Apogee Quartet is the ultimate desktop audio interface and studio control center for professional recording. Made for the musician, producer and engineer that wants the ultimate sound quality and studio control in a compact desktop form factor, Quartet features legendary Apogee AD/DA conversion, 4 world-class microphone preamps, USB MIDI I/O, ESS Sabre32 DAC technology and monitor controls. With Quartet’s 4 Combo inputs you can connect microphones, guitars, keyboards or line level devices such as external mic preamps or a mixing board.

Expand your system with 8 additional inputs via Quartets optical (ADAT/SMUX) digital IN. Quartet also includes 8 analog outputs – 6 1/4” balanced outputs for connection to speakers or outboard equipment and a separate, independently controlled 1/4” stereo headphone output. You can control up to 3 pairs of speakers or set Quartet up for 5.1 surround monitoring. A difference you will hear From the mic preamps to the AD/DA converters and the clocking, Quartet is best-in-class and cutting-edge Apogee technology. With components carefully selected in critical listening tests and a highly efficient circuit design, Quartet was built by Apogee engineers to make a difference you can hear. Pristine, next generation AD/DA converters Quartet’s AD/DA converters are designed to deliver the purest recordings and best listening experience possible.

Quartet’s efficient circuitry and state-of-the-art components provide a simplified signal path resulting in incredibly transparent recordings. Smooth, detailed world-class mic preamps Much like the AD/DA converters, Quartet’s mic preamps feature the latest components and offer seamless click-free transitions as the gain increases and decreases throughout the incredible range of 0-75dB. This unprecedented feature allows you to dial in the perfect level, either with the controller knob or from within software, while delivering ultra-low noise and smooth, crisp detail.

Quartet’s mic pres are suitable for all dynamic, condenser or ribbon microphones, allowing you to capture any sound without compromise. Soft Limit for protection from digital overs An Apogee technology first introduced in 1992 on Apogee’s AD-500 converter, Soft Limit can be heard on countless platinum selling records around the world. Once a technology exclusively reserved for Apogee’s most advanced audio converters, Soft Limit is included in Quartet and can be enabled in Apogee Maestro software.

This superior analog design prevents the digital clipping that causes distortion by instantaneously rounding off transient peaks before they hit the analog-to-digital converter. Soft Limit allows several more decibels of apparent level to be recorded while subtly providing an analog-like warmth to the sound. While ESS Sabre32 DAC has been widely recognized and employed in the audiophile community as the next step in converter technology, Apogee is one of the first pro audio manufacturers to employ this DAC in an interface designed for audio and video professionals. ESS Sabre32 DAC technology, as employed in, and, is one ingredient in the Apogee Engineering Difference. The benefits of the ESS Sabre32 DAC include: 32-bit DAC Architecture – Compared to older 24-bit technology, the Sabre32 DAC’s 32-bit filter processing results in significantly lower noise and distortion, for a pure listening experience free from artifacts.

32-bit digital attenuation ensures that sonic purity is maintained at any listening level. Time Domain Jitter Elimination removes clock inconsistencies from the incoming digital data, so the converted analog output preserves the clarity and soundstage detail of the original recording. Application for low latency monitoring and control of Apogee audio interfaces on Mac, PC or iOS.

Access all control functions and settings with Maestro, Apogee’s comprehensive software control application. Maestro features a single window interface with quick access to all Apogee device settings. Select your input type, enable Soft Limit on mic and instrument inputs, and use the mixer for low latency monitoring. Maestro lets you easily configure your Apogee interface to fit your workflow. Maestro is included in the Quartet software installer for Mac/PC. If you’re connecting Quartet to an iPhone or iPad (iOS cable sold separately), Maestro is available for free from the App store.

