Zamena za automobil . pojacalo iz 1991 godine. Box je Americki Ampeg 4x12.300W. U ampegu su crni zvicnici celestion retka serija 4x12. Prodaje se samo u kompletu.

Opis Marshall JCM 800 Reissue 2203 head Marshall JCM800 2203 pojačala sa lampama su jedna je od najcenjenijih Marshall glava od 100 wati u dugoj i slavnoj istoriji kompanije. Glava JCM800 evoluirala je od legendarne glave "Plexi" od 100 vati, čudovišta sa prepoznatljivim tonovima,koji najbolje radi kada se pojača do maksimuma, i to je bilo jedno od prvih pojačala Jima Marshalla koje je imalo glavnu kontrolu jačine zvuka. Output Power: 100 W RMS 3 Preamp tubes ECC83 4 Output tubes EL34 One channel design with high and low sensitivity inputs 3-Band EQ with Presence Serial FX Loop with True Bypass switch Level circuit for the FX Loop Authentic design Certified according to CE directives of the EU proved device Dimensions (W x H x D): 750 x 310 x 210 mm Weight: 18.8 kg Video

Tube technology Power: 100 W 2 Channels (without semiconductor in signal path) 6 Basic sounds via relay switch 2 Effects paths Emulated line out 2 Master volumes Reverb Programmable 4-way footswitch All switch functions controllable via MIDI

Osnovne informacije Proizvođač Zebrano Šifra proizvoda: ZBR-Z100-135 Težina 0.04 kg Skala 1:100 Dodato je u katalog: 10.3.2022 Tagovi Kami The Type 2 Ka-Mi was a Japanese amphibious tank from the Second World War. The first prototypes were built in the early 1940s, and serial production continued in 1943-1945. In total, about 180 examples of this tank were built. The Type 2 Ka-Mi was powered by an engine Mitsubishi with 115 HP. The vehicle was armed with a single 37mm tank gun in the turret and two 7.7mm Type 97 machine guns. The Type 2 Ka-Mi was created in connection with the need to develop a floating tank for units of Japanese marines attacking or defending themselves on numerous islands in the Pacific Ocean. From the outset, the Type 2 Ka-Mi was designed as an infantry support tank with the greatest possible mobility. Many components of the Type 95 Ha-Go tank were used in its construction, mainly the engine, suspension and, in fact, the entire chassis. On the other hand, a new turret and metal pontoons - in the front and rear of the hull - were added, which improved the buoyancy of the vehicle and could be thrown very quickly when leaving the water. Type 2 Ka-Mi tanks were used in combat mainly during the fighting in the Philippines in 1944 and in the battles for the Marian archipelagos and the Marshall Island. Greška u opisu? Prijavi problem

The Torpedo Studio… … is the next generation of the world-acclaimed VB-101, this is the pinnacle of speaker and miking simulation – the ultimate loadbox! Its new features notably include a new loadbox with increased admissible power, a switchable impedance (4, 8, or 16 Ohms), and the possibility to choose between resistive and reactive loadbox. Its new, enhanced design makes it a more advanced, much lighter successor to The concept You love the sound of your amplifier pushed right to the magic sweet spot where the best tones are. Until now, the only available option was blasting your sound through a 4×12″ to properly excite a microphone. Enter Torpedo, the simplest and most realistic way to get your sound to your audience. Use the amp you love! Everything that makes a real amp rule over all the other alternatives is retained. You can even record silently late at night ! Gone is the backache from the loadout, complaints from neighbours, venue staff or even bandmates and the frustration of not being able to sound at one’s best trying to reduce the volume. Exclusive Torpedo technology Highly realistic speaker simulation is achieved by use of convolution. Two notes started from that technology and brought it much further, to accurately reproduce the characteristics of the whole miking chain (speaker, microphone, preamplifier, studio room acoustic). Many parameters influence the sound of your guitar or bass rig when it comes to recording. Taking good care of the cabinet selection and miking will dramatically improve the sound of your takes. The Torpedo simulation reproduces the tiniest variations of a cabinet behaviour such as frequency response and distortion. Move the microphone in the virtual studio room thanks to the Torpedo IR synthesis, control the phase with the Variphi: all the settings you need to achieve great recordings are here. Loadbox with adjustable impedance Use your amplifier without speaker cabinet thanks to the loadbox of the Torpedo Studio. Its adjustable impedance of 4, 8 or 16 Ohms and its high admissible power (150W) makes it suitable for any amp. The reactive impedance faithfully imitates a speaker, allowing the amp to work exactly as if it was connected to a speaker cabinet. Dual mono/stereo miking combined simulation of 2 cabinets + 2 microphones for optimal mixing. Position two different microphones before your speaker, or before two different speakers. Mix the two simulations to send them to the stereo outputs Post-FX section when recoding guitars and basses it is common to apply a few effects to shape the sound before it is sent to the PA or recorder. The Studio comes with a powerful semi-parametric EQ, and exciter, a compressor and a wonderful reverb. APPLICATIONS Control your Torpedo & access the Two notes Boutique With its clear and intuitive interface, Torpedo Remote will give you access to all parameters on your Torpedo, including loading and saving presets, loading new IRs, and updating the unit’s firmware. You can pick any speaker cabinets from the Two notes Store, preview them on your own tracks in real time, and choose to buy the ones you prefer. Arcade or Simulation mode We borrowed the concept of Arcade VS Simulation from the world of video games. The Arcade mode is usually the easy way to, for example, drive a race car. You can hit obstacles, other cars, you can still win the race. We recommend that for your first experience with The Torpedo Studio you start with the Arcade preset mode to get more familiar with the concept of virtual miking. The simulation mode is not for beginners and requires more experience and knowledge about how the car actually works, depending on many tiny but still important parameters (weather, type of tires, track design…). In that preset mode you will gain access to the full list of parameter, to fine tune your sound and make it perfect to your ears. Connections Connect your guitar or bass and effects to your amplifier as you are used to, then connect your amp to the Torpedo Studio instead of a speaker cabinet. The Torpedo Studio can then be connected to a mixing board and PA, or to a sound interface for recording, in the studio or at home. You can also use headphones for direct monitoring. An optional speaker cabinet can be connected to the Thru output. You can also use the Torpedo Studio with a preamplifier, or as an external effect processor in a studio or home studio environment. The large choice of available analog or digital inputs and outputs allows the Torpedo Studio to work in any situation. SPECIFICATIONS Connectivity Amplifier input: Jack 6.35 mm (1/4) unbalanced (TS, Tip/Sleeve), to connect the speaker output of your tube or solid state amplifier Speaker Thru: Jack 6.35mm (1/4”) unbalanced (TS), to connect an optional cabinet instead of using the internal loadbox) Line inputs: 2 x Combo XLR – Jack 6.35 mm (1/4”) balanced (TRS)/unbalanced (TS) Line outputs: 2 x XLR balanced Headphones output: Jack 6.35 mm (1/4”) balanced (TRS) stereo Digital inputs: AES & S/PDIF 2 channels input Digital outputs: AES & S/PDIF 2 channels output Wordclock sync BNC MIDI In, Out/Thru USB port MIDI The Torpedo Studio is fully controllable via MIDI. Program Changes are used to change presets. Control Changes are used to control the parameters of the Torpedo Studio. The Torpedo Studio comes with a selection of 50 Two notes cabinets and much more: Guitar Cabinets: 2Notes CSG : Two notes Custom 1×12″ ElectroVoice® EVM12L Alichino : Cornford® Harlequin 1×12″ OB Celestion® Vintage 30 UK Angl VintC : Engl® 4×12″ Celestion® V30 Bayou : Jenkins® Sound Lab 2×12″ OB Eminence® Patriot Swamp Thang BDeLuxe : Fender® Blues Deluxe 1×12″ Blonde 63 : Fender® Bassman ’63 Blonde Tolex Piggy Back 2×12″ Brit 65C : Marshall® 1965A 4×10″ Celestion® G10L-35 closed back Brit 650 : Marshall® 1965A 4×10″ Celestion® G10L-35 open back Brit Std : Marshall® JCM900 2×12″ Celestion® G12T Brit VintC : Marshall® Slash Signature 4×12″ Celestion® V30 closed back Brit VintO : Marshall® Slash Signature 4×12″ Celestion® V30 open back Calif C90 : Mesa/Boogie® 1×12″ Celestion® C90 (Black Shadow) Calif StdC : Mesa/Boogie® Rectifier® Standard 4×12″” Celestion® V30 closed back Calif StdO : Mesa/Boogie® Rectifier® Standard 4×12″ Celestion® V30 open back Eddie : Peavey® 5150 2×12″ Sheffield 1200 Forest : Elmwood® 2×12″ Celestion® V30 Free Rock : VHT® Deliverance 4×12″ Eminence® P50E Free Rock2 : VHT® Deliverance 2×12″ Eminence® P50E Green Tri : Hughes&Kettner® Triamp 4×12″ Celestion® Greenback Jazz 120 : Vintage Roland® JC120 2×12″ JubilGreen : Marshall® 2550 2×12″ Celestion® Greenback JubilV30 : Marshall® 2550 2×12″ Celestion® V30 Kerozen : Diezel® 4×12″ Celestion® G12K-100 R2D2 : Musicman® 112 RD 1×12″ Electro-Voice® EVM12L Silver77 : Vintage Fender® Twin Reverb® 2×12″ orange JBL® SilverJen : Vintage Fender® Twin Reverb® 2×12″ Jensen® C12K StrongBack : The One : Brunetti® Neo1512 1×15″ + 1×12″ Twill 15 : VHT® Fat Bottom 4×12″ Eminence® P50E Vibro Utah : Vintage 1961 Fender® Vibrolux® 1×12″ original Utah speaker Vibro V30 : Vintage 1961 Fender® Vibrolux® 1×12″ Celestion® V30 Voice 30 : Original Vox® AC30 JMI 2×12″” Celestion® « Silver Bell » Voice 65 : 1965 Vox® 2×12″ VoiceModrn : Vox® V212H, 2×12″ Celestion® Alnico Blue Watt FanC : Hiwatt® 2×12″ Fane closed back Watt FanO : Hiwatt® 2×12″ Fane open back XTCab : Bogner® 4×12″ Celestion® V30 Bass Cabinets: 2Notes CSB : Two notes Custom 1×15″ Alu XL : Hartke® XL 4×10″ AZ Ben : SWR® Big Ben 1×18″ AZ Work : SWR® WorkingMan 4×10″ Calif Low : Mesa/Boogie® 2×10″ Fridge : Ampeg® 8×10″ Heaven Bot : David Eden® 1×15″ Heaven Top : David Eden® 4×10″ Marco : Markbass® 2×10″ New York : Markbass® 4×6″ Rea One : AER® Cab One 2×10″ Voice V125 : Vox® V125 2×12″ WgrandBlvd : Ampeg® B15N 1×15″ CB Jensen® C15N, Vintage Ceramic Power Amp Simulation: 4 TUBES TYPE: EL84 EL34 6L6 KT88 2 CIRCUITS TYPE: class A / single ended class AB / push pull 2 DIFFERENT MODES: pentode triode SETTINGS: Volume Presence Depth MIKING Settings : Choice of speaker cab and microphone Microphone position (distance, axis, front/back) Variphi: phase control Overload: natural speaker distortion control Dry/Wet Post-FX : 6-band Semi parametric EQ Exciter (low, high) Compressor (threshold, ratio, attack and release time, make-up gain) Reverb (8 room + 1 custom) Loadbox Reactive or Resistive load (relay), Nominal impedance: 4 or 8 or 16 Ohms (switch) Maximum admissible power: 150 W (200 Watt peak) Cooled by temperature-controlled fan Inputs / Outputs Speaker Input : Jack 6.35 mm (1/4″) unbalanced (TS, Tip/Sleeve) Speaker Thru : Jack 6.35mm (1/4″) unbalanced (TS) Line Inputs : 2 X Combo XLR – Jack 6.35 mm (1/4″) balanced (TRS)/unbalanced (TS) – Maximum level: 8,7 dBu – Impedance : 20 kOhms Line Outputs : 2 x XLR balanced – Maximum level: 11 dBu – Impedance : 600 Ohms Phones : Jack 6.35mm stereo (TRS) AES/EBU numeric Input/Output S/PDIF numeric numeric Input/Output MIDI Input/Output USB Connexion Audio Performances ADC (input) : Sampling frequency : 192 kHz Resolution : 24 bits Noise level : -111 dB (A-weighted) THD : 0.0026% Stereo crosstalk : -109 dB DAC (output) : Sampling frequency : 192 kHz Resolution: 24 bits Noise levelt : -109 dB (A-weighted) THD : 0.0008% Stereo crosstalk : -106 dB 13Hz- 45 kHz AES/EBU and S/PDIF to 96 kHz Internal synchronization , AES/SPDIF ou Wordclock Latency: (mode Normal) 5.063 ms, (mode Low) 3.064 ms (Line Input à Line Output) Weight and dimension Width x Depth x Height: 483 x 250 x 90 (mm) Weight : 4,5 kg

