixers, signal
processors, tape recorders, and DAWs. Professional audio systems typically utilize
line level signals of +4 dBm (which translates to 1.23 volts), while consumer and
semiprofessional audio equipment typically utilize line level signals of -10 dBV (which
translates to 0.316 volts).
Low Cut FilterAn equalizer circuit that cuts signal below a particular frequency. Same as
“high pass filter.”
Mic LevelRefers to the very low level signal output from microphones, typically around 2
millivolts (2 thousandths of a volt).
Mic PreampThe output level of microphones is very low and therefore requires specially
designed mic preamplifiers to raise (amplify) their level to that needed by a mixing
console, tape recorder, or digital audio workstation (DAW).
Mute“Turn off the signal.” Mute stops the signal from being routed.
NativeRefers to computer-based digital audio recording software controlled by the
computer’s onboard processor, as opposed to software that requires external hardware to
run.
OSAcronym for Operating System. The OS is the software used to control the computer
hardware, such as macOS (Mac) and Windows 10 (PC).
PanAbbreviation for “Panorama” or “Panoramic.” A pan control determines a
monophonic signal’s positioning in the stereo field.
Patch BayA passive, central routing station for audio signals. In most recording studios,
the line-level inputs and outputs of all devices are connected to a patch bay, making it
an easy matter to re-route signal with the use of patch cords.
Patch CordA short audio cable with connectors on each end, typically used to
interconnect components wired to a patch bay.
PDFAcronym for “Portable Document Format.” PDF is the standardized file format used
for distribution of documentation in electronic form. Various applications can open PDF
files; one such “reader” application is available for free at www.adobe.com.
Plug-InSoftware components that are added to host software applications to enhance
their functionality and/or performance.
Powered Plug-InsHigh-quality audio processing plug-ins, developed and sold by
Universal Audio, that run exclusively on UAD DSP accelerator products.
Quantization NoiseA form of digital distortion caused by mathematical rounding-off
errors in the analog to digital conversion process. Quantization noise can be reduced
dramatically by dithering the digital signal. (See “Dither“)
Realtime UAD ProcessingUniversal Audio’s DSP + FPGA technology that enables
UAD Powered Plug-Ins to run with latencies in the sub-2ms range on input with UA’s
Arrow and Apollo line of audio interface models. Realtime UAD processing provides the
ultimate sonic experience while monitoring and/or tracking. Realtime UAD processing is
a special function that is available only within the Apollo/Arrow Console application.

Ribbon MicrophoneA type of microphone that works by loosely suspending a small
element (usually a corrugated strip of metal) in a strong magnetic field. This “ribbon” is
moved by the motion of air molecules and in doing so it cuts across the magnetic lines
of flux, causing an electrical signal to be generated. Ribbon microphones tend to be
delicate and somewhat expensive, but often have very flat frequency response.
SampleA digital “snapshot” of the amplitude of a sound at a single instant in time. The
number of samples taken per second is determined by the device’s sample rate. (See
“Sample rate”)
Sample RateThe number of samples per second. In digital audio, there are six
commonly used sample rates: 44.1 kHz (used by audio CDs), 48 kHz, 88.2 kHz (2 x
44.1 kHz), 96 kHz (2 x 48 kHz, used by DVDs), 176.4 kHz (4 x 44.1 kHz), and 192
kHz (4 x 48 kHz). The higher the sample rate, the greater the frequency response of the
resulting signal; however, higher sample rates require more storage space. (See “kHz”)
Sample Rate ConversionThe process of altering a digital signal’s sample rate to a
different sample rate.
S/MUX(sometimes written as “S-MUX”) Abbreviation for Sample Multiplexing. S/MUX
is a method for transmitting two channels of high sample rate (88.2, 96, 176.4, or 192
kHz) 24-bit digital audio over a legacy optical “lightpipe” ADAT connection, which was
originally designed to carry eight channels of 16-, 20- or 24-bit audio at 44.1 kHz or 48
kHz sampling rate. (See “ADAT” and “Lightpipe”)
SPDIF(sometimes written as “S/PDIF”) An acronym for “Sony/Philips Digital Interface
Format,” a digital audio transfer standard largely based on the AES/EBU standard.
Designed to carry two channels of 16-, 20- or, 24-bit digital audio at sampling rates of
up to 192 kHz, the most common SPDIF physical interconnect utilizes unbalanced, 75
ohm video-type coaxial cables terminating at phono (RCA-type) connectors. (See “AES”)
SuperclockA proprietary format used by some early Pro Tools systems to distribute clock
signal running at 256x the system’s sample rate, thus matching the internal timing
resolution of the software. (See “Clock” and “Pro Tools”)
TranscodingConverting one type of digital signal to another (i.e, from AES to SPDIF, or
from ADAT to AES).
TransformerAn electronic component consisting of two or more coils of wire wound on a
common core of magnetically permeable material. Audio transformers operate on audible
signal and are designed to step voltages up and down and to send signal between
microphones and line-level devices such as mixing consoles, recorders, and DAWs.
TransientA relatively high volume pitchless sound impulse of extremely brief duration,
such as a pop. Consonants in singing and speech, and the attacks of musical
instruments (particularly percussive instruments), are examples of transients.