Faster than FireWire Quartet features USB 2.0 High-speed connectivity to Mac. Advances in the Mac’s Core Audio driver have made USB faster than FireWire 400 with incredible latency performance. And there’s a USB port on every Mac. And as fast as USB 3.0 While USB 3.0 offers approximately 10x the bandwidth of USB 2.0, USB 2.0 far exceeds the bandwidth Quartet requires for its 12 inputs and 8 outputs, delivering exceptional audio performance without compromise. Related Apogee Knowledgebase articles:. Recent Projects: John Legend, Prince, Rick Ross, Estelle, Michael Bolton, Common “Apogee's Quartet is a great sounding interface, that enables a professional workflow in a home studio device. With excellent converters, a great stereo image, and an intuitive monitoring interface, I would recommend this interface to any producer or engineer.” 512 684 dylan //www.apogeedigital.com/wp-content/uploads/2016/11/apogee-logo-hdr-2016.png dylan 2014-01-14 02:-03-31 18:25:07 Jason Agel - Mixing and Recording Engineer.

Recent Projects: Edward Sharpe and the Magnetic Zeros “The Quartet is so easy, it takes the stress out of recording and lets you get straight to the music. I initially tried to run my accordion through a series of pre-amp's and EQ's before channeling it through the Quartet, but at the end of the day, the best sound was achieved using the Apogee pre-amps on their own.” 512 684 dylan //www.apogeedigital.com/wp-content/uploads/2016/11/apogee-logo-hdr-2016.png dylan 2014-01-14 01:-03-20 21:21:07 Nora Kirkpatrick - Musician/Actress. “The sound quality is amazing and the functionality is better than any other interface I’ve ever used.

It’s big enough to have a presence in the lab, but small enough sit on my Avalon and still allow it to breath. I bought it as a backup and mobile solution when my Avid Omni went in the shop for repair and it hands down holds its own in comparison. It’s also extremely stable. I have to reinstall Pro Tools HD to find my Omni and thunderbolt interface quite often, but I’ve only had to do one install with this box and its ran flawlessly ever since. I buy equipment all of the time and this is the first review I’ve ever been this compelled to write. I love my Avid Omni, but us creative enthusiasts tend to appreciate when a product has a solid price to quality ratio, and this box hit the nail on the head in that regard.

The Quartet lived up to the hype and exceeded all of my expectations. It is truly a beast.” Marcus Polo from Memphis. “The preamps and converters in the Quartet don’t sound like a cheap circuit with the Apogee name; they have that Apogee sound. Rather than just being honest and transparent, it would be fairer to say that nothing is lost, but they do seem to add a little sparkle to the top end. When capturing the subtleties of the creaks and finger drags and the little details that make an acoustic performance feel real, the preamps of the Quartet and the One leave nothing to be desired. The same could be said about the way they record vocals.

With all the breath and humanity that they preserve, the recorded performance is really true to itselfIn general, the Quartet is a rock-solid music creation station. It’s serious, professional, looks fantastic and sounds even better. The features are just right, no frivolity.

The iOS bonus just made it that much better.”. “While there are many manufacturers whose audio interfaces support iOS (RME, Focusrite, and others), Apogee are arguably more serious than most about their interfaces being used with iOS devices. The Quartet (like the company’s One and Duet interfaces) now comes with both 30-pin and Lightning cables, in addition to a regular USB cable for use with a Mac. And, best of all, that 30-pin or Lightning cable is also able to power and charge your iOS device. This is a really big deal since the majority of audio interfaces that can be connected to an iOS device don’t have such capability, meaning you only get one charge’s worth of music or audio work with the interface attached.”.

Whether you want to call it an audio interface or a soundcard, if you make music on a Mac, PC, iPad or even iPhone, it makes sense to get the best box of I/O tricks that you possibly can. But how do you decide which USB audio interface you should buy in 2018, or even if you should buy a ThunderBolt audio interface for your home studio? Well, the product for one person might not be the best one for another. Firstly, you need to decide how many audio inputs and outputs you need. If you're going to be recording lots of instruments at the same time - in a band, for example - then multiple inputs will be very useful, but if you just plan on plugging in a mic or guitar once in a while, a 2-in device will be sufficient.

Think about MIDI connectivity, too - do you plan to plug your MIDI controller directly into your computer over USB, or would full-size MIDI ports on the interface be useful?. Then there's the issue of how the interface connects to your computer. A majority of models work over USB 2, but you'll also find ThunderBolt interfaces that promise better performance but typically cost a little more. Whichever you go for, make sure it's compatible with your PC/Mac/iOS device and DAW before you buy.