Odlično očuvano Stanje kao na slikama Marshall Bruce Mathers III (born October 17, 1972), known professionally as Eminem (/ˌɛmɪˈnɛm/; often stylized as EMINƎM), is an American rapper, songwriter, and record producer. He is credited with popularizing hip hop in middle America and is widely considered as one of the greatest rappers of all time.[2] Eminem`s global success and acclaimed works are widely regarded as having broken racial barriers for the acceptance of white rappers in popular music. While much of his transgressive work during the late 1990s and early 2000s made him widely controversial, he came to be a representation of popular angst of the American underclass and has been cited as an influence for many artists of various genres. After the release of his debut album Infinite (1996) and the extended play Slim Shady EP (1997), Eminem signed with Dr. Dre`s Aftermath Entertainment and subsequently achieved mainstream popularity in 1999 with The Slim Shady LP. His next two releases, The Marshall Mathers LP (2000) and The Eminem Show (2002), were worldwide successes and were both nominated for the Grammy Award for Album of the Year. After the release of his next album, Encore (2004), Eminem went on hiatus in 2005, largely due to a prescription drug addiction.[3] He returned to the music industry four years later with the release of Relapse (2009) and Recovery, which was released the following year. Recovery was the bestselling album worldwide of 2010, making it Eminem`s second album, after The Eminem Show in 2002, to be the best-selling album of the year worldwide. In the following years, he released the US number one albums The Marshall Mathers LP 2 (2013), Revival (2017), Kamikaze (2018) and Music to Be Murdered By (2020). Eminem`s well-known hits include `My Name Is`, `The Real Slim Shady`, `The Way I Am`, `Stan`, `Without Me`, `Mockingbird`, `Not Afraid`, `Love the Way You Lie`, `The Monster`, `River` and `Rap God`, which broke the Guinness World Record for the most words in a hit single, with 1,560 words. In addition to his solo career, Eminem was a member of the hip hop group D12. He is also known for collaborations with fellow Detroit-based rapper Royce da 5`9`; the two are collectively known as Bad Meets Evil. Eminem made his debut in the film industry with the musical drama film 8 Mile (2002), playing a dramatized version of himself. `Lose Yourself`, a track from its soundtrack, topped the Billboard Hot 100 for 12 weeks, the most for a solo rap song, and won the Academy Award for Best Original Song, making Eminem the first hip hop artist ever to win the award.[4] He has made cameo appearances in the films The Wash (2001), Funny People (2009) and The Interview (2014) and the television series Entourage (2010). Eminem has developed other ventures, including Shady Records, a joint venture with manager Paul Rosenberg, which helped launch the careers of artists such as 50 Cent, D12 and Obie Trice, among others. He has also established his own channel, Shade 45, on Sirius XM Radio. Eminem is among the best-selling music artists of all time, with estimated worldwide sales of over 220 million records. He was the best-selling music artist in the United States of the 2000s and the bestselling male music artist in the United States of the 2010s, third overall. Billboard named him the `Artist of the Decade (2000–2009)`. He has had ten number-one albums on the Billboard 200—which all consecutively debuted at number one on the chart, making him the first artist to achieve this[5]—and five number-one singles on the Billboard Hot 100.[6] The Marshall Mathers LP, The Eminem Show, Curtain Call: The Hits (2005), `Lose Yourself`, `Love the Way You Lie` and `Not Afraid` have all been certified Diamond or higher by the Recording Industry Association of America (RIAA).[7] Rolling Stone has included him in its lists of the 100 Greatest Artists of All Time and the 100 Greatest Songwriters of All Time. He has won numerous awards, including 15 Grammy Awards, eight American Music Awards, 17 Billboard Music Awards, an Academy Award, a Primetime Emmy Award and an MTV Europe Music Global Icon Award. In November 2022, Eminem was inducted into the Rock and Roll Hall of Fame.[8] Early life Mathers was born on October 17, 1972, in St. Joseph, Missouri, the only child of Marshall Bruce Mathers Jr. and Deborah Rae `Debbie` (née Nelson).[9][10] He is of Scottish, Welsh, English, Cherokee,[b] German, Swiss, Polish, and possibly Luxembourgish ancestry.[13][11][14] His mother nearly died during her 73-hour labor with him.[15] Eminem`s parents were in a band called Daddy Warbucks, playing in Ramada Inns along the Dakotas–Montana border before they separated. His father abandoned his family when he was a year and a half old, and Marshall was raised only by his mother, Debbie, in poverty.[9] His mother later had a son named Nathan `Nate` Kane Samara.[16] At age twelve, he and his mother had moved several times and lived in several towns and cities in Missouri (including St. Joseph, Savannah, and Kansas City) before settling in Warren, Michigan, a suburb of Detroit.[17] Eminem frequently fought with his mother, whom a social worker described as having a `very suspicious, almost paranoid personality`.[18] He wrote letters to his father, but Debbie said that they all came back marked `return to sender`.[19] Eminem lived near 8 Mile Road in Detroit. When he was a child, a bully named D`Angelo Bailey severely injured Eminem`s head in an assault,[20] an incident which Eminem later recounted (with comic exaggeration) on the song `Brain Damage`. Debbie filed a lawsuit against the public school for this in 1982. The suit was dismissed the following year by a Macomb County, Michigan judge, who said the schools were immune from lawsuits.[15] For much of his youth, Eminem and his mother lived in a working-class, primarily black, Detroit neighborhood. He and Debbie were one of three white households on their block, and Eminem was beaten several times by black youths.[19] Eminem was interested in storytelling, aspiring to be a comic book artist before discovering hip hop.[21] He heard his first rap song (`Reckless`, featuring Ice-T) on the Breakin` soundtrack, a gift from Debbie`s half-brother Ronnie Polkingharn. His uncle was close to the boy and later became a musical mentor to him. When Polkingharn committed suicide in 1991, Eminem stopped speaking publicly for days and did not attend his funeral.[19][22] At age 14, Eminem began rapping with high-school friend Mike Ruby; they adopted the names `Manix` and `M&M`, the latter evolving into `Eminem`.[22][15] Eminem sneaked into neighboring Osborn High School with friend and fellow rapper Proof for lunchroom freestyle rap battles.[23] On Saturdays, they attended open mic contests at the Hip-Hop Shop on West 7 Mile Road, considered `ground zero` for the Detroit rap scene.[19] Struggling to succeed in a predominantly black industry, Eminem was appreciated by underground hip hop audiences.[22][24][25] When he wrote verses, he wanted most of the words to rhyme; he wrote long words or phrases on paper and, underneath, worked on rhymes for each syllable. Although the words often made little sense, the drill helped Eminem practice sounds and rhymes.[26] In 1987, Debbie allowed runaway Kimberly Anne `Kim` Scott to stay at their home. Several years later, Eminem began an on-and-off relationship with Scott.[15] After spending three years in ninth grade due to truancy and poor grades,[27] he dropped out of Lincoln High School at age 17. Although interested in English, Eminem never explored literature (preferring comic books) and he disliked math and social studies.[26] Eminem worked at several jobs to help his mother pay the bills. One of the jobs he had was with Little Caesar`s Pizza in Warren, Michigan.[28] He later said she often threw him out of the house anyway, often after taking most of his paycheck. When she left to play bingo, he would blast the stereo and write songs.[19] Career 1988–1997: Early career, Infinite and family struggles In 1988, he went by the stage name MC Double M and formed his first group New Jacks and made a self-titled demo tape with DJ Butter Fingers.[1][29][30] In 1989, they later joined Bassmint Productions who later changed their name to Soul Intent in 1992 with rapper Proof and other childhood friends.[31] They released a self-titled EP in 1995 featuring Proof.[22] Eminem also made his first music video appearance in 1992 in a song titled, `Do-Da-Dippity`, by Champtown. Later in 1996, Eminem and Proof teamed up with four other rappers to form The Dirty Dozen (D12), who released The Underground E.P. in 1997 and their first album Devil`s Night in 2001.[19] He was also affiliated with Newark`s rap collective Outsidaz, collaborating with them on different projects. Eminem was soon signed to Jeff and Mark Bass`s F.B.T. Productions and recorded his debut album Infinite for their independent Web Entertainment label.[32] The album was a commercial failure upon its release in 1996.[33] One lyrical subject of Infinite was his struggle to raise his newborn daughter, Hailie Jade Scott Mathers, on little money. During this period, Eminem`s rhyming style, primarily inspired by rappers Nas, Esham and AZ, lacked the comically violent slant for which he later became known.[34] Detroit disc jockeys largely ignored Infinite and the feedback Eminem did receive (`Why don`t you go into rock and roll?`) led him to craft angrier, moodier tracks.[19] At this time Eminem and Kim Scott lived in a crime-ridden neighborhood and their house was robbed several times.[19] Eminem cooked and washed dishes for minimum wage at Gilbert`s Lodge, a family-style restaurant at St. Clair Shores.[35] His former boss described him as becoming a model employee, as he worked 60 hours a week for six months after Hailie`s birth.[15] He was fired shortly before Christmas and later said, `It was, like, five days before Christmas, which is Hailie`s birthday. I had, like, forty dollars to get her something.`[19] After the release of Infinite, his personal problems and substance abuse culminated in a suicide attempt.[22] By March 1997 he was fired from Gilbert`s Lodge for the last time and lived in his mother`s mobile home with Kim and Hailie.[15] 1997–1999: Introduction of Slim Shady, The Slim Shady LP and rise to success Eminem and Proof performing in 1999 Eminem attracted more attention when he developed Slim Shady, a sadistic, violent alter ego. The character allowed him to express his anger with lyrics about drugs, rape and murder.[15] In the spring of 1997 he recorded his debut EP, the Slim Shady EP, which was released that winter by Web Entertainment.[19] The EP, with frequent references to drug use, sexual acts, mental instability and violence, also explored the more-serious themes of dealing with poverty and marital and family difficulties and revealed his direct, self-deprecating response to criticism.[22] Hip hop magazine The Source featured Eminem in its `Unsigned Hype` column in March 1998.[36] After he was fired from his job and evicted from his home, Eminem went to Los Angeles to compete in the 1997 Rap Olympics, an annual, nationwide battle rap competition. He placed second and an Interscope Records intern in attendance called Dean Geistlinger asked Eminem for a copy of the Slim Shady EP, which was then sent to company CEO Jimmy Iovine.[37] Iovine played the tape for record producer Dr. Dre, founder of Aftermath Entertainment and founding member of hip hop group N.W.A. Dre recalled, `In my entire career in the music industry, I have never found anything from a demo tape or a CD. When Jimmy played this, I said, `Find him. Now.`` He would later state on the fourth and last episode of The Defiant Ones, `I was like: what the fuck!?, and who the fuck is that?` expressing his shock towards Mathers` rapping talent. Although his associates criticized him for hiring a white rapper, he was confident in his decision: `I don`t give a fuck if you`re purple; if you can kick it, I`m working with you.`[19] Eminem had idolized Dre since listening to N.W.A as a teenager and was nervous about working with him on an album: `I didn`t want to be starstruck or kiss his ass too much ... I`m just a little white boy from Detroit. I had never seen stars let alone Dr. Dre.`[38] He became more comfortable working with Dre after a series of productive recording sessions.[39] Eminem released The Slim Shady LP in February 1999. Although it was one of the year`s most popular albums (certified triple platinum by the end of the year),[40] he was accused of imitating the style and subject matter of underground rapper Cage.[41][42] The album`s popularity was accompanied by controversy over its lyrics; in ``97 Bonnie & Clyde` Eminem describes a trip with his infant daughter when he disposes of his wife`s body and in `Guilty Conscience` which encourages a man to murder his wife and her lover. `Guilty Conscience` marked the beginning of a friendship and musical bond between Dr. Dre and Eminem. The label-mates later collaborated on a number of hit songs (`Forgot About Dre` and `What`s the Difference` while also providing uncredited vocals on `The Watcher` from Dr. Dre`s album 2001, `Bitch Please II` from The Marshall Mathers LP, `Say What You Say` from The Eminem Show, `Encore/Curtains Down` from Encore and `Old Time`s Sake` and `Crack a Bottle` from Relapse) and Dre made at least one guest appearance on each of Eminem`s Aftermath albums.[43] The Slim Shady LP has been certified quadruple platinum by the RIAA.[44] 1999–2003: The Marshall Mathers LP and The Eminem Show Eminem at the ARCO Arena for the Up in Smoke Tour in June 2000 After Eminem released The Slim Shady LP, he started his own record label, Shady Records, in late 1999. Eminem looked for an avenue to release D12, and his manager Paul Rosenberg was keen to start a label, which led to the two teaming up to form Shady.[45] Its A&R Marc Labelle has defined the record label as `a boutique label but [with] all the outlets of a major [and] Interscope backing up our every move.`[46] Recorded from 1999 to 2000,[47] The Marshall Mathers LP was released in May 2000. It sold 1.76 million copies in its first week, breaking US records held by Snoop Dogg`s Doggystyle for fastest-selling hip hop album and Britney Spears` ...Baby One More Time for fastest-selling solo album.[48][49] The first single from the album, `The Real Slim Shady`, was a success despite controversies about Eminem`s insults and dubious claims about celebrities (for example, that Christina Aguilera had performed oral sex on Carson Daly and Fred Durst).[50] In his second single, `The Way I Am`, he reveals the pressure from his record company to top `My Name Is`. Although Eminem parodied shock rocker Marilyn Manson in the music video for `My Name Is`, they are reportedly on good terms; Manson is mentioned in `The Way I Am`, appeared in its music video and has performed a live remix of the song with Eminem.[51] In the third single, `Stan` (which samples Dido`s `Thank You`), Eminem tries to deal with his new fame, assuming the persona of a deranged fan who kills himself and his pregnant girlfriend (mirroring ``97 Bonnie & Clyde` from The Slim Shady LP).[24] The music magazine Q called `Stan` the third-greatest rap song of all time,[52] and it was ranked tenth in a Top40-Charts.com survey.[53] The song has since been ranked 296th on Rolling Stone`s `500 Greatest Songs of All Time` list.[54] In July 2000, Eminem was the first white artist to appear on the cover of The Source.[36] The Marshall Mathers LP was certified Diamond by the RIAA in March 2011 and sold 21 million copies worldwide.[55] In 2000 Eminem also appeared in the Up in Smoke Tour with rappers Dr. Dre, Snoop Dogg, Xzibit and Ice Cube[56] and the Family Values Tour with Limp Bizkit,[57] headlining the Anger Management Tour with Papa Roach, Ludacris and Xzibit. Eminem performed with Elton John at the 43rd Grammy Awards ceremony in 2001,[58] with the Gay & Lesbian Alliance Against Defamation (GLAAD, an organization which considered Eminem`s lyrics homophobic) condemning John`s decision to perform with Eminem.[59] Entertainment Weekly placed the appearance on its end-of-decade `best-of` list: `It was the hug heard `round the world. Eminem, under fire for homophobic lyrics, shared the stage with a gay icon for a performance of `Stan` that would have been memorable in any context.`[60] On February 21, the day of the awards ceremony, GLAAD held a protest outside the Staples Center (the ceremony`s venue).[61] Eminem was also the only guest artist to appear on fellow rapper Jay-Z`s critically acclaimed album The Blueprint, producing and rapping on the song `Renegade`.[62] The Eminem Show was released in May 2002. It was another success, reaching number one on the charts and selling over 1.332 million copies during its first full week.[40] The album`s single, `Without Me`, denigrates boy bands, Limp Bizkit, Dick and Lynne Cheney, Moby and others. The Eminem Show, certified Diamond by the RIAA, examines the effects of Eminem`s rise to fame, his relationship with his wife and daughter and his status in the hip hop community, addressing an assault charge brought by a bouncer he saw kissing his wife in 2000. Although several tracks are clearly angry, Stephen Thomas Erlewine of AllMusic found The Eminem Show less inflammatory than The Marshall Mathers LP.[63] L. Brent Bozell III, who had criticized The Marshall Mathers LP for misogynistic lyrics, noted The Eminem Show`s extensive use of obscenity and called Eminem `Eminef` for the prevalence of the word `motherfucker` on the album.[64] The Eminem Show sold 27 million copies worldwide[55] and was the bestselling album of 2002. 2003–2007: Production work, Encore and musical hiatus Eminem on the Anger Management Tour in 2003 In 2003, Eminem, a lifelong fan of Tupac,[65] provided production work for three tracks on the Tupac Resurrection soundtrack.[66] He would follow this up the next year by producing 12 of the 16 tracks on Tupac`s Loyal to the Game album.[66] On December 8, 2003, the United States Secret Service said that it was `looking into` allegations that Eminem had threatened the President of the United States.[67] The cause for concern was the lyrics of `We As Americans` (`Fuck money / I don`t rap for dead presidents / I`d rather see the president dead / It`s never been said, but I set precedents`), which was later released on a bonus CD with the deluxe edition of Encore.[68] Encore, released in 2004, was another success, but not as successful as his previous albums. Its sales were partially driven by the first single, `Just Lose It`, which contained slurs directed toward Michael Jackson. On October 12, 2004, a week after the release of `Just Lose It`, Jackson phoned Steve Harvey`s radio show, The Steve Harvey Morning Show, to report his displeasure with its video (which parodies Jackson`s child molestation trial, plastic surgery and the 1984 incident when Jackson`s hair caught fire during the filming of a commercial). In the song, Eminem says, `That`s not a stab at Michael / That`s just a metaphor / I`m just psycho.` Many of Jackson`s friends and supporters spoke out against the video, including Stevie Wonder, who described it as `kicking a man while he`s down` and `bullshit`,[69] and Steve Harvey (who said, `Eminem has lost his ghetto pass. We want the pass back`).[69] The video also parodied Pee-wee Herman, MC Hammer and Madonna during her Blond Ambition period.[70] `Weird Al` Yankovic, who parodied the Eminem song `Lose Yourself` on `Couch Potato` for his 2003 album Poodle Hat, told the Chicago Sun-Times about Jackson`s protest: `Last year, Eminem forced me to halt production on the video for my `Lose Yourself` parody because he somehow thought that it would be harmful to his image or career. So the irony of this situation with Michael is not lost on me.`[71] Although Black Entertainment Television stopped playing the video, MTV announced that it would continue to air it. The Source, through CEO Raymond `Benzino` Scott, called for the video to be pulled, the song removed from the album and Eminem to apologize publicly to Jackson.[72] In 2007, Jackson and Sony bought Famous Music from Viacom, giving him the rights to songs by Eminem, Shakira, Beck and others.[73] Despite its lead single`s humorous theme, Encore explored serious subject matter with the anti-war song `Mosh`, which criticized President George W. Bush as `This weapon of mass destruction that we call our president`, with lyrics including `Fuck Bush.`[74] On October 25, 2004, a week before the 2004 US Presidential election, Eminem released the video for `Mosh` on the Internet.[75] In it, Eminem gathers an army (including rapper Lloyd Banks) of Bush-administration victims and leads them to the White House. When they break in, it is learned that they are there to register to vote; the video ends with `VOTE Tuesday November 2.` After Bush`s reelection, the video`s ending was changed to Eminem and the protesters invading the White House during a speech by the president.[76] Also in 2004 Eminem launched a satellite music channel, Shade 45, on Sirius radio,[77] which was described by his manager as `essentially a destination to get and hear things that other people aren`t playing.`[78] Eminem began his first US concert tour in three years in the summer of 2005 with the Anger Management 3 Tour, featuring 50 Cent, G-Unit, Lil Jon, D12, Obie Trice and the Alchemist, but in August he canceled the European leg of the tour, later announcing that he had entered drug rehabilitation for treatment of a `dependency on sleep medication`.[79] Meanwhile, industry insiders speculated that Eminem was considering retirement, while rumors circulated that a double album titled The Funeral would be released.[80] In July, the Detroit Free Press reported a possible final bow for Eminem as a solo performer, quoting members of his inner circle as saying that he would embrace the roles of producer and label executive.[81] A greatest hits album, Curtain Call: The Hits, was released on December 6, 2005, by Aftermath Entertainment,[82] and sold nearly 441,000 copies in the US in its first week, marking Eminem`s fourth consecutive number-one album on the Billboard Hot 200,[83] and was certified double platinum by the RIAA.[84] However, Eminem suggested that month on WKQI`s `Mojo in the Morning` show that he would be taking a break as an artist: `I`m at a point in my life right now where I feel like I don`t know where my career is going ... This is the reason that we called it `Curtain Call` because this could be the final thing. We don`t know.`[85] Proof`s (left) death in 2006 was one of the factors that caused Eminem to fall into depression during his five-year hiatus.[86] In April 2006, Proof, who was Eminem`s childhood friend, was murdered.[87] Eight months later, Eminem released a compilation album titled Eminem Presents: The Re-Up that featured Proof and other Shady Records artists. 2007–2009: Comeback and Relapse In September 2007, Eminem called New York radio station WQHT during an interview with 50 Cent, saying that he was `in limbo` and `debating` about when (or if) he would release another album: `I`m always working – I`m always in the studio. It feels good right now, the energy of the label. For a while, I didn`t want to go back to the studio ... I went through some personal things. I`m coming out of those personal things [and] it feels good.`[88] Eminem appeared on his Shade 45 Sirius channel in September 2008, saying: `Right now I`m kinda just concentrating on my own stuff, for right now and just banging out tracks and producing a lot of stuff. You know, the more I keep producing the better it seems like I get `cause I just start knowing stuff.`[89] Interscope confirmed that a new album[90] would be released in spring 2009.[91] In December 2008, Eminem provided more details about the album, entitled Relapse: `Me and Dre are back in the lab like the old days, man. Dre will end up producing the majority of the tracks on `Relapse`. We are up to our old mischievous ways ... let`s just leave it at that.`[92] According to a March 5, 2009, press release, Eminem would release two new albums that year. Relapse, the first, was released on May 19; its first single and music video, `We Made You`, had been released on April 7.[93] Although Relapse did not sell as well as Eminem`s previous albums and received mixed reviews, it was a commercial success and re-established his presence in the hip hop world. It sold more than five million copies worldwide.[94] During the 2009 MTV Movie Awards, Sacha Baron Cohen descended on the audience in an angel costume. He landed buttocks-first on Eminem, who stormed out of the ceremony; three days later, Eminem said that the stunt had been staged.[95] On October 30 he headlined at the Voodoo Experience in New Orleans, his first full performance of the year.[96] Eminem`s act included several songs from Relapse, many of his older hits and an appearance by D12. On November 19, he announced on his website that Relapse: Refill would be released on December 21. The album was a re-release of Relapse with seven bonus tracks, including `Forever` and `Taking My Ball`. Eminem described the CD: I want to deliver more material for the fans this year like I originally planned ... Hopefully, these tracks on The Refill will tide the fans over until we put out Relapse 2 next year ... I got back in with Dre and then a few more producers, including Just Blaze, and went in a completely different direction which made me start from scratch. The new tracks started to sound very different than the tracks I originally intended to be on Relapse 2, but I still want the other stuff to be heard.[97]