Transimpedance PreamplifierA transformerless solid-state preamplifier utilizing a
transistor configuration that employs current feedback for ultra-low distortion and the
highest possible quality of signal from input to output. The transimpedance design allows
audio from 4 Hz to 150 kHz to pass through without altering the phase relationships
between fundamental frequencies and overtones. Noise and distortion are kept to near-
theoretical minimums so critical signals may be generously amplified without degrading
the quality or character of the sound source.
TRSAcronym for Tip-Ring-Sleeve. A ¼” phone connector with three conductors, typically
used for balanced signal connections (e.g., I/O) or carrying two unbalanced signals (e.g.,
headphones).
TSAcronym for Tip-Sleeve. A ¼” phone connector with two conductors, typically
used for unbalanced signal connections. Note that TS, like TRS and XLR, denotes the
connector only and does not necessarily indicate the signal level of the connection. TS/
TRS/XLR cables are used for both low-level (e.g., microphones and instruments) and
line-level connections.
UADAcronym for “Universal Audio Digital.” Used in reference to digital products created
by Universal Audio.
UAD-2A line of DSP accelerator products developed and manufactured by Universal
Audio.
UnisonUniversal Audio’s exclusive preamp hardware/software integration technology that
enables UAD preamp plug-ins reconfigure the physical input impedance, gain staging
response, and other parameters of Apollo’s mic preamp hardware to match the emulated
preamp’s hardware design characteristics with bi-directional hardware and software
control.
Virtual I/OApollo audio inputs and outputs that exist in software but not in hardware.
Virtual I/O is used to route digital audio channels between Console and other audio
applications.
WetRefers to a signal that is processed, e.g., recording a wet signal. The antonym of a
“dry” signal.
Word ClockA dedicated clock signal based on the transmitting device’s sample rate or
the speed with which sample words are sent over a digital connection. (See “Clock”)
XLRA standard three-pin connector used by many audio devices, with pin 1 typically
connected to the shield of the cabling, thus providing ground. Pins 2 and 3 are used to
carry audio signal, normally in a balanced (out of phase) configuration.

Specifications
All specifications are typical performance unless otherwise noted, tested under the
following conditions: 48 kHz internal sample rate, 24-bit sample depth, 20 kHz
measurement bandwidth, with balanced inputs and outputs.
Specifications are subject to change without notice.
SYSTEM
I/O Complement
Microphone Inputs Two
Analog Line Inputs Two
Hi-Z Instrument Inputs One
Analog Monitor Outputs Two (one stereo pair)
Headphone Outputs One stereo
USB 3 SuperSpeed Port One USB-C Type-C connector
A/D – D/A Conversion
Supported Sample Rates (kHz) 44.1, 48, 88.2, 96, 176.4, 192
Bit Depth Per Sample 24
Simultaneous A/D conversion Two channels
Simultaneous D/A conversion Four channels
Analog Round-Trip Latency 1.1 milliseconds @ 96 kHz sample rate
Analog Round-Trip Latency with up to five serial
1.1 milliseconds @ 96 kHz sample rate
UAD Powered Plug-Ins via Console application
(continued)
Apollo Solo USB Manual 234 Specifications

ANALOG I/O
Frequency Response 20 Hz – 20 kHz, ±0.1 dB
Line Inputs 1 & 2
Connector Type ¼” Female TRS Balanced (Combo XLR/TRS)
Dynamic Range 118 dB (A–weighting)
Total Harmonic Distortion + Noise –107 dBFS
Input Impedance 10K Ohms (differential)
Gain Range +10 dB to +65 dB
Maximum Input Level (600 Ohm source) +20.7 dBu
Microphone Inputs 1 & 2
Connector Type XLR Female, pin 2 positive (Combo XLR/TRS)
Phantom Power +48V (switchable per mic input)
Default Input Impedance 5.4K Ohms (variable via Unison plug-ins)
Pad Attenuation (switchable per input) 20 dB (variable via Unison plug-ins)
Maximum Input Level +25.2 dBu (minimum gain, pad engaged)
Hi-Z Instrument Input
Connector Type Female ¼” TS Unbalanced
Input Impedance (variable via Unison plug-ins) 1M Ohms
Maximum Input Level (@ minimum gain) +12.5 dBu
Outputs 1 & 2
Connector Type ¼” Female TRS Balanced
Output Impedance 100 Ohms (differential)
Stereo Level Balance ±0.05 dB
Maximum Output Level +20.7 dBu
Operating Reference Level +14 dBu, +20 dBu (selectable)
(continued)

ANALOG I/O
Stereo Headphones Output
Connector Type ¼” Female TRS Stereo
115 dB (600 Ohm load)
Dynamic Range (A–weighting)
114 dB (32 Ohm load)
–97 dB (600 Ohm load)
Total Harmonic Distortion + Noise (A–weighting)
–88 dB (32 Ohm load)
62 mW (300 Ohm load)
Maximum Output Power
240 mW (32 Ohm load)
ELECTRICAL
Power Supply External AC to DC
AC Connector Type Changeable blades (UL, VDE, UK, SSA, CCC)
AC Requirements 100V – 240V AC, 50 – 60 Hz
DC Connector Type Male plug, 2.1 mm x 5.5 mm, center positive
DC Requirements 12 VDC, ±5%
Maximum Power Consumption 10 Watts
ENVIRONMENTAL
Operating Temperature Range 32º to 95º Fahrenheit (0º to 35º Celsius)
Storage Temperature Range –40º to 176º Fahrenheit (–40° to 80º Celsius)
Operating Humidity Range 20% to 80%
MECHANICAL
Dimensions
Width 7.1” (179.9 mm)
Height (front) 1.0” (25.2 mm)
Height (rear) 1.8“ (46.7 mm)
Depth 4.8“ (121.1 mm)
Shipping Box (Length x Width x Height) 8.5 x 6.4 x 2.63 (inches), 216 x 162 x 68 (mm)
Weight
Weight (bare unit) 1.38 lbs (0.63 Kg)
Shipping Weight (with box) 4 lbs (1.8 Kg)
Package Contents
Apollo Solo USB 3 Audio Interface
External power supply with changeable region-specific AC connectors
Getting Started URL Card

ANALOG INPUTS ANALOG OUTPUTS
+48V
+48V ON/OFF OUTPUT
MIC PAD HI-Z/MIC HI-Z/MIC-LINE INPUT GAIN LOW-CUT POLARITY
SELECT SELECT 10 – 65 dB ON/OFF CONTROL VOLUME MON OUT L
IN/OUT
MIC IN 1
A/D ø D/A
PAD
Apollo Solo USB Manual