You also need to decide if you want DSP (Digital Signal Processing) in your interface, which will enable you to use dedicated plugins that won't place any load on your computer. Universal Audio, with its UAD products, is the undisputed king of this market. Form factor is a consideration, too: is your interface for the studio or do you want to take it on the road with you? Audio interfaces comes in all shapes and sizes; some are designed to sit in a rack or on a desk while others can be stuffed in a laptop bag and taken anywhere. Finally, but crucially, there's the issue of price. You can get a decent audio interface for well under $200/£200, but spend a bit more and you're likely to see better quality, performance and specs.

So, there are lots of great audio interfaces, but which one you should buy depends on your requirements and budget. Whether you're looking for the best budget audio interface - the Audient iD4 is our current recommendation - or something from the top end, read on for MusicRadar’s picks of the current crop. There's not much to complain about at this price Arguably the best audio interface you can buy for less than $200, The iD4 is a simple two-input/two-output offering featuring a mic preamp - complete with phantom power for using condenser mics - as well as an instrument level DI for plugging in your guitar or bass. On top of this, there’s a main output for your speakers and dual headphone outputs. The whole thing is powered via USB and, with Apple’s camera connection kit, it can also work with an iPhone/iPad. However, the studio devilry is in the detail; Audient has really thought about everything with value and usability in mind, making what is a budget solution feel anything but inexpensive. The best USB audio interface we’ve seen at this price for a long time.

Read full review. No DSP processing A couple of years ago, Focusrite’s original Clarett interfaces introduced premium quality mic pres, ISA transformer mic pre mode (Air) and super-low latency operation at a great price. They also required a Thunderbolt-equipped computer - fine for Mac users, but not for Windows. Thankfully, the Clarett Thunderbolt interfaces are now joined by USB versions. Much like the Thunderbolt version, the Clarett 4Pre USB is an 18-input, 8-output interface with MIDI I/O. On the input side, that’s achieved via two combo mic/line/instrument inputs, two combo mic/line inputs, four line-level inputs, stereo S/PDIF and eight channels of ADAT optical. Meanwhile the eight outputs comprise four line-level and two stereo headphone outs.

A great all-rounder, the addition of USB brings this high spec’d yet reasonably-priced audio interface to a wider audience. Performance issues when battery levels are low The iRig Pro Pro Duo is IK Multimedia's best mobile audio interface yet. It's got everything you need from a two-channel audio interface - MIDI, phantom power, direct monitoring, signal metering, combi XLR/Hi-Z inputs - and can be either battery- or mains-powered. The Pro Duo also feels more robust than some of its predecessors.

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The unit comes complete with a plethora of cabling for connecting to your devices of choice, including MIDI breakout cables. One thing we did notice was that, as the batteries ran down, the unit became less stable. This is, of course, only a minor gripe, but if you're out and about, remember to bring spares. Read full review. Other interfaces with similar levels of I/O are available for substantially less. AudioFuse is an attractive and portable Mac, PC and iOS-compatible interface with a raft of features.

Despite its compact frame, there’s plenty of connectivity on offer. Along the front edge, you’ll find combi inputs and two fully independent headphone feeds. In turn, these can accommodate both mini-jack and 1/4-inch plugs. At the back, there are speaker outputs for two pairs of monitors, line level connectors, MIDI In/Out ports (which, due to size restrictions, have been replaced by mini-jack connectors, which you’ll find in the box) and - for digital interfacing - both S/PDIF and ADAT In/Out. Ware iso burner for mac.

There are also inserts for inputs 1 and 2, allowing you to track through hardware compressors or channel strips. AudioFuse connects via USB 2, but USB connectivity goes further; Arturia has built a USB hub into it, providing three extra USB ports.