Multi-effects processor with incredible sounds and countless combinations. The G5n comes equipped with freshly-developed takes on not only the most-essential guitar sounds like overdrive, distortion, compression, EQ, delay, reverb, flanging, phasing, vibrato, and chorusing, but also unique multi-effects such as Seq Filter, Gold Drive, Reverse Delay, HD Hall, and OSC Echo. Ultra-realistic amp/cabinet emulation You can connect the G5n directly to a PA system or audio interface, using the 10 brand new onboard amp and cabinet emulators. Choose from 5 classic amp models like the Marshall JCM800, Fender Twin Reverb, MESA Boogie Mk3, Bogner Ecstasy Blue Channel and British 30W Class A Combo, newly and faithfully created to be adjusted exactly as you would with the knobs and switches of the real thing. Pair your amp with one of the 5 newly-created cabinet emulators to complete the sound, choosing from Marshall 1960 A-type cabinet (4x12” Celestion speakers), Fender ’65 Twin Reverb (2x12” Jensen speakers), the UK2x12 that recreates the sound of early British combo amps (2x12” Celestion speakers), Mesa Boogie Mark III cab (1x12” Celestion Black Shadow speaker), or Bogner Ecstasy cabinet (4x12” Celestion speakers). NOTE: Manufacturer names and product names are trademarks or registered trademarks of their respective owners. The names are used only to illustrate sonic characteristics and do not indicate any affiliation with the Zoom Corporation or Zoom North America. 100 custom-crafted combinations and counting To explore the wealth of possibilities that the G5n offers, Zoom continuously collaborate with inspirational, professional guitarists known for their taste and love of great guitar sounds. The G5n comes stocked with 100 newly custom-designed patches that both recreate decades of essential guitar tones—like the iconic sounds of Eddie Van Halen, Jimi Hendrix, Jimmy Page, Carlos Santana, Michael Schenker, and Brian May—and pioneer new territory with combinations exclusively created for G5n guitarists. Stand out with "Lead BGN," a modern lead sound folded into a modulated delay, or "Phazed," an intense tube amp sound through a phaser. The "UFO" patch harnesses parametric EQ in the style of the lead guitarist of the band of the same name, and then there's "DreamLand," an overdriven crunch enhanced with tape echo and hall reverb. With the free ZOOM Guitar Lab software, you can look for new effects and amp/cabinet emulators, as well as even more exclusive patches from the diverse and growing list of G5n creators, people like: Kyle Bolden (Stevie Wonder) Errol Cooney (Christina Aguilera, Stevie Wonder) Andrew Elstner (Torche, Riddle of Steel) Allen Epley (The Life and Times, Shiner) Wes Geer (Korn, hed PE) Adam Hawley (Joss Stone) Chuck Loeb (Fourplay) Richard Patrick (Filter, Army of Anyone) Jeff Schroeder (Smashing Pumpkins) Dan Spack (Volcano Choir, Group of the Altos, Collections of Colonies of Bees) Eric Struthers (Aaron Neville) Vinnie Valentino (Steve Smith & Vital Information) Craig Wedren (Shudder To Think, Baby) Easy editing Editing is simple and intuitive thanks to a unique, large overview display that allows you to quickly add, delete, or change the order of effects—something not easily accomplished with the average pedalboard. There are also four independent editing displays for zeroing in on the perfect sound, each bank providing the responsiveness and hands-on feel of a stompbox. Store up to 200 of your custom effects-chains as patches in memory, each instantly accessible at the touch of a footswitch. Powerful pedals The G5n's expression pedal gives you smooth real-time control over volume, tone, or selected effects parameters, with four stompbox-style footswitches to kick effects in and out on the fly. When you're ready to take a solo, get the bump you need with the G5n's output booster. And to synchronize rhythm patterns and delay times to the beat, just hit the G5n's dedicated Tap tempo footswitch to bring your sound in line. Complex tonalities It would take an arsenal of stompboxes, amplifiers, and speakers to duplicate everything you can do with a single G5n. Use up to nine effects and amp/cabinet models simultaneously, chained together in any order you like. It's like having hundreds of fully loaded pedalboards in one compact, easy to use device. Practice up, play out 68 built-in rhythm patterns make the G5n the perfect practice rig and enable "one-man band" performances. An onboard Looper (which can be used with the rhythm patterns) allows you to record and overdub phrases up to 80 seconds long through the effects of your choice. Plus there's a built-in chromatic tuner, always accessible at the touch of a footswitch—you can bypass the currently selected patch while tuning, or mute the signal altogether. The ins and outs The G5n can be easily integrated into any live performance or studio rig. In addition to a standard guitar input, there's an auxiliary stereo input for the connection of smartphones or music players, plus a dedicated headphone jack for silent practice and dual outputs for mono or stereo L/R connection to guitar amps, PA systems, and audio interfaces. ZOOM Guitar Lab software Use the free ZOOM Guitar Lab Mac/Windows software to instantly download new patches, effects, and amp/cabinet simulators. It includes both a Patch Manager for effects chains and an Effects Manager, with a simple graphic user interface that provides point-and-click control over tweaking, building, and naming your custom patches. State of the art editing with every G5n The Zoom G5n comes with a free download license for Steinberg’s Cubase LE music production software, providing not just the ability to create incredible guitar sounds in every box, but to do spectacular things with it. Take your recordings to a more professional level. Steinberg’s powerful and state-of-the-art audio software used by creators around the world now comes with every Zoom G3, G3X, G5, and G5n purchase. Currently shipping with: Cubase LE8 for Mac OS X 10.9/10.10 and Windows 7/8/8. Specs Effect types: 78 (68 DSP effects, 5 amp emulators, 5 cabinet simulators) Number of simultaneous effects: 9 Number of user banks/patches: 200 Sampling frequency: 44.1 kHz A/D conversion: 24-bit with 128x oversampling D/A conversion: 24-bit with 128x oversampling Signal processing: 32-bit Frequency characteristics: 20 – 20 kHz +1 dB, -3 dB (10 kΩ load) Display: 128 x 32 dot-matrix LCD (x4), 256 x 32 dot-matrix LCD Inputs INPUT: Standard monaural phone jack, Rated input level: -20 dBu*, Input impedance(line): 470 kΩ AUX IN: Stereo mini jack, Rated input level: -10 dBu*, Input impedance(line) : 10 kΩ Outputs L/R: Standard monaural phone jack x 2 Maximum output level: Line +5 dBu* (with output load impedance of 10 kΩ or more) Phone: Stereo mini jack Maximum output level: 20 mW + 20 mW (into 32 Ω load) Equivalent input noise: -119 dBu* Noise floor (residual noise): -101 dBm Control input: Zoom FP01/FP02 Power: AC adapter DC9V (center minus plug), 500 mA USB: USB Audio Dimensions: 225 mm (D) X 454 mm (W) X 75 mm (H) Weight: 3.4 kg FEATURES 68 onboard high-quality digital effects, including distortion, overdrive, EQ, compression, delay, reverb, flanging, phasing, and chorusing 5 new amp emulators plus 5 cabinet emulators 100 custom-designed factory patches Free ZOOM Guitar Lab Mac/Windows software allows downloading of additional effects and patches Use up to 9 effects simultaneously, chained together in any order 4 stompbox switches allow effects to instantly be brought in and out Built-in expression pedal for real-time control over volume, tone, or selected effect parameters High output booster circuit for added volume and overdrive Intuitive user interface Ultra-fast (1.6 ms) patch change speed 4 independent editing displays, plus large overview display Auto Save function for automatic saving of all patch parameters Onboard chromatic tuner with dedicated footswitch supports all standard guitar tunings, including open and drop tunings Tuner range of 435 - 445 Hz Stereo/mono Looper allows recording of up to 80 seconds of phrase recording 68 built-in rhythm patterns that can be used in conjunction with the Looper Tap Tempo with dedicated footswitch Input jack accepts standard guitar cable Auxiliary stereo input jack for connection of smartphones and music players Dual output jacks for connection to guitar amps and mono or stereo PA systems Dedicated stereo headphone output Control input for external footpedal USB port for firmware updating and patch/effects downloading Use as a USB audio interface for Mac/Windows computers, with direct zero-latency monitoring of input signal Included AC adapter Included Accessories Operation manual Zoom AD-16 AC adapter

Energizer using 12AX7 tube Giving body to the guitar sound and adding supple power and intensity - that is the task of the Energizer. Turning up the TUBE control to drive the 12AX7 produces warm crunch with rich harmonics. The BOOST control spruces up highs and lows, resulting in more transparency. Enjoy a powerful tone also when recording directly to a line input or via USB on a computer. ZFX-3 — a 32-bit DSP designed by ZOOM The heart of any multi-effect device is its processor and decoder section. ZOOM has started a fresh chapter with its new ZFX-3 chip. The 32-bit architecture ensures outstanding performance and allows smooth and detailed signal processing. Accuracy and speed ensure that even delicate picking and fingering work come across with impressive clarity. DSP sound modeling plus tube circuitry create the ultimate in distortion 96 kHz sampling and 24-bit A/D/A conversion assure super high resolution sound. An abundance of signal processing power allows accurate recreation of the complex upper-range harmonics that are the hallmark of tube amplifiers. Analog circuitry using a 12AX7 tube then adds that classic warmth and sonic impact to the DSP sound. The result combines the best of the digital and analog worlds: distortion so advanced and sophisticated it elevates your guitar playing to the next level. Preamp section with two channels The preamp section, comprised of the amp/drive-modeling, and EQ modules offers two channels per patch. You can easily select a channel by simple foot switch operation. Toggle between a Fender clean sound for rhythm and a Marshall drive sound for lead, while keeping modulation and spatial effect settings the same. The user interface with analog knobs lets you shape the sound with the same facility as on a guitar amp. Great for stage work or direct recording The amp/drive-modeling blocks have two dedicated algorithms for each amp/drive type, designed for live playing and direct recording. The CABINET effect simulates amp and mic recording characteristics as well, and the algorithm is automatically switched according to the CABINET on/off setting.This lets you bring the same guitar sound that you used during practice or recording right on to the stage. Alternatively, sound settings that were determined during a session with the band can be used seamlessly in the studio as well. Amp select feature This function optimizes frequency response to match the amp that you are using. Settings are available to get the best out of popular models such as Roland JC-120, a Fender combo, and a Marshall stack. The -10 dBm/+4 dBm output level switch allows the G9.2tt to be used as a preamp, directly connected to the power amp input of a guitar amplifier. 6-band graphic equalizer The built-in EQ module has six frequency bands optimized for electric guitar. Peaking type filters in the crucial middle range (400 Hz, 800 Hz, 3. 2 kHz, 6.4 kHz) are augmented by shelving type filters at the low and high end (160 Hz and 12 kHz). This ensures the shortest possible route from inspiration to actual sound. Guitar amplifier/stomp box modeling Analog devices such as tubes and diodes have unique clipping characteristics. Sophisticated digital simulation finally makes it possible to recreate the sound of vintage tube amps and effect devices with astonishing realism. From popular names such as Fender, Marshall, and VOX to modern amps including MESA BOOGIE, Hughes & Kettner, and Diezel - the list of choices is extensive. The cabinet simulator even has settings for mic position, to achieve totally natural sounding performance. 32-bit processing for a wide choice of high-quality guitar sound effects Ranging from trusty old standards to advanced choices for specialized needs, the effect collection of the G9.2tt comprises 120 effects in 10 modules. Pick an MXR Dynacomp, famous for its unusual compression action, or select wah pedal simulations such as VOX and CRYBABY. Choose from three types of chorus for creating a solid, wide sound stage. Access seven types of reverb with transparent, unblurred sound. And the list goes on: tremolo with selectable modulation waveform, bend chorus with individual pitch bending, harmonized pitch shifter, multi-tap delay even reverse delay. These professional quality effects will fuel the creativity of every guitarist. The preamp section and wah/filter effects allow changing the module insert position for even more advanced tonal control. Preset patches ready to use for recording or live performance Whether you are after a true-blue vintage tone or fat high-gain sound, you will find a choice here. There are settings that accurately simulate well-known amps and stomp boxes, settings that are modeled on the signature sound of famous guitarists, as well as totally original ZOOM effect sounds. The past and the future of guitar sound is right there at your fingertips. The G9.2tt comes preprogrammed with a total of 80 preset patches. For creative leeway, a user area capable of storing the same number of patches is also provided. Intuitive interface great for stage use Each of the four analog style rotary knobs let you directly edit parameters on-the-fly, a total of four simultaneously. The LCD panel clearly shows patch and parameter names. Direct access keys are provided for each module. The advanced user interface is designed to ensure hassle-free operation, while not getting in the way of your creativity. On stage, the foot switches allows easy effect bank selection, module and hold delay on/off switching or tap tempo input. The self-lit switches show module status at a glance. Real-time modulation for 4 simultaneous parameters fosters lively playing The built-in expression pedal allows control over effect parameters in realtime. Common pedal effects such as wah, pitch, and volume control are ofcourse supported, but you can also opt to adjust drive gain, modulationrate, delay/reverb mix level, and other parameters. Up to four parameterscan be assigned to a single pedal, allowing dramatic techniques such asraising the chorus, delay, and reverb at the same time. Create a rotary speaker style sound by varying tremolo, chorus, and auto-panning rate. Also,the ARRM (Auto Repeat Real-time Modulation) function is capable of producingrhythmical tone changes, opening up a wealth of possibilities. World's fastest patch change speed: 7 ms Switching patches has never been smoother or less noticeable. With its record-setting speed of 0.007 seconds (7ms), the G series never miss a beat.When changing to a lead preset in the middle a song, you no longer need to press the switch in advance, simply push the foot switch and start playing your solo. Built-in tuner supports special tuning requirements The guitar tuner can be called up instantly by pushing a dedicated footswitch. In addition to the standard auto-chromatic tuner, various othertuning methods for guitar and bass are possible, and open tunings are alsosupported. High-brightness LED indicators make the note readout easy to seeon a dark stage. The calibration range is A 435 to 445 Hz, and muted tuning(without sound output) is also possible. Tuning your guitar has never been easier or more convenient ZNR keeps playing pauses really quiet The built-in ZOOM Noise Reduction (ZNR) provides optimized signal performance for guitar. While minimizing any alteration of the original sound, ZNR cuts unwanted noise during pauses. Tails of sustained notes remain unaffected, with a long natural release. Ultra low noise design with 120 dB S/N ratio and -100 dB noise floor With an amazing rated signal-to-noise ratio of 120 dB and a -100 dB noise floor, background noise ceases to be a problem, leaving only superbly clean, transparent sound. Sturdy metal chassis and rubber damping for superior toughness and durability The combination of a solid metal chassis with shock-absorbant rubber damping ensures that the unit can stand up to the rigors of on stage use. Take it on the road or bring it into the studio, the G9.2tt will not let you down. And it looks great, too, the stylish two-tone coloring using silver and black, rounded shape, and chrome-plated parts give the unit a high-class, futuristic appearance. USB based audio interface functions The USB port allows the unit to function as an audio interface for a computer. Simply plug the unit in to your computer with a USB cable to use the high-quality sound of the G9.2tt in a computer-based recording system. The high-performance DAW application "Cubase LE" comes bundled with the unit, so you can start creating sophisticated music straight away. Because playback from the DAW application can be monitored at the unit itself, there are no latency problems during recording. Supported OS: Windows XP / Mac OS X 10.2 or later * Steinberg and Cubase are registered trademarks of Steinberg Media Technologies GmbH. * For details about the bundled software "Cubase LE". --> Click Here MIDI IN/OUT jacks allow linking to other equipment The ability to exchange MIDI data with other devices opens up a wealth of possibilities. You can switch patches in conjunction with a MIDI enabled preamp, or use the unit as a real-time controller for other MIDI equipment. By connecting the MIDI interface to a computer, you may use a dedicated editor/librarian application to edit and store patch data. AUX IN jacks accommodate external sources The playback signal from external sources can be plugged-into the AUX input. Jam along with a rhythm machine, external CD or mp3 player. You may also utilize the connectors as a stereo line input to record audio into your computer via the USB interface. Accelerator blends tube and solid state sound The analog input section incorporates an Accelerator that can amplify the signal in a tube or a solid-state based circuit. The 12AX7 tube produces fat, sturdy sound that can be mixed with the clear and transparent sound from the solid-state circuit. Blending natural compression with typical tube saturation characteristics creates a rich, organic tone. Z-pedal takes pedal performance to the next level The pedal on the right side of the G9.2tt supports 3D action by sensing not only conventional up/down but also sideways movement. The Z-pedal lets you build highly complex sound control patterns by allowing you to assign up to four parameters in each axis of pedal movement (vertical and horizontal). There are also effects specifically designed for use with the Z-pedal. Get creative in ways never imagined before, and explore a whole new realm of pedal performance. < RECOMMENDED SETTING OF Z PEDAL > VERTICAL PARAMETER HORIZONTAL PARAMETER WAH DRIVE GAIN WAH PITCH SHIFT MODULATION RATE CROSS-FADE OF ORIGINAL/EFFECT SOUND DELAY TIME DELAY FEEDBACK DELAY/REVERB MIX DELAY/REVERB PAN OSCILLATOR PITCH OSCILLATOR VIBRATO FORMANT SHIFT(o - a) FORMANT SHIFT(a - i) External send/return loop connectors A separate stomp box, rack-mount effect or other device can be connected to the G9.2tt's effects loop and used as part of a patch. Send/return level as well as on/off status are stored as part of the patch. Find new uses for your favorite pedals and spark your creativity in a variety of unexpected ways. EFFECT LIST COMP module Compressor Rack Comp Limiter WAH/EFX1 module Auto Wah Tremolo Ring Modulator Crybaby Wah Octave Auto Resonance Phaser Slow Attack Multi Wah Booster Fixed Phaser Vox Wah Pedal Resonance EXT LOOP module External Loop ZNR Module ZNR Noise Gate Dirty Gate PRE AMP module FD Clean HW Clean Tweed Bass Z Combo MS Drive Rect Modern HK Drive DZ Drive Z Stack Centaur DS-1 Fuzz Face TS+F Combo Z OD Z Clean VX Clean UK Blues BG Crunch MS #1959 Rect Clean HK Clean DZ Clean ENGL Drive Over Drive Guv'nor dist+ Big Muff SD+M Stack Extreme DS Acoustic Sim. JC Clean US Blues VX Crunch MS Crunch Rect Vintage HK Crunch DZ Crunch PV Drive TS808 RAT Hot Box Metal Zone FZ+M Stack Digi Fuzz EQ module 6 Band Equalizer CABINET module Cabinet Sim. MOD/EFX2 module Chorus Modulation Delay Pedal Pitch Delay Dynamic Flanger Pedal Mono Pitch Bend Chorus Stereo Chorus Flanger Vibrato Tape Echo Mono Pitch Cry Comb Filter Chorus Ensemble Pitch Shifter Step Dynamic Delay Harmonized Pitch Reverse Delay Air DELAY module Delay Ping Pong Echo Air Ping Pong Delay Analog Delay Echo Reverse Delay REVERB module Hall Arena Early Reflection Ping Pong Delay Room Tiled Room Multi Tap Delay Ping Pong Echo Spring Modern Spring Pan Delay Auto Pan For Z-Pedal Z-Delay Z-MonoPitch Z-Step X-Flanger X-Vibe Z-Dimension Z-Oscillator Z-Talking X-Phaser X-Wah Z-Echo Z-Pitch Z-Tornado X-Step 32-bit ZFX-3 processor 96kHz sampling rate / 24-Bit A/D/D/A converters World's fastest patch change speed: 7ms 106 effects / 10 modules Two 12AX7 tubes for natural overdrive/compression and drive/volume Dual Expression pedals 3D Z-Pedal allows for multi-dimensional parameter control USB interface for connecting directly to a computer Steinberg Cubase LE software bundled Remote Patch Editor/Librarian available G9.2tt Specifications Effect Types: 120 Effect Modules: 10 Maximum Simultaneous Effects: 10 Patch Memory: User 100+Preset 100, Total 200 Sampling Frequency: 96kHz A/D Conversion: 24bit, 64times over-sampling D/A Conversion: 24bit, 128times over-sampling Signal Processing: 32bit Frequency Response: 20Hz-40kHz+1.0dB, -3.0dB(10kohm load) Guitar Input: 1/4" phone jack(Rated input level: -10dBm, Input impedance: 1Mohm) AUX Input: 1/8" stereo phone jack(Rated input level: -10dBm, Input impedance: 10kohm) External Return: 1/4" phone jack(Rated input level: -10dBm / +4dBm) Line Output(L/MONO, R): 2 x 1/4" phone jack(Rated output level: -10dBm / +4dBm, Maximum output level: +19dBm, Output load impedance: 10kohm or more, Output Impedance: 1kohm or less) Headphone Output: 1/4" stereo phone jack(Rated output: 60mW / 32ohm load, 20mW / 300ohm load, Output impedance: 47kohm) External Send: 1/4" phone jack(Rated output level: -10dBm / +4dBm) Tube Circuitry: 2 x 12AX7 MIDI: IN/OUT USB Interface: 16bit, 32kHz / 44.1kHz/48kHz Display: 2digit 7segment LED, backlit LCD Power Requirements: 15V AC, 1.5A Dimensions: 595(W)x 235(D)x 85(H)mm Weight: 5.5kg Supplied Accessory: AC adaptor(AD-0012) * 0dBm=0.775Vrms