1/4” TRS
XLR FEMALE Unison™
VARIABLE
HI-Z IN IMPEDANCE
MON OUT R
(MIC)
D/A
Unison™ 1/4” TRS

1/4” VARIABLE
IMPEDANCE
LINE IN 1 OUTPUT
VOLUME
D/A HEADPHONES OUT

1/4” TRS MIXER
+48V
+48V ON/OFF CLOCKING / SYNC
MIC PAD MIC/LINE INPUT GAIN LOW-CUT POLARITY D/A 1/4” TRS
237
IN/OUT SELECT 10 – 65 dB ON/OFF CONTROL
MIC IN 2
SYSTEM CONTROL
Hardware Block Diagram
A/D ø
PAD
SHARC®
DRAM
XLR FEMALE DSP
Unison™
VARIABLE
IMPEDANCE
LINE IN 2 (MIC) ARM®
PROCESSOR
1/4” TRS FLASH

FRONT PANEL
USB EEPROM
HOST INTERFACE
USB 3
TYPE C
Apollo Solo USB Hardware Block Diagram
Hardware Block Diagram

Universal Audio History
Pioneering audio recording for more than 50 years.

Founded in 1958 by Bill Putnam Sr., Universal Audio has been synonymous with
innovative recording products since its inception. A favorite engineer of Frank Sinatra,
Nat King Cole, Ray Charles and more, the late Bill Putnam Sr. was a passionate
innovator who is widely regarded as the father of modern recording — with many of his
legendary studio and equipment designs still in use today.
Specifically, Putnam was the inventor of the modern recording console, the multi-band
audio equalizer, and the vocal booth, and he was the first engineer to use artificial
reverberation in commercial recording. Alongside his friend Les Paul, Putnam was also
involved in the early development of stereophonic recording.
Putnam, a natural entrepreneur, started three audio product companies during his
long career: Universal Audio, Studio Electronics, and UREI. All three companies built
equipment that remains widely used decades after their introduction, including the
ubiquitous LA-2A and 1176 compressors, and the 610 tube recording console. The 610
console in particular stands as one of the most beloved designs in audio history, used to
record everyone from Sinatra to the Beach Boys to Van Halen’s eponymous debut.
Apollo Solo USB Manual 238 Universal Audio History

Re-founded in 1999
Universal Audio was re-founded in 1999 by Bill’s sons, James Putnam and Bill Putnam
Jr., with two main goals: to faithfully reproduce classic analog recording equipment in
the tradition of their father; and to design new digital recording tools in with the sound
and spirit of vintage analog technology. To that end, Universal Audio employs the world’s
brightest DSP engineers and digital modeling authorities to develop our award-winning
UAD Powered Plug-Ins platform. Featuring the most authentic analog emulation plug-ins
in the industry, our DSP gurus work with the original hardware manufacturers — using
their exact schematics, golden units, and experienced ears — to give UAD plug-ins
warmth and harmonics in all the right places, just like analog.
Nothing better represents the merging of our analog heritage and groundbreaking digital
designs than the award-winning Apollo audio interface. Introduced in 2012, Apollo has
become the new worldwide standard for professional music production, and has been
used to record breakthrough albums by artists such as Kendrick Lamar, Coldplay, Dr. Dre,
Brad Paisley, and many more.
With 165 employees and offices in Los Angeles, Colorado, and Amsterdam, Universal
Audio is headquartered near Silicon Valley in Scotts Valley, California — where our
classic analog gear is still hand-built, one unit at a time.
Software or hardware, every Universal Audio product is backed by a decades long legacy
of innovation, superlative quality, and technical passion.

Bill Putnam Sr.
The name M.T. “Bill” Putnam retains a unique status in
the audio industry hall of fame- it’s legendary even among
those who are considered to be legends themselves. Called
the “father of modern recording” by no less a luminary than
Bruce Swedien, and a “visionary, responsible for motivating
new thinking,” by respected studio engineer Tom Hidley,
Putnam was a true renaissance man in the world of sound
and music.
As a record producer, engineer, inventor, writer, singer, technician, studio owner and
businessman, he excelled at combining his talents in a creative way. A pioneer in
recording studio acoustics, Putnam is acknowledged to be the first person to use
artificial reverberation for commercial recordings. He also developed the first multi-band
equalizers, and with his company Universal Audio, was responsible for the development
of classic equipment like the 1176LN and UREI® Time Align monitors. He was involved
in the early development of stereophonic recording, and founded studios in Chicago,
Hollywood and San Francisco whose legacy still lives on today.
Early Interests Born in 1920 in Danville, Illinois, he was influenced by his father, a
businessman who also put on radio programs, including a number one country music
show. Young Putnam’s interests surfaced early; in Boy Scouts he earned a merit badge in
wireless, building a crystal set and a one-tube radio. By 15 he was taking the ham radio
operator’s exam and constructing his own equipment. In high school both his artistic and
technical sides emerged full on. He worked repairing radios and renting out P.A. systems,
while also singing on weekends with dance bands (for five dollars a night, which included
the P.A. rental!), developing his interest in the music business, and realizing, as he has
said, that “musicians were my favorite people.”
Universal Recording Corp. Opens in Chicago Technical college followed, then work at
radio stations, and radio engineering work for the Army during World War II. In 1946
Putnam started his own recording studio, Universal Recording Corp., in Evanston Illinois.
His goals at the time, besides having a successful business, were the development of
new recording techniques and specialized equipment for recording studios.
To that end the manufacturing company Universal Audio, which later became UREI®,
was formed. Most of the equipment, including the console, for Universal Recording was
built by Universal Audio. It wasn’t long before the company relocated to Chicago, and
it was there, in 1947, that Putnam recorded what is generally accepted to be the first
“pop” record to use artificial reverberation. The founder of the group The Harmonicats,
Jerry Murad, wanted to record using an echo chamber like he’d heard on effects in
spooky radio mysteries. Putnam not only financed the record for a piece of the profits,
he came up with the idea of using the tiled men’s room at Universal Recording to create
that echo. The Harmonicats song “Peg-O-My-Heart,” became the first million seller
smash with more than 1,400,000 copies sold, and the rest was, well, history.