AudioFuse provides a beautiful and contemporary approach to USB audio interfacing with a great design, compatibility with a huge range of possible audio sources, a great sound and a highly tactile control set. Read full review. No MIDI Still a desktop-format 2-in/-6-out interface with 24-bit/192kHz capabilities, the Apollo Twin MkII would be almost indistinguishable from were it not now black rather than silver. It connects to your Mac or PC via Thunderbolt (there’s no cable in the box), but it has to be powered from the wall. The back panel and front edge house the inputs and outputs, while the top panel centres on a satisfyingly oversized knob. Also a DSP box for powering UAD plugin effects (you can choose from Solo, Duo and Quad options), the Apollo Twin MkII features the same game-changing Unison preamps as its predecessor, fed by the Mic/Line and Hi-Z ins. These enable a gradually expanding subset of UA’s classic hardware emulation plugins to be inserted directly into each input path.

This is a musically empowering hardware/software hybrid that's capable of elevating even the humblest of home and project studios to genuinely professional-quality heights, and certainly one of the best audio interfaces you can buy. Read full review. Only one compressor Antelope doesn't tend to scrimp on the quality of its products and the Zen Tour is no exception. It’s very compact given how much functionality it offers, and feels solid.

It has a small but useful touchscreen which enables you access to all the basic functions of the unit, with the likes of input gains, headphone levels and talkback directly accessible using buttons on the front panel and the large 'soft' knob. At the front are two headphone outs, two re-amping outs and four line/Hi Z inputs, all on 1/4-inch jacks. To the rear are four dual XLR/1/4-inch inputs, two pairs of monitor outs on 1/4-inch jacks, eight analogue outs on a DB25, two RCA sockets for S/PDIF in and out, a power connector and USB and Thunderbolt sockets. On the left-hand side are two pairs of ADAT ins and outs. Once you have the software installed on your computer and connected you are ready to go. There are six amplifier emulations covering vintage to modern and clean to downright filthy.

They sound great and, unlike some software emulations, have a great dynamic response. You also get a great range of EQs and a single compressor. If you want a high-quality audio interface for studio, rehearsals and gigs you have to look at this. It sounds great and is supremely flexible.

Certainly one of the best audio interfaces for guitarists you can buy. Read full review. No MIDI I/O One of the best audio interfaces for Mac on the market, the Element 46 prioritises function over form: it’s an extremely simple and rather plain-looking unit with not an LED or LCD in sight. Don’t let the featureless look throw you, though - the (optional) Remote Control unit might look like the more interesting piece of kit, but that plain grey box plays host to the real action. The real ace up Apogee’s sleeve is that the Element interfaces aren’t actually designed for physical interaction at all - instead, they’re designed to be put to one side on a surface in your studio, with their microphone connections (front-mounted for convenience) the only part you’ll get hands-on with during the recording process. Everything else is handled by software, with that aforementioned Remote Control or a free iOS app providing extra hands-on interaction should you wish. While nearly all of the best audio interfaces now provide software control over hardware, Element Control goes further than most, providing an essential front end to Apogee’s superb preamps and A/D conversion.

Read full review. Definitely for pros only Prism Sound has quickly developed a reputation as a go-to choice for many professional users and studios seeking exemplary audio quality at the interfacing stage. Atlas is a 2U USB interface with plenty of I/O possibilities, but the extra ace up its sleeve is an MDIO port, which provides additional, flexible interfacing capability. The rear panel shows the internal interfacing capabilities Atlas offers, with eight coveted Prism Sound preamps provided, which allow for either XLR or TRS connections, alongside eight dedicated balanced 1/4-inch outputs. You'll also find digital inputs, with supported formats including S/PDIF and ADAT, meaning that Atlas is capable of recording up to 18 channels at once, at up to 192kHz, though digital track count becomes lower at super-high resolution. In use, Atlas feels like a thoroughbred interface from the moment it's up and running.

You can configure some settings from the front panel, but Prism Sound also provides a comprehensive Control application to allow you to set up Atlas's assorted I/O over software. Atlas is a sumptuous interface, offering unparalleled sound quality. Prism Sound's reputation is further enhanced with its arrival and, since the quality of its interfaces was already seen as excellent, that's a glowing endorsement.

Firewire Audio Interface For Mac

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