Furnished with studio-class 24-bit / 192 kHz conversion, the Apollo Solo USB gives musicians, producers, and songwriters the appreciable value of high-resolution recording and mixing with distortion and dynamic performance beyond its price point. The interface features two XLR-1/4" mic/line combo inputs and a 1/4" Hi-Z input, all with Unison integration for precise UAD emulations of classic analog preamps. Impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each analog input, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo Solo USB's face. It offers a dedicated stereo monitor feed and a front-panel headphone output, plus full input and output metering capabilities. The built-in SOLO Core processing allows you to monitor and record audio using classic analog emulations with near-zero latency. The plug-in bundle included with the Heritage Edition empowers you with 25 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps and time-based processors. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Please note, the Apollo Solo USB requires an external power supply (included) and a USB 3.0 port on your computer in order to operate. To see if your computer is compatible with the Apollo Solo USB, refer to the manufacturer website for compatibility information. Heritage Edition The Heritage Edition features the same Apollo Solo USB interface found in the standard edition but with more plug-ins. The standard Apollo Solo USB includes the Realtime Analog Classics bundle (14 plug-ins) and the Heritage Edition adds 11 more plug-ins for a total of 25 revered UA powered plug-ins. UA Sound in a Portable Form Track, overdub, and mix with high-resolution AD/DA conversion and DSP-powered plug-ins UAD-2 SOLO Core processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps, with near-zero latency, and no burden on your computer’s CPU Unison technology nails the tone of sought-after tube and solid-state mic pres by matching the input impedance, gain-stage sweet spots, and component-level circuit behaviors of the original hardware High-speed USB 3.0 Type-C connectivity Windows computers (USB SuperSpeed cable available separately) Convenient desktop form factor with an external power supply Comprehensive front-panel metering and fast, intuitive controls; no menu-diving is required Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Home Studio 2x4 audio interface with two Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency One front-panel Unison-enabled 1/4" Hi-Z input for direct connection of a guitar, bass, or keyboard Stereo 1/4" monitor output and one 1/4" headphone output, each with dedicated level control 25 Powered Plug-Ins Includes Realtime Analog Classics plug-in bundle plus 11 additional plug-ins to complete the compressor, EQ, and preamp collections and provide another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Raw Distortion Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler Universal Audio Apollo Solo Specs Form Factor Tabletop Display 5 x Multi-Segment LED Meter Channels of I/O Analog: 2 Inputs / 4 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 2 Input Level Adjustment 1 x Knob Solo/Mute None Pad Mic: -20 dB (Switchable per Channel) High-Pass Filter 75 Hz, 12 dB/Octave Expansion Slots None Connectivity Analog Audio I/O 2 x Combo XLR-1/4" TRS Balanced Mic/Line Input 1 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 2 x 1/4" TRS Balanced Monitor Output 1 x 1/4" TRS Unbalanced Headphone Output (Front Panel) Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O None Host Connection / USB 1 x USB Type-C (USB 3.0 / 3.1 Gen 1) USB (Non-Host) None Sync I/O None Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response System: 20 Hz to 20 kHz ±0.1 dB Gain/Trim Range Mic/Line/Hi-Z Inputs: +10 dB to +65 dB Max Input Level Mic Inputs: +25.2 dBu (Min Gain, with Pad) Line Inputs: +20.7 dBu Hi-Z Inputs: +12.5 dBu (Min Gain) Max Output Level Monitor Outputs: +20.7 dBu Headphone Output Power 240 mW into 32 Ohms 62 mW into 300 Ohms Impedance Mic Inputs: 5.5 Kilohms Line Inputs: 10 Kilohms Hi-Z Inputs: 1 Megohm Monitor Outputs: 100 Ohms Dynamic Range Mic/Line/Hi-Z Inputs: 118 dBA Monitor Outputs: 115 dBA Headphone Outputs: 115 dBA (600-Ohm Load) THD+N Mic Inputs: -108 dBFS Line Inputs: -107 dBFS Hi-Z Inputs: -105 dBFS Monitor Outputs: -106 dBFS Headphone Outputs: -97 dB (600-Ohm Load) -88 dB (32-Ohm Load) Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources Internal Compatibility OS Compatibility Windows 10 (64-Bit Only) Included Software None Supported Drivers/API & Plug-Ins Windows Driver Downloadable from Manufacturer Processor Requirement PC: Intel Core i3 Intel Xeon Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available USB 3.0 / 3.1 Gen 1 Port USB Cable (Not Included) Internet Connection Required for Registration, Software/Driver Download, Plug-In Authorization Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC, Center-Positive (Included) Power Consumption 10 W Physical Operating Humidity 20 to 80% Operating Temperature 32 to 95°F / 0 to 35°C Storage Temperature -40 to 176°F / -40 to 80°C Dimensions 7.1 x 4.8 x 1.8" / 18.03 x 12.19 x 4.57 cm Weight 1.4 lb / 0.6 kg Packaging Info Package Weight 3.255 lb Box Dimensions (LxWxH) 8.5 x 6.4 x 4.6"

Furnished with studio-class 24-bit / 192 kHz conversion, the Apollo Solo USB gives musicians, producers, and songwriters the appreciable value of high-resolution recording and mixing with distortion and dynamic performance beyond its price point. The interface features two XLR-1/4" mic/line combo inputs and a 1/4" Hi-Z input, all with Unison integration for precise UAD emulations of classic analog preamps. Impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each analog input, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo Solo USB's face. It offers a dedicated stereo monitor feed and a front-panel headphone output, plus full input and output metering capabilities. The built-in SOLO Core processing allows you to monitor and record audio using classic analog emulations with near-zero latency. The plug-in bundle included with the Heritage Edition empowers you with 25 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps and time-based processors. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Please note, the Apollo Solo USB requires an external power supply (included) and a USB 3.0 port on your computer in order to operate. To see if your computer is compatible with the Apollo Solo USB, refer to the manufacturer website for compatibility information. Heritage Edition The Heritage Edition features the same Apollo Solo USB interface found in the standard edition but with more plug-ins. The standard Apollo Solo USB includes the Realtime Analog Classics bundle (14 plug-ins) and the Heritage Edition adds 11 more plug-ins for a total of 25 revered UA powered plug-ins. UA Sound in a Portable Form Track, overdub, and mix with high-resolution AD/DA conversion and DSP-powered plug-ins UAD-2 SOLO Core processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps, with near-zero latency, and no burden on your computer’s CPU Unison technology nails the tone of sought-after tube and solid-state mic pres by matching the input impedance, gain-stage sweet spots, and component-level circuit behaviors of the original hardware High-speed USB 3.0 Type-C connectivity Windows computers (USB SuperSpeed cable available separately) Convenient desktop form factor with an external power supply Comprehensive front-panel metering and fast, intuitive controls; no menu-diving is required Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Home Studio 2x4 audio interface with two Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency One front-panel Unison-enabled 1/4" Hi-Z input for direct connection of a guitar, bass, or keyboard Stereo 1/4" monitor output and one 1/4" headphone output, each with dedicated level control 25 Powered Plug-Ins Includes Realtime Analog Classics plug-in bundle plus 11 additional plug-ins to complete the compressor, EQ, and preamp collections and provide another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Raw Distortion Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler Universal Audio Apollo Solo Specs Form Factor Tabletop Display 5 x Multi-Segment LED Meter Channels of I/O Analog: 2 Inputs / 4 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 2 Input Level Adjustment 1 x Knob Solo/Mute None Pad Mic: -20 dB (Switchable per Channel) High-Pass Filter 75 Hz, 12 dB/Octave Expansion Slots None Connectivity Analog Audio I/O 2 x Combo XLR-1/4" TRS Balanced Mic/Line Input 1 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 2 x 1/4" TRS Balanced Monitor Output 1 x 1/4" TRS Unbalanced Headphone Output (Front Panel) Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O None Host Connection / USB 1 x USB Type-C (USB 3.0 / 3.1 Gen 1) USB (Non-Host) None Sync I/O None Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response System: 20 Hz to 20 kHz ±0.1 dB Gain/Trim Range Mic/Line/Hi-Z Inputs: +10 dB to +65 dB Max Input Level Mic Inputs: +25.2 dBu (Min Gain, with Pad) Line Inputs: +20.7 dBu Hi-Z Inputs: +12.5 dBu (Min Gain) Max Output Level Monitor Outputs: +20.7 dBu Headphone Output Power 240 mW into 32 Ohms 62 mW into 300 Ohms Impedance Mic Inputs: 5.5 Kilohms Line Inputs: 10 Kilohms Hi-Z Inputs: 1 Megohm Monitor Outputs: 100 Ohms Dynamic Range Mic/Line/Hi-Z Inputs: 118 dBA Monitor Outputs: 115 dBA Headphone Outputs: 115 dBA (600-Ohm Load) THD+N Mic Inputs: -108 dBFS Line Inputs: -107 dBFS Hi-Z Inputs: -105 dBFS Monitor Outputs: -106 dBFS Headphone Outputs: -97 dB (600-Ohm Load) -88 dB (32-Ohm Load) Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources Internal Compatibility OS Compatibility Windows 10 (64-Bit Only) Included Software None Supported Drivers/API & Plug-Ins Windows Driver Downloadable from Manufacturer Processor Requirement PC: Intel Core i3 Intel Xeon Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available USB 3.0 / 3.1 Gen 1 Port USB Cable (Not Included) Internet Connection Required for Registration, Software/Driver Download, Plug-In Authorization Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC, Center-Positive (Included) Power Consumption 10 W Physical Operating Humidity 20 to 80% Operating Temperature 32 to 95°F / 0 to 35°C Storage Temperature -40 to 176°F / -40 to 80°C Dimensions 7.1 x 4.8 x 1.8" / 18.03 x 12.19 x 4.57 cm Weight 1.4 lb / 0.6 kg Packaging Info Package Weight 3.255 lb Box Dimensions (LxWxH) 8.5 x 6.4 x 4.6"

