User manual

Routing, Mixer and System Setup. Device
Settings is where you select what those
three right-hand ABC buttons should
control, and you can also set the push-switch
in the rotary encoder to mute the speakers,
the phones, or both.
The Quartet comes with a quick-start
guide, and a comprehensive user manual
that details the setup procedure for all the
mainstream DAWs is available from the
Apogee web site, but if you’ve ever used an
audio interface before, you should have no
trouble finding your way around the Quartet.
Performance
My tests were made using Logic Pro.
Selecting the interface is done in the usual
Logic way, via audio preferences, which is
also where you set the buffer size. You can
name the inputs and outputs within Logic
if you feel the need to. In other DAWs, you
can usually access such settings directly
from within Apogee’s own control panel,
but currently this doesn’t work for the
Quartet within Logic.
While, on paper, there are
better-specified converters if you’re willing
to pay for them, it is probably fair to say
that the quality of Apogee’s is so good
that we’re approaching the realm where
any further improvements are just for the
benefit of the test gear, rather than human
ears. Their converters also have a reputation
for sounding musical. With cheaper
interfaces, working at 96kHz often yields
a noticeable improvement in smoothness,
as it places fewer demands on their digital
filter sections, but in the case of the
Quartet, even working at 44.1kHz produces
creditably smooth and classy results. In fact,
on a recorded speech test I was hard pushed
to hear any significant sonic difference
between working at 44.1kHz and 96kHz.
The mic preamps are also worthy of
mention, as they are exceptionally clean
to drive a single 5.1 system. You can also mix
and match the functionality by, for instance,
having two sets of speakers connected
and then using the remaining two outputs
to feed an outboard processor or provide
further monitor mixes.
When an input’s gain is being adjusted,
the meter area on the front panel changes
to a gain-knob display, with further status
indicators showing Grouping, Soft Limit and
Polarity. Similarly, adjusting a speaker’s level
shows a rotary display for the level value and
a speaker symbol, although a ‘Home Lock’
option prevents the view from changing.
Once you stop turning the knob, the display
automatically reverts to metering after a few
seconds. These displays are pin sharp.
With the Maestro software’s Input panel
open, you can also select the input type as
Line +4dBu, Line -10dBv, Mic or Instrument.
The appropriate symbol for each is shown
above the input meters, and when a stereo
recording is being made, channels can be
grouped so that their gains are adjusted
together. Polarity invert can also be
activated, along with Soft Limit, which is,
again, independent for each input.
The Maestro Mixer window is where you
can set up low-latency source monitoring
if required, although, as mentioned, with
a buffer setting of 64 I didn’t notice latency
being a problem. The Mixer page actually
shows two mixers, one above the other. This
means, for example, that if you need two
different monitor mixes while recording,
one can be assigned to feed the speakers
and one the headphones. Each mixer allows
you to balance any of the live inputs with
the sound coming back from your DAW, so
as long as you remember to turn down the
monitor level of any tracks you’re currently
recording in your DAW’s mixer, you can have
latency-free monitoring.
Separate tabs open pages for viewing
Inputs, Outputs, Device Settings, Output
only — you don’t get any additional outputs
with an expander connected.
The Quartet always provides the master
clock when an expander unit is connected,
so the expander must be set to external
sync and, as the ADAT connection only
runs one way, a word clock cable must be
connected between the two. As with other
Apogee devices, the clock is designed
to offer a high degree of stability, though
how well an external device will lock to
this depends very much on its own clock
recovery circuitry. Still, there’s no point
buying Apogee if you’re planning to hook it
up to something cheap and nasty!
Operation
When you plug in the Quartet, it is
recognised by Core Audio and basic
operation is possible, as the assignable
touch pads are preconfigured to Dim, Mute
and Clear Meters (the latter clearing the
red ‘Overs’ indicators at the top of each
meter indicating that a clip has occurred
since they were last reset). You will, however,
need to download the Maestro control
software from the Apogee web site in order
to make any changes or to switch on the
phantom power. I mention this only because
I received the physical unit for review shortly
before getting a link to the software, so
I had a while to play with it.
When the QuickTouch pads are used
for input, output or speaker-set selection,
the currently selected parameter is the
one adjusted via the controller knob. For
example, if you select an input, the knob
adjusts the preamp gain, whereas if you
select a speaker, it adjusts the speaker
volume. An LED ‘halo’ highlight ring appears
around the currently active touch pad, so
you always know what you’re adjusting. The
three rightmost touch pads (labelled A, B
and C and located above the rotary control)
are all user assignable, so you can decide
what you need them to do from a menu of
options shown in the Maestro software: sum
to mono, dim the levels, switch speaker sets
or clear the ‘overs’ indicator in the meters.
Up to three sets of stereo speakers can be
connected, or all the outputs may be used
In this price and quality range, the main
competition probably comes from RME,
but it’s also worth looking at Focusrite,
as they provide good-quality mics amps
in their interfaces. If you can cope with
fewer channels, I’d consider the Focusrite
Forte, reviewed elsewhere in this issue. If
single-knob operation is your thing, it’s also
worth looking at the MOTU Track 16.
Alternatives
The Mixer page in Apogee’s Maestro 2 control software.
ON TEST
APOGEE QUARTET
158
November 2012 / www.soundonsound.com