Landmark Recordings Bruce Swedien, a teenager at the time, recalls that the sound on
“Peg-O-My-Heart” was a seminal influence on him. “It was the first pop music recording
where artificially controlled reverb was used for artistic effect,” he explains. “Many of the
recordings that were done prior to that had reverb, but it was part of the acoustics of the
recording environment. Bill’s contribution to the art was that he literally came up with
the design of the way the echo or reverb sound is sent from the recording desk and the
way it’s returned to the mix so that it can be used in a variable amount.
“I was a youngster in Minneapolis in the early 50s when I first heard “Peg-O-My-Heart,”
Swedien continues, “And I can remember it like it was yesterday. It had an extraordinary
effect on me. I didn’t understand how the techniques were done, but I knew it had
tremendous artistic impact.”
Putnam’s engineering credits grew quickly; at that time he worked with artists such as
Patti Page, Vic Damone and Dinah Washington, and had a million selling record on his
own Universal Records label with “Jealous Heart” by Al Morgan. A number of firsts
occurred at Universal: the first use of tape repeat, the first vocal booth, the first multiple
voice recording, the first 8-track recording trials and experiments with half speed disc
mastering.
Universal was becoming famous, doing recordings for
the Chicago based labels VeeJay, Mercury and Chess.
It was a hub for rhythm and blues recordings including
cuts for Muddy Waters, Willie Dixon, Bo Diddley, Little
Walter, and Chuck Berry. Jazz artists recorded by Putnam
included Stan Kenton, Tommy Dorsey, Count Basie,
Dizzy Gillespie, Ella Fitzgerald, Sarah Vaughn, Nat King
Cole, and the master, Duke Ellington. Putnam was also
producing records for Decca, as well as writing songs and
lyrics.
With all this success, Universal Recording went through several incarnations, with the
dream version completed in 1955. At that time it was the most advanced and largest
independent recording facility in the country attracting top producers like Nelson Riddle,
Mitch Miller and Quincy Jones. It was also at that time that Bruce Swedien went to work
for the studio.
“It’s absolutely true,” he states. “Bill Putnam was the father of recording as we know
it today. The processes and designs which we take for granted -- the design of modern
recording desks, the way components are laid out and the way they function, console
design, cue sends, echo returns, multitrack switching -- they all originated in Bill’s
imagination.”
Murray Allen, who purchased Chicago’s Universal Recording from Putnam in 1972
elaborates. “Bill was a brilliant person, highly talented, with a great set of ears,” he
says. “He was Duke Ellington’s favorite engineer, among many, and at one time he had
more singles in the top 40 than anybody else. At the time, if you needed something in
sound, he was the guy. He designed systems for the Sands and other big showrooms
in Las Vegas; John Kennedy flew him out to arrange the sound for the broadcast of his
inauguration. He did it all.”

Moving West- United Recording Corp. With his Chicago studio so successful, Putnam’s
clients began urging him to open a facility on the West Coast, and finally he was
convinced. In 1957 he sold his interest in Universal Recording, started a new company
called United Recording Corp. and moved to Hollywood, taking over a building at 6050
Sunset and starting construction on new studios. Stereo was taking off, and Putnam
was determined to incorporate as many technological innovations into the complex as
possible.
In 1958, Studio B was completed along with two reverb chambers. The facility soon grew
to three studios, a mixdown room, three mastering rooms including one with stereo, and
a small manufacturing plant, all in 15,000 square feet. The studios were busy around
the clock, with projects from Ricky Nelson to voice-overs for Hanna Barbera cartoons like
the Flintstones.
In the early 60s Western Recorders, one block away at
6000 Sunset, was acquired and remodeled. The studio
was renamed United Western, and business continued to
grow. The talent behind and in front of the glass in those
days reads like a who’s who of classic recording: Bones
Howe, Wally Heider and Lee Hirschberg were on staff.
During the 60s and 70s the studios were jumping 24
hours a day, seven days a week with artists like Frank
Sinatra, Bing Crosby, Dean Martin, Sammy Davis, Nat King Cole, Johnny Mercer and
Ray Charles. Charles classic “I Can’t Stop Loving You” was recorded there, as well
as Sinatra’s “It Was A Very Good Year,” and The Mamas and The Papas’ “California
Dreamin.’” The United Western studios, still in existence today as both Cello Studios and
Allen Sides’ Ocean Way Recording, are still considered to be some of the best sounding
rooms ever built.

Universal Audio and UREI Meanwhile, upstairs in the 6050 Sunset building Universal
Audio was thriving, and changing names. Now called UREI®, the company had acquired
the patent rights to the LA-2A leveling amplifier, and also to National Intertel, which
became the Teletronix division of UREI®. It was a unique situation; Putnam was always
searching for better ways to do things and the combination of studios and manufacturing
led readily to new product ideas. Out of this synergy came the 1176LN leveling amplifier,
the 1108 FET preamp and, in conjunction with Ed Long, the 813 family of speakers.
Mentor and Innovator Allen Sides, currently owner of Ocean Way Recording, whose
studios today encompass almost unchanged what was part of United Western, calls
Putnam “my best friend.” “When Bill started designing control rooms they were about
eight feet by six feet and they were calling them booths,” he says. “He built the first
of what we now call conventional control rooms, with speakers above the windows. The
whole control room concept we think of today was Bill’s. The first console that had
equalizers in every channel was Bill’s, the feedback equalizer was Bill’s creation, he built
all his own limiters, his own consoles, he could tune his own pianos; he basically did the
whole deal.
“Around 1962 he was doing half speed cutting, to get the high frequencies on the
discs,” recalls Sides. “He’d designed his own mastering systems, because you couldn’t
do it any other way. He was recording on custom made 30 IPS machines and he was
doing all the super hi fi stuff, like the Mercury Living Presence series.”
Sides, who is renowned for both his golden ears and his abilities in the ‘art of the deal,’
appreciated Putnam on many levels. “He was an exceptional businessman, with a
tremendous understanding of things,” he says. “If I had a complex deal and I couldn’t
quite figure out how to approach it, I’d sit down with Bill and he’d reason it out in the
most amazing way.