Furnished with Universal Audio's flagship 24-bit / 192 kHz conversion, the Apollo x16 gives engineers in commercial recording studios, concert tours, and postproduction facilities the confidence of recording and mixing with detailed imaging, unbelievably low distortion (-129 dB), and unmatched dynamic range (133 dB). Additionally, its switchable headroom setting facilitates proper level-matching with large-format consoles and a variety of boutique and pro-level audio equipment. The interface features 16 balanced analog line-level inputs and outputs on DB25 connectors, perfect for patching in external mic preamps and custom signal chains or hooking up to a bunch of channels on a classic analog mixing board. You also get a pair of XLR monitor outputs and stereo AES/EBU I/O, which can be utilized when you need to connect a dedicated feed to a mastering system or if you wish to incorporate alternative stereo converters. Utilize the BNC wordclock input and output jacks to accurately clock to house sync or lock other digital equipment to the Apollo x16. The built-in HEXA Core processing utilizes six DSP chips, granting 50% more DSP than earlier Apollos and the ability to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 34 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps, time-based processors, and tape emulation. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units support. The Apollo x16 offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls as well as full input and output metering capabilities. In addition to the dedicated stereo XLR monitor output, the 16 line outputs can feed alternate monitors and outboard processors. In fact, the Apollo x16 is capable of acting as a 7.1 surround sound monitor controller. At any point, you can increase the power and capability of the Apollo x16 through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo x16. The two Thunderbolt 3 ports are backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo x16 interface found in the standard edition but with more plug-ins. The standard Apollo x16 includes the Realtime Analog Classics Plus bundle (16 plug-ins), and the Heritage Edition adds 18 more plug-ins for a total of 34 revered UA-powered plug-ins. The Power of Apollo X Track, overdub, and mix with UA's flagship AD/DA conversion and DSP-powered plug-ins Dual-Crystal clocking features dedicated crystals for 44.1 / 88.2 / 176.4 kHz and 48 / 96 / 192 kHz sample rates, resulting in stunningly low jitter (under 10 picoseconds) for pure, artifact-free recordings and solid stereo imaging HEXA Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps, with near-zero latency and 50% more DSP than earlier Apollos, and with no burden on your computer's CPU Two high-speed Thunderbolt 3 ports for connectivity with Mac and Windows computers (Thunderbolt cable available separately) 1 RU rackmount form factor with reliable AC powering (secure locking external power supply included) Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Commercial Studio 18x20 audio interface with 16 balanced analog line-level inputs and outputs via DB25 multipin connectors Stereo XLR monitor output with level control Selectable operating level of +20 dBu or +24 dBu for out-of-the-box compatibility with professional mixing consoles and other high-end pro audio equipment Stereo AES/EBU input and output on XLR jacks, ideal for interconnecting mastering converters BNC wordclock I/O with selectable 75-ohm termination, crucial for accurate synchronization with other digital equipment Workflow-Enhancing Features Built-in multichannel monitor controller with assignable dim or mono mode, works with main, alt, or even 7.1 surround sound speaker setups Integrated talkback and cues for easy communication and slate functionality Extensive front-panel metering and indication Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Backward-compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 34 Powered Plug-Ins Includes Realtime Analog Classics Plus plug-in bundle plus 18 additional plug-ins to complete the compressor, EQ, and preamp collections and provide tape emulation and another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Teletronix LA-3A Audio Leveler Helios Type 69 Preamp and EQ Collection (Helios Type 69 and Helios Type 69 Legacy) V76 Preamplifier Raw Distortion Fairchild 670 Compressor (Legacy) Fairchild Tube Limiter Collection (Fairchild 660 and Fairchild 670) Precision Enhancer Hz Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler UA Oxide Tape Recorder Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo x16 becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA instruments and extensions such as Studer Multitrack Tape and Neve Summing Universal Audio Apollo X16 Specs Form Factor Rackmount Display 18 x Multi-Segment LED Meter Channels of I/O Analog: 16 Inputs / 18 Outputs at 192 kHz Digital: 2 Inputs / 2 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps None Solo/Mute Mute per Master Pad None High-Pass Filter None Expansion Slots None Connectivity Analog Audio I/O 2 x DB-25 25-Pin Balanced Line/8-Channel Input 2 x DB-25 25-Pin Balanced Line/8-Channel Output 2 x XLR 3-Pin Balanced Monitor Output Phantom Power None Digital Audio I/O 1 x XLR 3-Pin AES3 Input 1 x XLR 3-Pin AES3 Output Host Connection / USB 1 x USB Type-C (Thunderbolt 3) USB (Non-Host) None Sync I/O 1 x BNC Word Clock Input 1 x BNC Word Clock Output Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Line Inputs: 20 Hz to 20 kHz ±0.05 dB Line Outputs: 20 Hz to 20 kHz ±0.02 dB Monitor Outputs: 20 Hz to 20 kHz ±0.2 dB Max Input Level Line Inputs: +24 dBu (Balanced, +4 dBu) +6.2 dBV (Balanced, -10 dBV) Max Output Level Line/Monitor Outputs: +24 dBu (+4 dBu) +10 dBV (-10 dBV) Impedance Line Inputs: 10 Kilohms Line/Monitor Outputs: 100 Ohms Word Clock : 75 Ohms Dynamic Range Line Inputs: 124 dBA Line Outputs: 127 dBA Monitor Outputs: 133 dBA THD+N Line Inputs: -115 dB / 0.00018% (1 kHz, +23 dBu Input) Line Outputs: -123 dB / 0.000068% (1 kHz, at -1 dBFS) Monitor Outputs: -129 dB / 0.000037% (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources AES3, Internal, Word Clock Clocking Word Clock: Input Termination: 75 Ohms (Switchable) Lock Range: 44.1 to 192 kHz ±4% of Sample Rate Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt Cable (Not Included) Internet Connection Required for Registration and Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC at 6 A (Included) Power Consumption 30 W (Typical) 72 W (Maximum) Physical Rackmount Size 1 RU Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 19 x 13.5 x 1.8" / 48.3 x 34.3 x 4.6 cm (Including Controls and Protrusions) Weight 9.0 lb / 4.1 kg Packaging Info Package Weight 16.24 lb Box Dimensions (LxWxH) 23.5 x 17 x 7.9"

Furnished with elite-class 24-bit / 192 kHz conversion akin to the popular Apollo X rackmount interfaces, the Apollo Twin X QUAD gives musicians, producers, songwriters, and audio engineers the appreciable value of crystal-clear, high-resolution recording and mixing with low distortion (-117 dB) and immense dynamic range (127 dB). The interface features two XLR-1/4" mic/line combo inputs and a 1/4" Hi-Z input, all with Unison integration for precise UAD emulations of classic analog preamps—impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each analog input, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo Twin X QUAD's face. In addition to the two primary analog inputs, you can record up to eight more channels by connecting external preamps with ADAT or S/PDIF optical outputs to the TOSLINK optical input port on the Apollo Twin X QUAD. The built-in QUAD Core processing allows you to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 25 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps and time-based processors. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units plug-in support. The Apollo Twin X QUAD offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for Alt Speakers, Dim, and Mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and front-panel headphone output, two 1/4" line outputs are available for connection to a second set of monitors. At any point, you can increase the power and capability of the Apollo Twin X QUAD through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo Twin X QUAD. The Thunderbolt 3 port is backward-compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo Twin X QUAD interface found in the standard edition but with more plug-ins. The standard Apollo Twin X QUAD includes the Realtime Analog Classics bundle (14 plug-ins), and the Heritage Edition adds 11 more for a total of 25 revered UA-powered plug-ins. The Power of Apollo Track, overdub, and mix with high-resolution AD/DA conversion and DSP-powered plug-ins QUAD Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps with near-zero latency and no burden on your computer’s CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware High-speed Thunderbolt 3 connectivity for Mac and Windows computers (Thunderbolt cable available separately) Convenient desktop form factor with reliable AC powering (external power supply included) Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Studio 10x6 audio interface with two Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency One front-panel, Unison-enabled 1/4" Hi-Z input for direct connection of a guitar, bass, or keyboard Stereo 1/4" monitor output and one 1/4" headphone output, each with dedicated level control Two additional 1/4" line-level outputs, may be used for alternate monitor outputs Add up to eight extra input channels via one TOSLINK optical ADAT port (may alternatively be used for stereo S/PDIF) Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Expand your studio with an Apollo X rackmount unit (available separately), so you can use your Apollo Twin X QUAD as a desktop monitor controller with additional I/O and DSP power Backward-compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 25 Powered Plug-Ins Includes Realtime Analog Classics plug-in bundle plus 11 additional plug-ins to complete the compressor, EQ, and preamp collections and provide another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Raw Distortion Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo Twin X QUAD becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA Instruments and Extensions such as Studer multitrack tape and Neve Summing Universal Audio Apollo Twin X Quad Specs Form Factor Tabletop Display 5 x Multi-Segment LED Meter Channels of I/O Analog: 2 Inputs / 6 Outputs at 192 kHz Digital: 8 Inputs / 0 Outputs at 48 kHz 4 Inputs / 0 Outputs at 96 kHz 2 Inputs / 0 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 2 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz Expansion Slots None Connectivity Analog Audio I/O 2 x Combo XLR-1/4" TRS Balanced/Unbalanced Mic/Line Input 1 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 2 x 1/4" TRS Balanced/Unbalanced Monitor Output 2 x 1/4" TRS Balanced/Unbalanced Line Output 1 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 1 x TOSLINK Optical ADAT / S/PDIF Input (S/MUX4 Support) Host Connection / USB 1 x Thunderbolt/MDP (Thunderbolt 3) USB (Non-Host) None Sync I/O None Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic, Line, Hi-Z Inputs: 20 Hz to 20 kHz ±0.05 dB Line Outputs: 20 Hz to 20 kHz ±0.05 dB Headphone, Monitor Outputs: 20 Hz to 20 kHz ±0.1 dB Gain/Trim Range Mic/Line/Hi-Z Inputs: +10 dB to +65 dB Max Input Level Mic Inputs: 25.6 dBu (with Pad) Hi-Z Inputs: 12.2 dBu (Min Gain) Line Inputs: 20.2 dBu (Min Gain) Max Output Level Line/Monitor Outputs: 20.2 dBu Headphone Output Power 96 mW into 300 Ohms (Max) Impedance Mic Inputs: 5.5 Kilohms Hi-Z Inputs: 1 Megohm Line Inputs: 10 Kilohms Line Outputs: 100 Ohms Monitor Outputs: 100 Ohms Dynamic Range Mic Inputs: 123 dBA Hi-Z Inputs: 121 dBA Line Inputs: 122 dBA Line Outputs: 126 dBA Monitor Outputs: 127 dBA Headphone Outputs: 124 dBA THD+N Mic Inputs: -115 dB (1 kHz, at -1 dBFS) Hi-Z Inputs: -108 dB (1 kHz, at -1 dBFS) Line Inputs: -114 dB (1 kHz, at -1 dBFS) Line Outputs: -117 dB (1 kHz, at -1 dBFS) Monitor Outputs: -117 dB Headphone Outputs: -98 dB (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz (AD/DA Conversion) Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt 3 Cable (Not Included) Internet Connection Required for Registration, Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC, Center-Positive (Included) Power Consumption 15 W (Maximum) Physical Anti-Theft Features Kensington Security Slot Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 6.31 x 6.2 x 2.6" / 16.03 x 15.7 x 6.6 cm Weight 2.4 lb / 1.1 kg (Without Accessories) Packaging Info Package Weight 4.32 lb Box Dimensions (LxWxH) 8 x 7.9 x 5.6"

Furnished with elite-class 24-bit / 192 kHz conversion akin to the popular Apollo X rackmount interfaces, the Apollo Twin X DUO gives musicians, producers, songwriters, and audio engineers the appreciable value of crystal-clear, high-resolution recording and mixing with low distortion (-117 dB) and immense dynamic range (127 dB). The interface features two XLR-1/4" mic/line combo inputs and a 1/4" Hi-Z input, all with Unison integration for precise UAD emulations of classic analog preamps—impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each analog input, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo Twin X DUO's face. In addition to the two primary analog inputs, you can record up to eight more channels by connecting external preamps with ADAT or S/PDIF optical outputs to the TOSLINK optical input port on the Apollo Twin X DUO. The built-in DUO Core processing allows you to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 25 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps and time-based processors. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units plug-in support. The Apollo Twin X DUO offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for Alt Speakers, Dim, and Mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and front-panel headphone output, two 1/4" line outputs are available for connection to a second set of monitors. At any point, you can increase the power and capability of the Apollo Twin X DUO through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo Twin X DUO. The Thunderbolt 3 port is backward-compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo Twin X DUO interface found in the standard edition but with more plug-ins. The standard Apollo Twin X DUO includes the Realtime Analog Classics bundle (14 plug-ins), and the Heritage Edition adds 11 more for a total of 25 revered UA-powered plug-ins. The Power of Apollo Track, overdub, and mix with high-resolution AD/DA conversion and DSP-powered plug-ins DUO Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps with near-zero latency and no burden on your computer’s CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware High-speed Thunderbolt 3 connectivity for Mac and Windows computers (Thunderbolt cable available separately) Convenient desktop form factor with reliable AC powering (external power supply included) Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Studio 10x6 audio interface with two Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency One front-panel, Unison-enabled 1/4" Hi-Z input for direct connection of a guitar, bass, or keyboard Stereo 1/4" monitor output and one 1/4" headphone output, each with dedicated level control Two additional 1/4" line-level outputs, may be used for alternate monitor outputs Add up to eight extra input channels via one TOSLINK optical ADAT port (may alternatively be used for stereo S/PDIF) Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Expand your studio with an Apollo X rackmount unit (available separately), so you can use your Apollo Twin X DUO as a desktop monitor controller with additional I/O and DSP power Backward-compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 25 Powered Plug-Ins Includes Realtime Analog Classics plug-in bundle plus 11 additional plug-ins to complete the compressor, EQ, and preamp collections and provide another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Raw Distortion Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo Twin X DUO becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA Instruments and Extensions such as Studer multitrack tape and Neve Summing Universal Audio Apollo Twin X Duo Specs Connectivity Analog Audio I/O 2 x Combo XLR-1/4" TRS Balanced/Unbalanced Mic/Line Input 1 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 2 x 1/4" TRS Balanced/Unbalanced Monitor Output 2 x 1/4" TRS Balanced/Unbalanced Line Output 1 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 1 x TOSLINK Optical ADAT / S/PDIF Input (S/MUX4 Support) Host Connection / USB 1 x Thunderbolt/MDP (Thunderbolt 3) USB (Non-Host) None Sync I/O None Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic, Line, Hi-Z Inputs: 20 Hz to 20 kHz ±0.05 dB Line Outputs: 20 Hz to 20 kHz ±0.05 dB Headphone, Monitor Outputs: 20 Hz to 20 kHz ±0.1 dB Gain/Trim Range Mic/Line/Hi-Z Inputs: +10 dB to +65 dB Max Input Level Mic Inputs: 25.6 dBu (with Pad) Hi-Z Inputs: 12.2 dBu (Min Gain) Line Inputs: 20.2 dBu (Min Gain) Max Output Level Line/Monitor Outputs: 20.2 dBu Headphone Output Power 96 mW into 300 Ohms (Max) Impedance Mic Inputs: 5.5 Kilohms Hi-Z Inputs: 1 Megohm Line Inputs: 10 Kilohms Line Outputs: 100 Ohms Monitor Outputs: 100 Ohms Dynamic Range Mic Inputs: 123 dBA Hi-Z Inputs: 121 dBA Line Inputs: 122 dBA Line Outputs: 126 dBA Monitor Outputs: 127 dBA Headphone Outputs: 124 dBA THD+N Mic Inputs: -115 dB (1 kHz, at -1 dBFS) Hi-Z Inputs: -108 dB (1 kHz, at -1 dBFS) Line Inputs: -114 dB (1 kHz, at -1 dBFS) Line Outputs: -117 dB (1 kHz, at -1 dBFS) Monitor Outputs: -117 dB Headphone Outputs: -98 dB (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz (AD/DA Conversion) Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt 3 Cable (Not Included) Internet Connection Required for Registration, Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC, Center-Positive (Included) Power Consumption 15 W (Maximum) Physical Form Factor Tabletop Display 5 x Multi-Segment LED Meter Channels of I/O Analog: 2 Inputs / 6 Outputs at 192 kHz Digital: 8 Inputs / 0 Outputs at 48 kHz 4 Inputs / 0 Outputs at 96 kHz 2 Inputs / 0 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 2 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz Expansion Slots None Anti-Theft Features Kensington Security Slot Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 6.31 x 6.2 x 2.6" / 16.03 x 15.7 x 6.6 cm Weight 2.4 lb / 1.1 kg (Without Accessories) Packaging Info Package Weight 4.325 lb Box Dimensions (LxWxH) 7.9 x 7.9 x 5.5"

Furnished with elite-class 24-bit / 192 kHz conversion, rivaling dedicated high-end converters, the Apollo x8 gives music creators, record producers, and postproduction engineers the appreciable value of crystal-clear high-resolution recording and mixing with ultralow distortion (-119 dB) and immense dynamic range (129 dB). Additionally, its switchable headroom setting facilitates proper level-matching with a variety of audio equipment. The interface features four XLR mic inputs and two 1/4" Hi-Z inputs, all with Unison integration for precise UAD emulations of classic analog preamps—impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Plus, the eight 1/4" line-level inputs on the rear panel can be used to patch in virtually any outboard mic preamps or direct outputs from a console. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each preamp, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo x8's face. In addition to the eight primary analog inputs, you can record up to 10 more channels by connecting ADAT- and S/PDIF-equipped external preamps to the TOSLINK optical and S/PDIF coaxial input ports on the Apollo x8. ADAT optical and S/PDIF coaxial outputs are also featured on the Apollo x8, allowing it to route up to 10 channels from your DAW to a digital mixer, headphone distribution system, or external D/A converter. Utilize the BNC wordclock input and output jacks to accurately clock sync to house or lock other digital equipment to the Apollo. The built-in HEXA Core processing utilizes six DSP chips, granting 50% more DSP than earlier Apollos and the ability to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 34 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps, time-based processors, and tape emulation. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units support. The Apollo x8 offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for Alt Speakers, Dim, and Mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and two front-panel headphone outputs (great for handling multiple cue mixes), eight 1/4" line outputs are available for connection to a second set of monitors and outboard processors. In fact, the Apollo x8 is capable of acting as a 7.1 surround sound monitor controller. At any point, you can increase the power and capability of the Apollo x8 through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo x8. The two Thunderbolt 3 ports are backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo x8 interface found in the standard edition, but with more plug-ins. The standard Apollo x8 includes the Realtime Analog Classics Plus bundle (16 plug-ins), and the Heritage Edition adds 18 more plug-ins for a total of 34 revered UA-powered plug-ins. The Power of Apollo X Track, overdub, and mix with elite-class AD/DA conversion and DSP-powered plug-ins Dual-Crystal clocking features dedicated crystals for 44.1 / 88.2 / 176.4 kHz and 48 / 96 / 192 kHz sample rates, resulting in stunningly low jitter (under 10 picoseconds) for pure, artifact-free recordings and solid stereo imaging HEXA Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps with near-zero latency and 50% more DSP than earlier Apollos, all with no burden on your computer's CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware Two high-speed Thunderbolt 3 ports for connectivity with Mac and Windows computers (Thunderbolt cable available separately) 1 RU rackmount form factor with reliable AC powering (secure locking external power supply included) Free industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Expanding Studio 18x24 audio interface with four Unison-enabled microphone preamps, providing emulations of classic analog preamps with near-zero latency Two front-panel, Unison-enabled 1/4" Hi-Z inputs for direct connection of guitars, basses, or keyboards 8x8 balanced analog line-level I/O via 1/4" jacks Stereo 1/4" monitor output and two independent 1/4" headphone outputs, each with adjustable level Additional eight 1/4" line-level outputs may be used for feeding alternate monitor outputs, analog outboard processors, or a 7.1 surround sound speaker setup Selectable operating level of +20 dBu or +24 dBu for out-of-the-box compatibility with professional mixing consoles and other high-end pro audio equipment Four TOSLINK optical ports provide up to eight channels of ADAT I/O (supports SMUX) for integrating external converters, ADAT-equipped mic preamps, and headphone distribution systems RCA coaxial ports enable recording and outputting S/PDIF stereo digital signal BNC wordclock I/O with selectable 75-ohm termination, crucial for accurate synchronization with other digital equipment Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 34 Powered Plug-Ins Includes Realtime Analog Classics Plus plug-in bundle plus 18 additional plug-ins to complete the compressor, EQ, and preamp collections and provide tape emulation and another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Teletronix LA-3A Audio Leveler Helios Type 69 Preamp and EQ Collection (Helios Type 69 and Helios Type 69 Legacy) V76 Preamplifier Raw Distortion Fairchild 670 Compressor (Legacy) Fairchild Tube Limiter Collection (Fairchild 660 and Fairchild 670) Precision Enhancer Hz Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler UA Oxide Tape Recorder Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo x8 becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA instruments and extensions such as Studer Multitrack Tape and Neve Summing Universal Audio Apollo X8 Specs Form Factor Rackmount Display 10 x Multi-Segment LED Meter Channels of I/O Analog: 8 Inputs / 14 Outputs at 192 kHz Digital: 10 Inputs / 10 Outputs at 96 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 4 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz, 12 dB/Octave Expansion Slots None Connectivity Analog Audio I/O 4 x XLR 3-Pin Balanced Mic Input 2 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 8 x 1/4" TRS Balanced Line Input 2 x 1/4" TRS Balanced Monitor Output 8 x 1/4" TRS Balanced Line Output 2 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 2 x TOSLINK Optical ADAT Input (S/MUX4 Support) 2 x TOSLINK Optical ADAT Output (S/MUX4 Support) 1 x RCA Coaxial S/PDIF Input 1 x RCA Coaxial S/PDIF Output Host Connection / USB 1 x USB Type-C (Thunderbolt 3) USB (Non-Host) None Sync I/O 1 x BNC Word Clock Input 1 x BNC Word Clock Output Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic Inputs: 20 Hz to 20 kHz ±0.05 dB Hi-Z Inputs: 20 Hz to 20 kHz ±0.04 dB Line Inputs: 20 Hz to 20 kHz ±0.05 dB Monitor Outputs: 20 Hz to 20 kHz ±0.06 dB Line Outputs: 20 Hz to 20 kHz ±0.07 dB Headphone Outputs: 20 Hz to 20 kHz ±0.05 dB Gain/Trim Range Inputs: +10 to +65 dB Max Input Level Mic Inputs: +26 dBu (with Pad) Hi-Z Inputs: +12.4 dBu Line Inputs: +24 dBu (with Pad) Max Output Level Line/Monitor Outputs: +24 dBu Headphone Output Power 150 mW into 300 Ohms Impedance Hi-Z Inputs: 1 Megohm Line Inputs: 10 Kilohms Line Outputs: 100 Ohms Mic Inputs: 5.5 Kilohms Monitor Outputs: 100 Ohms Word Clock : 75 Ohms Dynamic Range Mic Inputs: 122 dBA Hi-Z Inputs: 121 dBA Line Inputs: 123 dBA Monitor Outputs: 129 dBA Line Outputs: 127 dBA Headphone Outputs: 125 dBA THD+N Mic Inputs: -114 dB / 0.0002% (1 kHz) Hi-Z Inputs: -111 dB / 0.00028% (1 kHz) Line Inputs: -113 dB / 0.00022% (1 kHz) Monitor Outputs: -118 dB / 0.00012% (1 kHz, at -1 dBFS) Line Outputs: -119 dB / 0.00011% (1 kHz, at -1 dBFS) Headphone Outputs: -102 dB / 0.0008% (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF, Word Clock Clocking Word Clock: Input Termination: 75 Ohms (Switchable) Lock Range: 44.1 to 192 kHz ±4% of Sample Rate Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt Cable (Not Included) Internet Connection Required for Registration and Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC at 6 A (Included) Power Consumption 30 W (Typical) 72 W (Maximum) Physical Rackmount Size 1 RU Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 19 x 13.5 x 1.8" / 48.3 x 34.3 x 4.6 cm (Including Controls and Protrusions) Weight 9.0 lb / 4.1 kg Packaging Info Package Weight 16.61 lb Box Dimensions (LxWxH) 23.6 x 17.1 x 7.8"

Furnished with elite-class 24-bit / 192 kHz conversion, rivaling dedicated high-end converters, the Apollo x6 gives music creators, record producers, and postproduction engineers the appreciable value of crystal-clear high-resolution recording and mixing with ultralow distortion (-119 dB) and immense dynamic range (129 dB). Additionally, its switchable headroom setting facilitates proper level-matching with a variety of audio equipment. The interface features two XLR mic inputs and two 1/4" Hi-Z inputs, all with Unison integration for precise UAD emulations of classic analog preamps—impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Plus, the six 1/4" line-level inputs on the rear panel can be used to patch in virtually any outboard mic preamps or direct outputs from a console. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each preamp, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo x6's face. In addition to the six primary analog inputs, you can record up to 10 more channels by connecting ADAT- and S/PDIF-equipped external preamps to the TOSLINK optical and S/PDIF coaxial input ports on the Apollo x6. ADAT optical and S/PDIF coaxial outputs are also featured on the Apollo x6, allowing it to route up to 10 channels from your DAW to a digital mixer, headphone distribution system, or external D/A converter. Utilize the BNC wordclock input and output jacks to accurately clock sync to house or lock other digital equipment to the Apollo. The built-in HEXA Core processing utilizes six DSP chips, granting 50% more DSP than earlier Apollos and the ability to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 34 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps, time-based processors, and tape emulation. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units support. The Apollo x6 offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for Alt Speakers, Dim, and Mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and two front-panel headphone outputs (great for handling multiple cue mixes), six 1/4" line outputs are available for connection to a second set of monitors and outboard processors. In fact, the Apollo x6 is capable of acting as a 5.1 surround sound monitor controller. At any point, you can increase the power and capability of the Apollo x6 through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo x6. The two Thunderbolt 3 ports are backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo x6 interface found in the standard edition, but with more plug-ins. The standard Apollo x6 includes the Realtime Analog Classics Plus bundle (16 plug-ins), and the Heritage Edition adds 18 more plug-ins for a total of 34 revered UA-powered plug-ins. The Power of Apollo X Track, overdub, and mix with elite-class AD/DA conversion and DSP-powered plug-ins Dual-Crystal clocking features dedicated crystals for 44.1 / 88.2 / 176.4 kHz and 48 / 96 / 192 kHz sample rates, resulting in stunningly low jitter (under 10 picoseconds) for pure, artifact-free recordings and solid stereo imaging HEXA Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps with near-zero latency and 50% more DSP than earlier Apollos, all with no burden on your computer's CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware Two high-speed Thunderbolt 3 ports for connectivity with Mac and Windows computers (Thunderbolt cable available separately) 1 RU rackmount form factor with reliable AC powering (secure locking external power supply included) Free industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Expanding Studio 16x22 audio interface with two Unison-enabled microphone preamps, providing emulations of classic analog preamps with near-zero latency Two front-panel, Unison-enabled 1/4" Hi-Z inputs for direct connection of guitars, basses, or keyboards 6x6 balanced analog line-level I/O via 1/4" jacks Stereo 1/4" monitor output and two independent 1/4" headphone outputs, each with adjustable level Additional six 1/4" line-level outputs may be used for feeding alternate monitor outputs, analog outboard processors, or a 5.1 surround sound speaker setup Selectable operating level of +20 dBu or +24 dBu for out-of-the-box compatibility with professional mixing consoles and other high-end pro audio equipment Four TOSLINK optical ports provide up to eight channels of ADAT I/O (supports SMUX) for integrating external converters, ADAT-equipped mic preamps, and headphone distribution systems RCA coaxial ports enable recording and outputting S/PDIF stereo digital signal BNC wordclock I/O with selectable 75-ohm termination, crucial for accurate synchronization with other digital equipment Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 34 Powered Plug-Ins Includes Realtime Analog Classics Plus plug-in bundle plus 18 additional plug-ins to complete the compressor, EQ, and preamp collections and provide tape emulation and another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Teletronix LA-3A Audio Leveler Helios Type 69 Preamp and EQ Collection (Helios Type 69 and Helios Type 69 Legacy) V76 Preamplifier Raw Distortion Fairchild 670 Compressor (Legacy) Fairchild Tube Limiter Collection (Fairchild 660 and Fairchild 670) Precision Enhancer Hz Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler UA Oxide Tape Recorder Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo x6 becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA instruments and extensions such as Studer Multitrack Tape and Neve Summing Universal Audio Apollo X6 Specs Form Factor Rackmount Display 10 x Multi-Segment LED Meter Channels of I/O Analog: 6 Inputs / 12 Outputs at 192 kHz Digital: 10 Inputs / 10 Outputs at 96 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 2 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz, 12 dB/Octave Expansion Slots None Connectivity Analog Audio I/O 2 x XLR 3-Pin Balanced Mic Input 2 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 6 x 1/4" TRS Balanced Line Input 2 x 1/4" TRS Balanced Monitor Output 6 x 1/4" TRS Balanced Line Output 2 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 2 x TOSLINK Optical ADAT Input (S/MUX4 Support) 2 x TOSLINK Optical ADAT Output (S/MUX4 Support) 1 x RCA Coaxial S/PDIF Input 1 x RCA Coaxial S/PDIF Output Host Connection / USB 1 x USB Type-C (Thunderbolt 3) USB (Non-Host) None Sync I/O 1 x BNC Word Clock Input 1 x BNC Word Clock Output Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic Inputs: 20 Hz to 20 kHz ±0.05 dB Hi-Z Inputs: 20 Hz to 20 kHz ±0.04 dB Line Inputs: 20 Hz to 20 kHz ±0.05 dB Monitor Outputs: 20 Hz to 20 kHz ±0.06 dB Line Outputs: 20 Hz to 20 kHz ±0.07 dB Headphone Outputs: 20 Hz to 20 kHz ±0.05 dB Gain/Trim Range Inputs: +10 to +65 dB Max Input Level Mic Inputs: +26 dBu (with Pad) Hi-Z Inputs: +12.4 dBu Line Inputs: +24 dBu (with Pad) Max Output Level Line/Monitor Outputs: +24 dBu Headphone Output Power 150 mW into 300 Ohms Impedance Hi-Z Inputs: 1 Megohm Line Inputs: 10 Kilohms Line Outputs: 100 Ohms Mic Inputs: 5.5 Kilohms Monitor Outputs: 100 Ohms Word Clock : 75 Ohms Dynamic Range Mic Inputs: 122 dBA Hi-Z Inputs: 121 dBA Line Inputs: 123 dBA Monitor Outputs: 129 dBA Line Outputs: 127 dBA Headphone Outputs: 125 dBA THD+N Mic Inputs: -114 dB / 0.0002% (1 kHz) Hi-Z Inputs: -111 dB / 0.00028% (1 kHz) Line Inputs: -113 dB / 0.00022% (1 kHz) Monitor Outputs: -118 dB / 0.00012% (1 kHz, at -1 dBFS) Line Outputs: -119 dB / 0.00011% (1 kHz, at -1 dBFS) Headphone Outputs: -102 dB / 0.0008% (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF, Word Clock Clocking Word Clock: Input Termination: 75 Ohms (Switchable) Lock Range: 44.1 to 192 kHz ±4% of Sample Rate Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt Cable (Not Included) Internet Connection Required for Registration and Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC at 6 A (Included) Power Consumption 30 W (Typical) 72 W (Maximum) Physical Rackmount Size 1 RU Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 19 x 13.5 x 1.8" / 48.3 x 34.3 x 4.6 cm (Including Controls and Protrusions) Weight 9.0 lb / 4.1 kg Packaging Info Package Weight 16.165 lb Box Dimensions (LxWxH) 23.5 x 17 x 7.9"

Furnished with elite-class 24-bit / 192 kHz conversion akin to the popular Apollo X rackmount interfaces, the Apollo x4 gives musicians, producers, songwriters, and audio engineers the appreciable value of crystal-clear, high-resolution recording and mixing with low distortion (-117 dB) and immense dynamic range (127 dB). The interface features four XLR-1/4" mic/line combo inputs and two 1/4" Hi-Z inputs, all with Unison integration for precise UAD emulations of classic analog preamps. Impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each analog input, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo x4's face. In addition to the four primary analog inputs, you can record up to eight more channels by connecting external preamps with ADAT or S/PDIF optical outputs to the TOSLINK optical input port on the Apollo x4. An optical output is also featured on the Apollo x4, allowing it to route up to eight channels from your DAW to a digital mixer, headphone distribution system, or external D/A converter. The built-in QUAD Core processing allows you to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 34 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps, time-based processors, and tape emulation. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units plug-in support. The Apollo x4 offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for Alt Speakers, Dim, and Mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and two front-panel headphone outputs (great for handling multiple cue mixes), four 1/4" line outputs are available for connection to a second set of monitors and outboard processors. At any point, you can increase the power and capability of the Apollo x4 through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo x4. The Thunderbolt 3 port is backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo x4 interface found in the standard edition but with more plug-ins. The standard Apollo x4 includes the Realtime Analog Classics Plus bundle (16 plug-ins), and the Heritage Edition adds 18 more plug-ins for a total of 34 revered UA-powered plug-ins. The Power of Apollo Track, overdub, and mix with high-resolution AD/DA conversion and DSP-powered plug-ins QUAD Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps, with near-zero latency and no burden on your computer’s CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware High-speed Thunderbolt 3 connectivity for Mac and Windows computers (Thunderbolt cable available separately) Convenient desktop form factor with reliable AC powering (external power supply included) Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Studio 12x18 audio interface with four Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency Two front-panel, Unison-enabled 1/4" Hi-Z inputs for direct connection of guitars, basses, or keyboards Stereo 1/4" monitor output and two independent 1/4" headphone outputs, each with adjustable level Four additional 1/4" line-level outputs, may be used for alternate monitor outputs or analog outboard processors Add up to eight extra input channels via one TOSLINK optical ADAT port (may alternatively be used for stereo S/PDIF) TOSLINK optical output supports ADAT or S/PDIF format for sending up to eight channels from your DAW to a digital mixer, headphone distribution system, or external D/A converter Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Expand your studio with an Apollo X rackmount unit (available separately), so you can use your Apollo x4 as a desktop monitor controller with additional I/O and DSP power Backward-compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 34 Powered Plug-Ins Includes Realtime Analog Classics Plus plug-in bundle plus 18 additional plug-ins to complete the compressor, EQ, and preamp collections and provide tape emulation and another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Teletronix LA-3A Audio Leveler Helios Type 69 Preamp and EQ Collection (Helios Type 69 and Helios Type 69 Legacy) V76 Preamplifier Raw Distortion Fairchild 670 Compressor (Legacy) Fairchild Tube Limiter Collection (Fairchild 660 and Fairchild 670) Precision Enhancer Hz Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler UA Oxide Tape Recorder Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo x4 becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA Instruments and Extensions such as Studer multitrack tape and Neve Summing Universal Audio Apollo X4 Specs Form Factor Tabletop Display 9 x Multi-Segment LED Meter Channels of I/O Analog: 4 Inputs / 10 Outputs at 192 kHz Digital: 8 Inputs / 8 Outputs at 48 kHz 4 Inputs / 4 Outputs at 96 kHz 2 Inputs / 2 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 4 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz Expansion Slots None Connectivity Analog Audio I/O 4 x Combo XLR-1/4" TRS Balanced/Unbalanced Mic/Line Input 2 x 1/4" TRS Unbalanced Hi-Z Input 4 x 1/4" TRS Balanced/Unbalanced Line Output 2 x 1/4" TRS Balanced/Unbalanced Monitor Output 2 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 1 x TOSLINK Optical ADAT / S/PDIF Input (S/MUX4 Support) 1 x TOSLINK Optical ADAT / S/PDIF Output (S/MUX4 Support) Host Connection / USB 1 x Thunderbolt/MDP (Thunderbolt 3) USB (Non-Host) None Sync I/O None Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic, Line, Hi-Z Inputs: 20 Hz to 20 kHz ±0.05 dB Line Outputs: 20 Hz to 20 kHz ±0.05 dB Headphone, Monitor Outputs: 20 Hz to 20 kHz ±0.1 dB Gain/Trim Range Mic/Line/Hi-Z Inputs: +10 dB to +65 dB Max Input Level Mic Inputs: 25.6 dBu (with Pad) Hi-Z Inputs: 12.2 dBu (Min Gain) Line Inputs: 20.2 dBu (Min Gain) Max Output Level Line/Monitor Outputs: 20.2 dBu Headphone Output Power 96 mW into 300 Ohms (Max) Impedance Mic Inputs: 5.5 Kilohms Hi-Z Inputs: 1 Megohm Line Inputs: 5 Kilohms Line Outputs: 100 Ohms Monitor Outputs: 100 Ohms Dynamic Range Mic Inputs: 123 dBA Hi-Z Inputs: 122 dBA Line Inputs: 122 dBA Line Outputs: 127 dBA Monitor Outputs: 127 dBA Headphone Outputs: 124 dBA THD+N Mic Inputs: -115 dB (1 kHz, at -1 dBFS) Hi-Z Inputs: -108 dB (1 kHz, at -1 dBFS) Line Inputs: -114 dB (1 kHz, at -1 dBFS) Line Outputs: -117 dB (1 kHz, at -1 dBFS) Monitor Outputs: -116 dB Headphone Outputs: -98 dB (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz (AD/DA Conversion) Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt 3 Cable (Not Included) Internet Connection Required for Registration, Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC, Center-Positive (Included) Power Consumption 19 W (Maximum) Physical Anti-Theft Features Kensington Security Slot Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 9.17 x 6.17 x 2.6" / 23.29 x 15.67 x 6.6 cm (Including Controls and Protrusions) Weight 3.2 lb / 1.5 kg (Without Accessories) Packaging Info Package Weight 5.685 lb Box Dimensions (LxWxH) 10.8 x 8.3 x 5.2"