“There’s a great story about when stereo was coming on. The record companies really
weren’t that interested -- everyone was cost conscious. They didn’t want to spend any
more money and they were saying that stereo was a waste of time. But Bill could see the
potential, and around 1959 he started recording everything with feeds to two control
rooms, one for a stereo mix, one for a mono mix. In late ‘58, ‘59 and ‘60 everything Bill
did was recorded in both stereo and mono.
“When stereo hit big around ‘61, none of the record companies had any catalog. But Bill
did -- he had two and one half years worth. It was a lot of material -- understand at that
period of time he was doing about $200,000 a month in the United Western Complex
-- which is like a million dollars a month now.
“So the record companies came to Bill and said, ‘We’ll pay you for the tape.’ And he
said, ‘No, you can’t pay for the tape, but if you repay me all the studio time that was
used in the last two and a half years you have a deal.’ And they did. They wrote him a
check for the whole thing.”
It’s recollections like these that bring home Putnam’s visionary and entrepreneurial style.
An undisputed leader in music recording and in recording technology, with innumerable
accolades to his credit, it’s his son, Bill Putnam, who perhaps sums it up best, in a way
Bill Sr. himself might like. Bill Jr. says, simply, “He was a guy who built equipment to
solve problems in the studio.”
“There’s a whole school of what I’d call Bill Putnam engineers out there,” concludes
Murray Allen. “People like Allen Sides and Bruce Swedien who worked with him and who
really understood what recording sound should be about. They’ve carried on his tradition,
and I think we all agree that it’s very important for people to know what he contributed.”

Classic Compressors
The LA-2A and 1176 compressor/limiters long ago achieved classic status. They’re a
given in almost any studio in the world -- relied upon daily by engineers whose styles
range from rock to rap, classical to country and everything in between. With so many
newer products on the market to choose from, it’s worth looking at the reasons why
these classics remain a necessary part of any professional studio’s outboard equipment
collection.
The basic concept of a compressor/limiter, is of course, relatively simple. It’s a device in
which the gain of a circuit is automatically adjusted using a predetermined ratio that acts
in response to the input signal level. A compressor/limiter “rides gain” like a recording
engineer does by hand with the fader of a console: it keeps the volume up during softer
sections and brings it down when the signal gets louder. The dynamic processing that
occurs at ratios below 10 or 12 to one is generally referred to as compression; above that
it’s known as limiting.
Modern day compressors offer a great degree of programmability and flexibility - older
devices such as the 1176 and the LA-2A are more straightforward in their design.
Perhaps it is this fact that has contributed to their appealing sound and the longevity of
their popularity.
LA-2A
The LA-2A leveling amplifier, a tube unit
with hand wired components and three
simple controls, was introduced in the
mid-1960s. It utilized a system of electro-
luminescent optical gain control that was
quite revolutionary. Gain reduction was
controlled by applying the audio voltage to a luminescent driver amplifier, with a second
matched photoconductive cell used to control the metering section.
With its 0 to 40 dB of gain limiting, a balanced stereo interconnection, flat frequency
response of 0.1 dB from 30-15,000 Hz and a low noise level (better than 70 dB below
plus 10 dBm output), the LA-2A quickly became a studio standard. Originally patented
by Jim Lawrence, it was produced by Teletronix in Pasadena, California, which became
a division of Babcock Electronics Corporation in 1965. In 1967 Babcock’s broadcast
division was acquired by the legendary Bill Putnam’s company, Studio Electronics
Corporation shortly before he changed the company’s name to UREI®. Three different
versions of the LA-2A were produced under the auspices of these different companies
before production was discontinued around 1969.

1176LN
It was Bill Putnam himself who, in 1966, was
responsible for the initial design of the 1176.
Its circuit was rooted in the 1108 preamplifier
which was also designed by Putnam. As is
evident from entries and schematics in his
design notebook, he experimented with the recently developed Field Effect Transistor
(F.E.T.) in various configurations to control the gain reduction in the circuit. He began
using F.E.T.s as voltage variable resistors, in which the resistance between the drain and
the source terminals is controlled by a voltage applied to the gate. His greatest challenge
was to ensure that distortion was minimized by operating the F.E.T.s within a linear
region of operation.
After several unsuccessful attempts at using F.E.T.s in gain reduction circuits, Putnam
settled upon the straightforward approach of using the F.E.T. as the bottom leg in a
voltage divider circuit, which is placed ahead of a preamp stage.
The output stage of the 1176 is a carefully crafted class A line level amplifier, designed
to work with the (then) standard load of 600 ohms. The heart of this stage is the output
transformer, whose design and performance is critical. Its primary function is to convert
the unbalanced nature of the 1176 circuit to a balanced line output, and to provide the
proper impedance matching to drive the line impedance of 600 ohms. These two jobs
are accomplished by the primary and secondary windings whose turns’ ratio defines the
impedance ratio.
This transformer is critical due to the fact that it uses several additional sets of windings
to provide feedback, which makes it an integral component in the operation of the
output amplifier. Putnam spent a great deal of time perfecting the design of this tricky
transformer and carefully qualified the few vendors capable of producing it.
The first major modification to the 1176 circuit was designed by Brad Plunkett in an
effort to reduce noise--hence the birth of the 1176LN, whose LN stands for low noise.
Numerous design improvements followed, resulting in at least 13 revisions of the 1176.
Legend has it that the D and E blackface revisions sound the most “authentic”.
The original Universal Audio 1176LN designed by Bill Putnam was a major breakthrough
in limiter technology - the first true peak limiter with all transistor circuitry offering
superior performance and a signature sound. Evolved from the popular Universal Audio
175 and 176 vacuum tube limiters, the 1176LN retained the proven qualities of these
industry leaders, and set the standard for all limiters to follow.