Furnished with elite-class 24-bit / 192 kHz conversion rivaling dedicated high-end converters, the Apollo x8p gives music creators, record producers, and postproduction engineers the appreciable value of crystal-clear, high-resolution recording and mixing with ultralow distortion (-119 dB) and immense dynamic range (129 dB). Additionally, its switchable headroom setting facilitates proper level-matching with a variety of audio equipment. The interface features eight XLR-1/4" mic/line inputs and two 1/4" Hi-Z inputs, all with Unison integration for precise UAD emulations of classic analog preamps—impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Plus, the 8-channel DB25 connector on the rear panel can be used to patch in line-level signal from virtually any outboard mic preamp, or direct output from a console. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each preamp, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo x8p's face. In addition to the eight primary analog inputs, you can record up to eight more channels by connecting ADAT-equipped external preamps to the Apollo x8p's TOSLINK optical input ports (SMUX is supported for sample rates over 48 kHz). ADAT optical outputs are also featured on the Apollo x8p, allowing it to route up to eight channels from your DAW to a digital mixer, headphone distribution system, or external D/A converter. Utilize the BNC wordclock input and output jacks to accurately sync clock to the house, or lock other digital equipment to the Apollo. The built-in HEXA Core processing utilizes six DSP chips, granting 50% more DSP than earlier Apollos and the ability to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 34 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps, time-based processors, and tape emulation. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units support. The Apollo x8p offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for alt speakers, dim, and mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and two front-panel headphone outputs (great for handling multiple cue mixes), eight line outputs are available on a DB25 connector for hooking up a second set of monitors and outboard processors. In fact, the Apollo x8p is capable of acting as a 7.1 surround-sound monitor controller. At any point, you can increase the power and capability of the Apollo x8p through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo x8p. The two Thunderbolt 3 ports are backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately). Heritage Edition The Heritage Edition features the same Apollo x8p interface found in the standard edition, but with more plug-ins. The standard Apollo x8p includes the Realtime Analog Classics Plus bundle (16 plug-ins), and the Heritage Edition adds 18 more plug-ins for a total of 34 revered UA-powered plug-ins. The Power of Apollo X Track, overdub, and mix with elite-class AD/DA conversion and DSP-powered plug-ins Dual-crystal clocking features dedicated crystals for 44.1 / 88.2 / 176.4 kHz and 48 / 96 / 192 kHz sample rates, resulting in stunningly low jitter (under 10 picoseconds) for pure, artifact-free recordings and solid stereo imaging HEXA Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps with near-zero latency and 50% more DSP than earlier Apollos, all with no burden on your computer's CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware Two high-speed Thunderbolt 3 ports for connectivity with Mac and Windows computers (Thunderbolt cable available separately) 1 RU rackmount form factor with reliable AC power (secure locking external power supply included) Free industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Expanding Studio 16x22 audio interface with eight Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency Two front-panel, Unison-enabled 1/4" Hi-Z inputs for direct connection of guitars, basses, or keyboards Eight analog line-level inputs via a DB25 multipin connector for tapping straight into the A/D converters Stereo 1/4" monitor output and two independent 1/4" headphone outputs, each with adjustable level Eight additional line-level outputs on a DB25 connector may be used for feeding alternate monitor outputs, analog outboard processors, or a 7.1 surround-sound speaker setup Selectable operating level of +20 dBu or +24 dBu for out-of-the-box compatibility with professional mixing consoles and other high-end pro audio equipment Four TOSLINK optical ports provide up to eight channels of ADAT I/O (supports SMUX) for integrating external converters, ADAT-equipped mic preamps, and headphone distribution systems BNC wordclock I/O with selectable 75-ohm termination, crucial for accurate synchronization with other digital equipment Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Backward compatible with Thunderbolt 1 and 2 via a qualified adapter (available separately) 34 Powered Plug-Ins Includes Realtime Analog Classics Plus plug-in bundle plus 18 additional plug-ins to complete the compressor, EQ, and preamp collections and provide tape emulation and another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Teletronix LA-3A Audio Leveler Helios Type 69 Preamp and EQ Collection (Helios Type 69 and Helios Type 69 Legacy) V76 Preamplifier Raw Distortion Fairchild 670 Compressor (Legacy) Fairchild Tube Limiter Collection (Fairchild 660 and Fairchild 670) Precision Enhancer Hz Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler UA Oxide Tape Recorder Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo x8p becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA Instruments and Extensions such as Studer multitrack tape and Neve Summing Universal Audio Apollo X8P Specs Form Factor Rackmount Display 10 x Multi-Segment LED Meter Channels of I/O Analog: 8 Inputs / 14 Outputs at 192 kHz Digital: 8 Inputs / 8 Outputs at 96 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 8 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz, 12 dB/Octave Expansion Slots None Connectivity Analog Audio I/O 8 x Combo XLR-1/4" TRS Balanced Mic/Line Input 2 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 1 x DB-25 25-Pin Balanced Line/8-Channel Input 1 x DB-25 25-Pin Balanced Line/8-Channel Output 2 x 1/4" TRS Balanced Monitor Output 2 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 2 x TOSLINK Optical ADAT / S/PDIF Input (S/MUX4 Support) 2 x TOSLINK Optical ADAT / S/PDIF Output (S/MUX4 Support) Host Connection / USB 1 x USB Type-C (Thunderbolt 3) USB (Non-Host) None Sync I/O 1 x BNC Word Clock Input 1 x BNC Word Clock Output Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic Inputs: 20 Hz to 20 kHz ±0.05 dB Hi-Z Inputs: 20 Hz to 20 kHz ±0.04 dB Line Inputs: 20 Hz to 20 kHz ±0.04 dB Line Outputs: 20 Hz to 20 kHz ±0.07 dB Monitor Outputs: 20 Hz to 20 kHz ±0.06 dB Headphone Outputs: 20 Hz to 20 kHz ±0.05 dB Gain/Trim Range Inputs: +10 to +65 dB Max Input Level Mic Inputs: +26 dBu (with Pad) Hi-Z Inputs: +12.4 dBu Line Inputs: +24 dBu Max Output Level Line/Monitor Outputs: +24 dBu Headphone Output Power 150 mW into 300 Ohms Impedance Mic Inputs: 5.5 Kilohms Hi-Z Inputs: 1 Megohm Line Inputs: 10 Kilohms Line/Monitor Outputs: 100 Ohms Word Clock : 75 Ohms Dynamic Range Mic Inputs: 122 dBA Hi-Z Inputs: 121 dBA Line Inputs: 123 dBA Line Outputs: 127 dBA Monitor Outputs: 129 dBA Headphone Outputs: 125 dBA THD+N Mic Inputs: -114 dB / 0.0002% (1 kHz) Hi-Z Inputs: -111 dB / 0.00028% (1 kHz) Line Inputs: -113 dB / 0.00022% (1 kHz) Line Outputs: -119 dB / 0.00011% (1 kHz, at -1 dBFS) Monitor Outputs: -118 dB / 0.00012% (1 kHz, at -1 dBFS) Headphone Outputs: -102 dB / 0.0008% (1 kHz, at -1 dBFS) Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF, Word Clock Clocking Word Clock: Input Termination: 75 Ohms (Switchable) Lock Range: 44.1 to 192 kHz ±4% of Sample Rate Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt 3 Port Thunderbolt 3 Cable (Not Included) Internet Connection Required for Registration and Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC at 6 A (Included) Power Consumption 30 W (Typical) 72 W (Maximum) Physical Rackmount Size 1 RU Operating Temperature 32 to 104°F / 0 to 40°C Dimensions 19 x 13.5 x 1.8" / 48.3 x 34.3 x 4.6 cm (Including Controls and Protrusions) Weight 9.0 lb / 4.1 kg Packaging Info Package Weight 16.43 lb Box Dimensions (LxWxH) 23.6 x 17 x 7.8"

Furnished with 24-bit / 192 kHz converters redesigned and upgraded from the original Apollo Twin, the Apollo Twin MKII DUO gives musicians, producers, songwriters, and audio engineers the appreciable value of clear, high-resolution recording and mixing, with low distortion (-111 dB) and increased dynamic range (121 dB). The interface features two XLR-1/4" mic/line combo inputs and a 1/4" Hi-Z input, all with Unison integration for precise UAD emulations of classic analog preamps—impart vintage character of your choosing on microphone and instrument recordings while bypassing the unpredictable nature of old equipment. Thanks to the switchable low-cut filter, pad, polarity inversion, 48V phantom power, and stereo linking on each analog input, you can efficiently optimize your incoming signals with straightforward buttons on the Apollo Twin MKII DUO's face. In addition to the two primary analog inputs, you can record up to eight more channels by connecting external preamps with ADAT or S/PDIF optical outputs to the TOSLINK optical input port on the Apollo Twin MKII DUO. The built-in DUO Core processing allows you to monitor and record audio using classic analog emulations with near-zero latency and no burden on your computer's CPU. The plug-in bundle included with the Heritage Edition empowers you with 25 top-notch plug-ins ranging from vintage compressor and EQ collections to virtual guitar/bass amps and time-based processors. The included Console application provides control and recall of all interface and UAD plug-in settings including channel-strip presets, drag-and-drop functionality, and dynamically resizable windows. Mac and Windows drivers ensure compatibility with all major DAWs including Pro Tools, Logic Pro, Cubase, Ableton Live, and more. The interface also integrates seamlessly with LUNA, Universal Audio's free Mac-based, single-window recording system with unlimited track counts and full Audio Units plug-in support. The Apollo Twin MKII DUO offers a comprehensive monitor section with talkback functionality and dedicated front-panel controls for Alt Speakers, Dim, and Mono functions, as well as input and output metering capabilities. In addition to the dedicated stereo monitor feed and front-panel headphone output, two 1/4" line outputs are available for connection to a second set of monitors. At any point, you can increase the power and capability of the Apollo Twin MKII DUO through integration of qualified Universal Audio hardware. Up to four Apollo interfaces and six total UAD-2 devices can be combined, allowing Thunderbolt users the ability to expand their I/O and DSP without abandoning the Apollo Twin MKII DUO. Heritage Edition The Heritage Edition features the same Apollo Twin MKII DUO interface found in the standard edition but with more plug-ins. The standard Apollo Twin MKII DUO includes the Realtime Analog Classics bundle (14 plug-ins) and the Heritage Edition adds 11 more plug-ins for a total of 25 revered UA-powered plug-ins. The Power of Apollo Track, overdub, and mix with high-resolution AD/DA conversion and DSP-powered plug-ins DUO Core UAD processing for tracking through models of vintage compressors, EQs, tape machines, mic preamps, and guitar amps, with near-zero latency and no burden on your computer’s CPU Unison technology nails the tone of sought-after tube and solid-state mic pres including their input impedance, gain-stage sweet spots, and the component-level circuit behaviors of the original hardware Thunderbolt 2 connectivity for Mac and Windows computers (Thunderbolt cable available separately) Convenient desktop form factor with reliable AC powering (external power supply included) Free, industry-leading phone/online technical support from knowledgeable audio engineers I/O for the Studio 10x6 audio interface with two Unison-enabled microphone preamps (via XLR-1/4" combo mic/line inputs), providing emulations of classic analog preamps with near-zero latency One front-panel, Unison-enabled 1/4" Hi-Z input for direct connection of a guitar, bass, or keyboard Stereo 1/4" monitor output and one 1/4" headphone output, each with dedicated level control Two additional 1/4" line-level outputs, may be used for alternate monitor outputs Add up to eight extra input channels via one TOSLINK optical ADAT port (may alternatively be used for stereo S/PDIF) Pro-Level Workflow Built-in monitor controller with monitor remote functions and mono, mute, dim, and alt monitor controls Integrated talkback and cues for easy communication and slate functionality Comprehensive front-panel metering and fast, intuitive controls, no menu-diving required Expandable I/O and DSP Cascade up to four Thunderbolt-equipped Apollo interfaces and six UAD-2 Thunderbolt devices for expanded I/O and DSP Expand your studio with an Apollo rackmount unit (available separately), so you can use your Apollo Twin MKII DUO as a desktop monitor controller with additional I/O and DSP power 25 Powered Plug-Ins Includes Realtime Analog Classics plug-in bundle plus 11 additional plug-ins to complete the compressor, EQ, and preamp collections and provide another reverb (plug-ins support VST, RTAS, Audio Units, and AAX 64-bit for compatibility with all major DAWs): UA 610-A Tube Preamp and EQ (Vintage) UA 610-B Tube Preamp and EQ (Modern) Marshall Plexi Classic Guitar Amp Ampeg SVT-VR Classic Bass Amp UA 1176LN Limiting Amplifier (Legacy) UA 1176SE Limiting Amplifier (Legacy) UA 1176 Classic Limiter Collection (1176LN Rev E, 1176 Rev A, and 1176AE 40th Anniversary Edition) Pultec EQP-1A EQ (Legacy) Pultec MEQ-5 EQ (Legacy) Pultec Passive EQ Collection (EQP-1A, MEQ-5, and HLF-3C) Teletronix LA-2A Leveling Amplifier (Legacy) Teletronix LA-2A Classic Leveler Collection (LA-2A Silver, LA-2A Gray, and LA-2) Raw Distortion Precision Channel Strip (Precision Mix Rack Collection) Precision Reflection Engine (Precision Mix Rack Collection) Precision Delay Mod (Precision Mix Rack Collection) Precision Delay Mod L (Precision Mix Rack Collection) Pure Plate Reverb RealVerb Pro Custom Room Modeler Integration with LUNA Recording System for Mac Works with all major DAWs including Logic Pro, Ableton Live, Pro Tools, and more Apollo Twin MKII DUO becomes a fully integrated recording system with LUNA, a powerful free recording application for Mac from Universal Audio Bolstered by Accelerated Realtime Monitoring, LUNA lets you track and mix using an intuitive single-window workflow with unlimited track counts, full Audio Units plug-in support, and access to a suite of exclusive LUNA Instruments and Extensions such as Studer multitrack tape and Neve Summing Universal Audio Apollo Twin MKII Specs Form Factor Tabletop Display 5 x Multi-Segment LED Meter Channels of I/O Analog: 2 Inputs / 6 Outputs at 192 kHz Digital: 8 Inputs / 0 Outputs at 48 kHz 4 Inputs / 0 Outputs at 96 kHz 2 Inputs / 0 Outputs at 192 kHz Max Sample Rate/Resolution 192 kHz / 24-Bit Number of Mic Preamps 2 Input Level Adjustment 1 x Knob Solo/Mute Mute per Master Pad -20 dB (Switchable per Channel) High-Pass Filter 75 Hz Expansion Slots None Connectivity Analog Audio I/O 2 x Combo XLR-1/4" TRS Balanced/Unbalanced Mic/Line Input 1 x 1/4" TS Unbalanced Hi-Z Input (Front Panel) 2 x 1/4" TRS Balanced/Unbalanced Monitor Output 2 x 1/4" TRS Balanced/Unbalanced Line Output 1 x 1/4" TRS Unbalanced Headphone Output Phantom Power +48 V, Selectable On/Off (Selectable on Individual Inputs) Digital Audio I/O 1 x TOSLINK Optical ADAT / S/PDIF Input (S/MUX4 Support) Host Connection / USB 1 x Thunderbolt/MDP (Thunderbolt 2) USB (Non-Host) None Sync I/O None Network I/O None MIDI I/O None Wireless Connectivity None Memory Card Slot None Performance Frequency Response Mic, Line, Hi-Z Inputs: 20 Hz to 20 kHz ±0.1 dB Line, Headphone, Monitor Outputs: 20 Hz to 20 kHz ±0.1 dB Gain/Trim Range Mic/Line/Hi-Z Inputs: +10 to +65 dB Max Input Level Mic Inputs: +25 dBu (Min Gain, with Pad) Line Inputs: +20.2 dBu Hi-Z Inputs: +12.2 dBu Max Output Level Line/Monitor Outputs: +20.2 dBu Headphone Output Power 80 mW into 600 Ohms (Max) Impedance Mic Inputs: 5.4 Kilohms Line Inputs: 10 Kilohms Hi-Z Inputs: 1 Megohm Monitor Outputs: 600 Ohms Line Outputs: 600 Ohms Dynamic Range Mic Inputs: 118 dBA Line Inputs: 117.5 dBA Hi-Z Inputs: 117 dBA Monitor Outputs: 115 dBA Line Outputs: 121 dBA Headphone Outputs: 113 dBA SNR Mic Inputs: 118 dBA Line Inputs: 117.5 dBA Hi-Z Inputs: 117 dBA Monitor Outputs: 115 dBA Line Outputs: 121 dBA Headphone Outputs: 113 dBA THD+N Mic Inputs: -111 dBFS Line Inputs: -109 dBFS Hi-Z Inputs: -101 dBFS Monitor Outputs: -105 dBFS Line Outputs: -110 dBFS Headphone Outputs: -105 dBFS EIN Mic Inputs: -127 dBu CMRR Mic Inputs: > 70 dB Digital Audio Sample Rates Up to 192 kHz Sample Rate Conversion None Bit Depths 24-Bit (AD/DA Conversion) Latency 1.1 ms at 96 kHz (Input to Output) Sync Sources ADAT, Internal, S/PDIF Compatibility OS Compatibility macOS 10.12 / 10.13 / 10.14 / 10.15 Windows 10 (64-Bit Only) Included Software LUNA Mac Only Compatible Software (Not Included) Any Core Audio (Mac) Compliant Software Supported Drivers/API & Plug-Ins Proprietary Processor Requirement Intel Core i7 Storage Requirements 6 GB Mobile Device Compatibility None Required Hardware Available Thunderbolt Port Thunderbolt Cable (Not Included) Internet Connection Required for Registration and Software/Driver Download Power Power Requirements AC/DC Power Adapter (Included) AC Input Power 100 to 240 VAC, 50 / 60 Hz AC/DC Power Adapter 12 VDC, Center-Positive (Included) Power Consumption 12 W (Maximum) Physical Anti-Theft Features Kensington Security Slot Operating Humidity 20 to 80% Operating Temperature 32 to 95°F / 0 to 35°C Storage Temperature -40 to 176°F / -40 to 80°C Dimensions 6.31 x 5.86 x 2.6" / 16.03 x 14.88 x 6.6 cm (Chassis Only) 6.31 x 6.2 x 2.6" / 16.03 x 15.7 x 6.6 cm (Including Controls and Protrusions) Weight 2.4 lb / 1.1 kg Packaging Info Package Weight 3.83 lb Box Dimensions (LxWxH) 7.9 x 7.9 x 5.6"