Pros Talk UA
Both the 1176 and the LA-2A remain in daily use. Busy
engineers and producers’ comments about both the
1176 and the LA-2A demonstrate their impact on the
industry:
Mike Shipley
Mike Shipley (Def Leppard, Shania Twain, Blondie):
“I grew up using 1176s - in England they were the
compressor of choice. They’re especially good for vocals,
which is also what I primarily use the LA-2 for. Most
anything else I can do without, but I can’t be without at
least a pair of 1176s and an LA-2A. For example, on the
Enrique Iglesias project I’m currently mixing, I’m using
both an 1176 and an LA2 on his voice, which is not
unusual for me.
“The 1176 absolutely adds a bright character to a sound, and you can set the attack
so it’s got a nice bite to it. I usually use them on four to one, with quite a lot of gain
reduction. I like how variable the attack and release is; there’s a sound on the attack
and release which I don’t think you can get with any other compressor. I listen for how it
affects the vocal, and depending on the song I set the attack or release - faster attack if I
want a bit more bite. My preference is for the black face model, the 4000 series - I think
the top end is especially clean.
“The LA-2A is not as versatile, but it also has a sound that I really like. On certain voices
you can crank it heavily, to where you almost want to put a piece of tape over the meter
because there’s so much gain reduction that you don’t want anyone else to see it! I’m not
particularly into overcompression, but when you use it that way there’s something about
it that just sounds really great. It does depend how it’s set on the back, where there’s
a flat control that can be set to roll off certain frequencies when you reduce more gain.
If you have a singer with an intensely piercing voice I find that compressor a good one,
incredibly useful. It makes things warmer, especially when you crank it, and for thinner
voices that can be just the ticket.”

Allen Sides
Allen Sides has always been known for having golden
ears when it comes to the sound of equipment. The
owner of Ocean Way Studios in Los Angeles and
Nashville, he’s also a speaker designer and engineer who
is especially respected for his work with live musicians,
including orchestra and string dates. Among his
recent credits are work with the Goo Goo Dolls, Alanis
Morissette and Green Day. Sides brings his different
perspectives into play when he talks about using the
1176.
“The 1176 is standard equipment for my sessions. I just
used them last night, as a matter of fact, on a project
for singer Lisa Bonet that Rob Cavallo was producing
at Ocean Way. We were recording drums and I used
them on the left/right overheads as effects limiters. It’s
something I learned from (engineer) Don Landy, who
worked with Randy Newman a lot. I mult the left and right overheads and bring them
back on the console, then insert a pair of 1176s into a pair of the mults. Push in 20
to one and four to one simultaneously and it puts the unit into overdrive creating a very
impressive sound.”
Murray Allen
Murray Allen is a veteran engineer and Director of Post Production for the San Francisco
Bay Area company Electronic Arts. He has a fascination for gear both old and new and
he explains why he thinks the 1176 has been so popular for so long. “It has a unique
sound to it that people like, it’s very easy to operate, and it does a great job. You have
just two controls relative to the ratio of compression. You have input and output and you
have attack and release. That’s all there is. It’s still my favorite limiter for Fender basses
and string basses, because you don’t know it’s working. It doesn’t change the way the
bass sounds, it just keeps the level at a more controllable place.
Ken Kessie
Mixer Ken Kessie (En Vogue, Tony! Toni! Tone!, Celine Dion) is known for being
experimental. “Seems like everybody knows the basic tricks for the 1176,” he says,
“But here are two that might be lesser known. If you turn the attack knob fully
counterclockwise until it clicks, the 1176 ceases to be a compressor and acts only as an
amplifier. Sometimes this is the perfect sound for a vocal. And of course the unit can be
overdriven, adding another flavor of distortion in case your plug-ins are maxed out!
“Then, for that hard-to-tame lead vocalist (the one that backs up from the mic to whisper
and leans in for the big ending chorus), try an 1176 followed by a DBX 165. Use the
1176 as a compressor, and the DBX as a peak limiter...it’s guaranteed to be smooth as
silk.”

Jim Scott
Jim Scott shared a Grammy for Best Engineered
Album for Tom Petty’s Wildflowers. He’s also known
for his work with Red Hot Chili Peppers, Natalie
Merchant and Wilco. “I use 1176s real conservatively
and they still do amazing things,” he comments.
“I’m always on the four to one button, and the Dr.
Pepper - you know, 10 o’clock, 2 o’clock, and it does
everything I need.
“I always use them on vocals. I use them on room
mics, on acoustic guitars- - sometimes in mixing I’ll
sneak a little on a snare drum or a separated channel
of a snare drum. I’m not one of those guys who leaves
it on everything, but I’d have to say I’ve used an1176
on everything at one time or another.
“They have an equalizer kind of effect, adding a
coloration that’s bright and clear. Not only do they
give you a little more impact from the compression,
they also sort of clear things up; maybe a little bottom end gets squeezed out or maybe
they are just sort of excitingly solid state or whatever they are. The big thing for me is the
clarity, and the improvement in the top end.
“The 1176 has that same kind of phenomenon, where, when you patch something
through a Neve equalizer and you don’t even engage the EQ, it sounds better. It’s just a
combination of the amps.
“I also use LA-2As all the time. I use them on bass, and it’s one of the compressors I
use for reverb. Often I’ll send a bunch of things to one LA2A and bring it back into the
console like a return - it’s great for drums, great for kick drum especially.
“LA-2As warm things up. They’re the opposite of the 1176--they EQ all the warmth and
low mids and bass. When you put bass and drums in them they get fatter and bigger.
And unless you hit them way hard and make the tubes sizzle they don’t really distort. Of
course, you can get them to sound like an AC30 if you want to, just turn them all the way
up. They are very loud, powerful amplifiers.
“I’ve also used both the 1176 and the LA-2A for stereo buss compressors - you just
have to be a little bit careful that your mixes don’t go one sided. Tom’s [Petty’s] records
have often been mixed through 1176s. I’ve also done that with LA-2As - they are of
course, more inconsistent piece to piece than the 1176s, because of the tubes and the
difference in fatigue of the tubes.
“My big mentors were Andy Johns and Lee DeCarlo and Ron Nevision because they were
all Record Plant guys. I learned how to make a rock and roll record from them. Although
over the years it’s become my own thing, my style still tends to be that Record Plant
style, U87s, 1176s, LA-2As, 47 F.E.T.s...it’s what I like.”

Mike Clink
Producer/Engineer Mike Clink (Guns N’ Roses, Sammy
Hagar, Pushmonkey) also comes from the Record Plant
school of recording. “I find that I actually use 1176s more
now than I ever did,” he comments. “I like them because
they bring out the brightness and presence of a sound -
they give it an energy. It seems like when I’m mixing I end
up using an 1176 on the vocals every time. And if I want
to compress a room sound I’ll take a mono room mic, put
an 1176 across it and push in all the buttons.”
Bruce Swedien
Bruce Swedien is a master engineer who needs no introduction. He also is a die-hard
1176 fan. “I have two silverface 1176LNs in my rack that Bill Putnam personally picked
out for me,” he says. “I remember sitting at Bill’s place in the Channel Islands, and
talking about the 1176 and how I wanted a pair. The next time we went over he’d picked
this pair out and they were sitting in his garage waiting for me. I love them on vocals.
All of the Michael Jackson and James Ingram vocals that everyone has heard so much
were done with at least one of those 1176s. I couldn’t part with them for anything. They
sound fabulous.”

Thank You
We would like to thank you again for becoming a Universal Audio customer. We
encourage you subscribe to our email lists in your account profile at www.uaudio.com so
we can keep you informed about UA product developments and promotions.
The Universal Audio Team

Notices
Warranty
Universal Audio provides a limited warranty on all hardware products. To learn more,
please visit help.uaudio.com. The limited warranty gives you specific legal rights. You
may also have other rights which vary by state or country.
Repair Service
If you are having trouble with Apollo Solo USB, first check all system setups,
connections, software installations, operating instructions, and the Troubleshooting chart.
If that doesn’t help, contact our technical support team. To contact technical support or
learn more about repair service, please visit help.uaudio.com.
Maintenance
Apollo Solo USB does not contain a fuse or any other user-replaceable parts. The unit is
internally calibrated at the factory. No internal user adjustments are available.
Caution
Any changes or modifications to the device not expressly approved by Universal Audio
could void the user’s right to operate the equipment.
Apollo Solo USB Manual 252 Notices

Important Safety Information
Before using this unit, be sure to carefully read the applicable items of these operating
instructions and the safety suggestions. Afterwards, keep them handy for future
reference. Take special care to follow the warnings indicated on the unit, as well as in
the operating instructions.
1) Read these instructions.
2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Do not use this apparatus near water.
6) Clean only with dry cloth.
7) Do not block any ventilation openings. Install in accordance with the manufacturer’s
instructions.
8) Do not install near any heat source such as radiators, heat registers, stoves, or other
apparatus (including amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug
has two blades with one wider than the other. A grounding type plug has two blades and
a third grounding prong. The wide blade or the third prong are provided for your safety. If
the provided plug does not fit into your outlet, consult an electrician for replacement of the
obsolete outlet.
10) Protect the power cord from being walked on or pinched particularly at plugs,
convenience receptacles, and the point where they exit from the apparatus.
11) Only use with attachments/accessories specified by the manufacturer.
12) Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer,
or sold with the apparatus. When a cart is used, use the caution when moving the cart/
apparatus combination to avoid injury from tip-over.
13) Unplug this apparatus during lightning storms or when unused for long periods of time.
14) Refer all servicing to qualified service personnel. Servicing is required when the
apparatus has been damaged in any way, such as power-supply cord or plug is damaged,
liquid has been spilled or objects have fallen into the apparatus, the apparatus has been
exposed to rain or moisture, does not operate normally, or has been dropped.
Description of symbols used

The lightning flash represented by the arrow symbol in an equilateral triangle is
intended to alert users to the presence of high voltage within the unit that could cause
an electrical shock hazard.
The exclamation mark in an equilateral triangle is intended to alert users to the
existence of important instructions in the manual relating to the use and maintenance
of the unit.

Compliance
United States Class B Manual Statement
NOTE: This equipment has been tested and found to comply with the limits for a Class B digital device
pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against
harmful interference in a residential installation. This equipment generates, uses, and can radiate radio
frequency energy and, if not installed and used in accordance with the instructions, may cause harmful
interference to radio communications. However, there is no guarantee that interference will not occur in a
particular installation. If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged to try and correct
the interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver is
connected.
• Consult the dealer or an experienced radio/TV technician for help.
International Class B Statements

• Canada: Innovation, Science and Economic Development Canada Interference Causing
Equipment Standard ICES-003, “Information Technology Equipment (ITE)-Limits and methods of
measurement”, Issue 6, dated January 2016 (class B)
• Japan: VCCI-CISOR 32:2016 “Technical Requirements” for multimedia equipment (class B).
Japanese Class B Manual Statement:
(Translation: This is Class B equipment. Although this equipment is intended for use in residential
environment, it could cause poor reception if used near a radio television receiver. Please follow
instructions in the instruction manual.)
• EN 55022:2010, “Information technology equipment – Radio disturbance characteristics-Limits
and method of measurements (Class B)
• CISPR 22:2008, “Information technology equipment- Radio disturbance characteristics – Limits
and method of measurement” (Class B)
• EN 55032:2012, “Electromagnetic compatibility of multimedia equipment – Emission
Requirements”
• CISPR 32:2012, “ Electromagnetic compatibility of multimedia equipment- Emissions
requirements”
• EN 55024:2010 “Information technology equipment – Immunity characteristics. Limits and
method of measurement”
• CISPR 24:2010 +A1:2015 “Information technology equipment- Immunity characteristics. Limits
and method of measurement.”
• EN 55035:2017 “Electromagnetic compatibility of multimedia equipment – Immunity
requirements”
• TCVN 7189:2009 “Information technology equipment- Radio disturbance characteristics –Limits
and method of measurements”.
• Korea: KN32/KN35 2015 “Electromagnetic compatibility of multimedia equipment -Emissions
and Immunity requirements” Class B

Disclaimer
Product features, specifications, and availability contained in this manual are subject to
change without notice. Universal Audio, Inc. makes no warranties of any kind with regard
to this manual, including, but not limited to, the implied warranties of merchantability
and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors
contained herein or direct, indirect, special, incidental, or consequential damages in
connection with the furnishing, performance, or use of this material.
End User License Agreement

Your rights to the Software are governed by the accompanying End User License
Agreement, a copy of which can be found at: www.uaudio.com/eula
Trademarks
Universal Audio, the Universal Audio “diamond” logo, Apollo, Apollo Twin, Arrow, UAD,
UAD Powered Plug-Ins, Powered Plug‑Ins, UAD‑2 Live Rack, LUNA Recording System,
Unison Preamps, Accelerated Realtime Monitoring, Helios, Oxide, Century Tube Channel
Strip, Teletronix, Ravel, Shape, EQP‑1A, 1176, 1176LN, LA‑2A, LA‑3A, 175B, 176,
OX Amp Top Box, and “Setting the Tone Since 1958” are among the trademarks, trade
names, and service marks owned by UA, many of which are registered in the United
States and in other countries. This is not a comprehensive list of all UA trademarks. All
other trademarks contained herein are property of their respective owners.
ASIO is a trademark and software of Steinberg Media Technologies GmbH.
Copyright
Copyright ©2022 Universal Audio, Inc. All rights reserved.
This manual and any associated software, artwork, product designs, and design concepts
are subject to copyright protection. No part of this document may be reproduced, in any
form, without prior written permission of Universal Audio, Inc.

Technical Support
Universal Audio Knowledge Base

The UA Knowledge Base is your complete online technical resource for configuring,
operating, troubleshooting, and repairing all UA products.
You can watch helpful support videos, search the Knowledge Base for answers, get
updated technical information that may not be available elsewhere, and more.
UA Knowledge Base
YouTube Support Channel

The Universal Audio Support Channel at youtube.com includes helpful support videos for
setting up and using UA products.
UA YouTube Support Channel
Universal Audio Community Forums

The unofficial UA discussion forums are a valuable resource for all Universal Audio
product users. This website is independently owned and operated.
www.uadforum.com
Contact Universal Audio Support

To contact the UA support team for technical or repair assistance, please visit:
help.uaudio.com
Universal Audio 256 Technical Support

www.uaudio.com

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Console Indications

Gain Value Indicator

Apollo Solo USB Manual 171 Unison

Apollo Solo USB Manual 172 Unison

Activating Gain Stage Mode

Apollo Solo Top Panel: Unison Plug-In:

Gain Stage Mode indications — Hardware (left) and Software (right)

Apollo Solo USB Manual 173 Unison

When Gain Stage Mode is deactivated, the following changes occur:

Controlling Individual Gain Stages

Gain Stage Colors

Apollo Solo USB Manual 174 Unison

Matching Gain Stage Indicators

The color of Apollo Solo USB’s level indicator changes

Available Gain Stages

Apollo Solo USB Manual 175 Unison

Loading Unison Plug-In Settings

Apollo Solo USB Manual 176 Unison

Apollo Solo USB Manual 177 Unison

Apollo Solo USB Manual 178 Unison

Console Recall plug-in interface

Apollo Solo USB Manual 179 Console Recall Plug-In

SYNC Open Monitor Monitor Monitor

Console Recall plug-In controls

Apollo Solo USB Manual 180 Console Recall Plug-In

SYNC switch when disabled (left) and enabled (right)

Effect on Session Name in Console

Console session name when SYNC is enabled in DAW

Apollo Solo USB Manual 181 Console Recall Plug-In

Session State Parameter

Apollo Solo USB Manual 182 Console Recall Plug-In

UAD Meter Window

Launching the Application

Minimize DSP Load Meter Program Memory Meter Meter Menu

UAD Meter window elements

Plug-Ins Panel Button

UAD Resource Display

Accessing the Meter Menu

Accessing the Control Panels

Control Panels drop menu

Control Panel buttons with System Info panel selected

Hardware section as it appears with multiple UAD devices

Authorize Plug-ins button

Limit DSP Load

Automatically send usage statistics to Universal Audio

Loading UAD Plug-Ins

The UAD Plug-In Interface

Typical interactive Typical display-only element

Typical UAD plug-in interface

Typical UAD plug-in as displayed in controls view

Apollo Solo USB Manual 198 Using UAD Plug-Ins

Preset/Settings menu Status indicator Help menu

LiveTrack switch Buy plug-in

UAD Toolbar elements

Additional Factory Presets

Apollo Solo USB Manual 199 Using UAD Plug-Ins

Default Preset Location

Apollo Solo USB Manual 200 Using UAD Plug-Ins

Help (?) Menu

Apollo Solo USB Manual 201 Using UAD Plug-Ins