Odlično stanje Johnny Cash – Country & Western Superstar Label: CBS – S 68 224 Series: Country & Western Superstar Format: 2 x Vinyl, LP, Compilation, Gatefold Country: Europe Released: 1973 Genre: Rock, Blues Style: Country Blues, Country Rock, Folk Rock A1 From Sea To Shining Sea 1:35 A2 The Whirl And The Suck 3:05 A3 Call Daddy From The Mine 3:05 A4 Th Frozen Four-Hundred-Pound Fair-To-Middlin` Cotton Picker 2:30 A5 The Walls Of A Prison 4:09 A6 The Masterpiece 2:45 B1 You And Tennessee 3:07 B2 Another Song To Sing 1:58 B3 The Flint Arrowhead 2:55 B4 Cisco Clifton`s Fillin` Station 2:42 B5 Shrimpin` Sailin` 3:03 B6 From Sea To Shining Sea (Finale) 0:54 C1 The Ballad Of Ira Hayes 4:05 C2 Shantytown Vocals – June Carter Vocals – June Carter 2:16 C3 I Got A Woman Vocals – June Carter Vocals – June Carter 3:12 C4 Pack Up Your Sorrows Vocals – June Carter Vocals – June Carter 2:23 C5 It Ain`t Me, Babe Vocals – June Carter Vocals – June Carter 2:59 D1 Orange Blossom Special 2:58 D2 Jackson Vocals – June Carter Vocals – June Carter 2:42 D3 GIve My Love To Rose Vocals – June Carter Vocals – June Carter 2:38 D4 Austin Prison 2:04 D5 Danny Boy 5:05 Notes This compilation incl. mainly the albums From Sea To Shining Sea (1968) and Johnny Cash With June Carter* ‎– Give My Love To Rose (1972). John R. Cash (born J. R. Cash; February 26, 1932 – September 12, 2003) was an American country singer-songwriter. Most of Cash`s music contains themes of sorrow, moral tribulation, and redemption, especially songs from the later stages of his career.[5][6] He was known for his deep, calm bass-baritone voice,[a][7] the distinctive sound of his Tennessee Three backing band characterized by train-like chugging guitar rhythms, a rebelliousness[8][9] coupled with an increasingly somber and humble demeanor,[5] free prison concerts,[10] and a trademark all-black stage wardrobe, which earned him the nickname the `Man in Black`.[b] Born to poor cotton farmers in Kingsland, Arkansas, Cash rose to fame during the mid-1950s in the burgeoning rockabilly scene in Memphis, Tennessee, after serving four years in the Air Force. He traditionally began his concerts by simply introducing himself, `Hello, I`m Johnny Cash`,[c] followed by `Folsom Prison Blues`, one of his signature songs. His other signature songs include `I Walk the Line`, `Ring of Fire`, `Get Rhythm`, and `Man in Black`. He also recorded humorous numbers like `One Piece at a Time` and `A Boy Named Sue`, a duet with his future wife June called `Jackson` (followed by many further duets after their wedding), and railroad songs such as `Hey, Porter`, `Orange Blossom Special`, and `Rock Island Line`.[13] During the last stage of his career, he covered songs by contemporary rock artists; among his most notable covers were `Hurt` by Nine Inch Nails, `Rusty Cage` by Soundgarden, and `Personal Jesus` by Depeche Mode. Cash is one of the best-selling music artists of all time, having sold more than 90 million records worldwide.[14][15] His genre-spanning music embraced country, rock and roll, rockabilly, blues, folk, and gospel sounds. This crossover appeal earned him the rare honor of being inducted into the Country Music, Rock and Roll, and Gospel Music Halls of Fame. His music career was dramatized in the 2005 biopic Walk the Line, in which Cash was portrayed by American film actor Joaquin Phoenix. Early life Cash`s boyhood home in Dyess, Arkansas, where he lived from the age of three in 1935 until he finished high school in 1950; the property, pictured here in 2021, is listed on the National Register of Historic Places. The home was renovated in 2011 to look as it did when Cash was a child. Cash was born J. R. Cash in Kingsland, Arkansas, on February 26, 1932,[16][17] to Carrie Cloveree (née Rivers) and Ray Cash. He had three older siblings, Roy, Margaret Louise, and Jack, and three younger siblings, Reba, Joanne, and Tommy (who also became a successful country artist).[18][19] He was primarily of English and Scottish descent.[20][21][22] His paternal grandmother also claimed Cherokee ancestry, though a DNA test of Cash`s daughter Rosanne found she has no known Native American markers.[23][24] He traced his Scottish surname to 11th-century Fife after meeting with the then-laird of Falkland, Major Michael Crichton-Stuart.[25][26][27] Cash Loch and other locations in Fife bear the name of his family.[25] He is a distant cousin of British Conservative politician Sir William Cash.[28] His mother wanted to name him John and his father preferred to name him Ray, so J. R. ended up being the only compromise they could agree on.[29] When Cash enlisted in the Air Force, he was not permitted to use initials as a first name, so he changed it to John R. Cash. In 1955, when signing with Sun Records, he started using the name Johnny Cash.[9] In March 1935, when Cash was three years old, the family settled in Dyess, Arkansas, a New Deal colony established to give poor families the opportunity to work land that they may later own.[30] From the age of five, he worked in cotton fields with his family, singing with them as they worked. The Cash farm in Dyess experienced a flood, which led Cash later to write the song `Five Feet High and Rising`.[31] His family`s economic and personal struggles during the Great Depression gave him a lifelong sympathy for the poor and working class, and inspired many of his songs. In 1944,[32] Cash`s older brother Jack, with whom he was close, was cut almost in two by an unguarded table saw at work and died a week later.[33] According to Cash`s autobiography, he, his mother, and Jack all had a sense of foreboding about that day; his mother urged Jack to skip work and go fishing with Cash, but Jack insisted on working as the family needed the money. Cash often spoke of the guilt he felt over the incident, and spoke of looking forward to `meeting [his] brother in Heaven`.[9] Cash`s early memories were dominated by gospel music and radio. Taught guitar by his mother and a childhood friend, Cash began playing and writing songs at the age of 12. When young, Cash had a high-tenor voice, before becoming a bass-baritone after his voice changed.[34] In high school, he sang on a local radio station. Decades later, he released an album of traditional gospel songs called My Mother`s Hymn Book. He was also significantly influenced by traditional Irish music, which he heard performed weekly by Dennis Day on the Jack Benny radio program.[35] Cash enlisted in the Air Force on July 7, 1950.[36] After basic training at Lackland Air Force Base and technical training at Brooks Air Force Base, both in San Antonio, Texas, Cash was assigned to the 12th Radio Squadron Mobile of the U.S. Air Force Security Service at Landsberg, West Germany. He worked as a Morse code operator intercepting Soviet Army transmissions. While working this job, Cash was allegedly the first American to be given the news of Joseph Stalin’s death (supplied via Morse code). His daughter, Rosanne, backed up the claim, saying that Cash had recounted the story many times over the years.[37][38][39] While at Landsberg he created his first band, `The Landsberg Barbarians`.[40] On July 3, 1954, he was honorably discharged as a staff sergeant, and he returned to Texas.[41] During his military service, he acquired a distinctive scar on the right side of his jaw as a result of surgery to remove a cyst.[42][43] Career Early career Publicity photo for Sun Records, 1955 In 1954, Cash and his first wife Vivian moved to Memphis, Tennessee, where he had sold appliances while studying to be a radio announcer. At night, he played with guitarist Luther Perkins and bassist Marshall Grant. Perkins and Grant were known as the Tennessee Two. Cash worked up the courage to visit the Sun Records studio, hoping to get a recording contract.[44] He auditioned for Sam Phillips by singing mostly gospel songs, only to learn from the producer that he no longer recorded gospel music. Phillips was rumored to have told Cash to `go home and sin, then come back with a song I can sell`, although in a 2002 interview, Cash denied that Phillips made any such comment.[45] Cash eventually won over the producer with new songs delivered in his early rockabilly style. In 1955, Cash made his first recordings at Sun, `Hey Porter` and `Cry! Cry! Cry!`, which were released in late June and met with success on the country hit parade. On December 4, 1956, Elvis Presley dropped in on Phillips while Carl Perkins was in the studio cutting new tracks, with Jerry Lee Lewis backing him on piano. Cash was also in the studio, and the four started an impromptu jam session. Phillips left the tapes running and the recordings, almost half of which were gospel songs, survived. They have since been released under the title Million Dollar Quartet. In Cash: the Autobiography, Cash wrote that he was the farthest from the microphone and sang in a higher pitch to blend in with Elvis. Cash`s next record, `Folsom Prison Blues`, made the country top five. His `I Walk the Line` became number one on the country charts and entered the pop charts top 20. `Home of the Blues` followed, recorded in July 1957. That same year, Cash became the first Sun artist to release a long-playing album. Although he was Sun`s most consistently selling and prolific artist at that time, Cash felt constrained by his contract with the small label. Phillips did not want Cash to record gospel and was paying him a 3% royalty rather than the standard rate of 5%. Presley had already left Sun and, Phillips was focusing most of his attention and promotion on Lewis. In 1958, Cash left Phillips to sign a lucrative offer with Columbia Records. His single `Don`t Take Your Guns to Town` became one of his biggest hits, and he recorded a collection of gospel songs for his second album for Columbia. However, Cash left behind a sufficient backlog of recordings with Sun that Phillips continued to release new singles and albums featuring previously unreleased material until as late as 1964. Cash was in the unusual position of having new releases out on two labels concurrently. Sun`s 1960 release, a cover of `Oh Lonesome Me`, made it to number 13 on the C&W charts.[d] Cash on the cover of Cash Box magazine, September 7, 1957 Early in his career, Cash was given the teasing nickname `the Undertaker` by fellow artists because of his habit of wearing black clothes. He said he chose them because they were easier to keep looking clean on long tours.[46] In the early 1960s, Cash toured with the Carter Family, which by this time regularly included Mother Maybelle`s daughters, Anita, June, and Helen. June later recalled admiring him from afar during these tours. In the 1960s, he appeared on Pete Seeger`s short-lived television series Rainbow Quest.[47] He also acted in, and wrote and sang the opening theme for, a 1961 film entitled Five Minutes to Live, later re-released as Door-to-door Maniac. Cash`s career was handled by Saul Holiff, a London, Ontario, promoter. Their relationship was the subject of Saul`s son`s biopic My Father and the Man in Black.[48] Outlaw image As his career was taking off in the late 1950s, Cash started drinking heavily and became addicted to amphetamines and barbiturates. For a brief time, he shared an apartment in Nashville with Waylon Jennings, who was deeply addicted to amphetamines. Cash would use the stimulants to stay awake during tours. Friends joked about his `nervousness` and erratic behavior, many ignoring the warning signs of his worsening drug addiction. Although he was in many ways spiraling out of control, Cash could still deliver hits due to his frenetic creativity. His rendition of `Ring of Fire` was a crossover hit, reaching number one on the country charts and entering the top 20 on the pop charts. It was originally performed by June`s sister, but the signature mariachi-style horn arrangement was provided by Cash.[49] He said that it had come to him in a dream. Vivian Liberto claimed a different version of the origins of `Ring of Fire`. In her book, I Walked the Line: My Life with Johnny, Liberto says that Cash gave Carter half the songwriting credit for monetary reasons.[50] In June 1965, Cash`s camper caught fire during a fishing trip with his nephew Damon Fielder in Los Padres National Forest in California, triggering a forest fire that burned several hundred acres and nearly caused his death.[51][52] Cash claimed that the fire was caused by sparks from a defective exhaust system on his camper, but Fielder thinks that Cash started a fire to stay warm and in his drugged condition failed to notice the fire getting out of control.[53] When the judge asked Cash why he did it, Cash said, `I didn`t do it, my truck did, and it`s dead, so you can`t question it.`[54] The fire destroyed 508 acres (206 ha), burned the foliage off three mountains and drove off 49 of the refuge`s 53 endangered California condors.[55] Cash was unrepentant and claimed, `I don`t care about your damn yellow buzzards.`[56] The federal government sued him and was awarded $125,172. Cash eventually settled the case and paid $82,001.[57] The Tennessee Three with Cash in 1963 Although Cash cultivated a romantic outlaw image, he never served a prison sentence. Despite landing in jail seven times for misdemeanors, he stayed only one night on each stay. On May 11, 1965, he was arrested in Starkville, Mississippi, for trespassing late at night onto private property to pick flowers. (He used this to write the song `Starkville City Jail`, which he discussed on his live At San Quentin album.)[58] While on tour that year, he was arrested October 4 in El Paso, Texas, by a narcotics squad. The officers suspected he was smuggling heroin from Mexico, but found instead 688 Dexedrine capsules (amphetamines) and 475 Equanil (sedatives or tranquilizers) tablets hidden inside his guitar case. Because the pills were prescription drugs rather than illegal narcotics, Cash received a suspended sentence. He posted a $1,500 bond and was released until his arraignment.[59] In this period of the mid-1960s, Cash released a number of concept albums. His Bitter Tears (1964) was devoted to spoken word and songs addressing the plight of Native Americans and mistreatment by the government. While initially reaching charts, this album met with resistance from some fans and radio stations, which rejected its controversial take on social issues. In 2011, a book was published about it, leading to a re-recording of the songs by contemporary artists and the making of a documentary film about Cash`s efforts with the album. This film was aired on PBS in February and November 2016. His Sings the Ballads of the True West (1965) was an experimental double record, mixing authentic frontier songs with Cash`s spoken narration. Reaching a low with his severe drug addiction and destructive behavior, Cash was divorced from his first wife and had performances cancelled, but he continued to find success. In 1967, Cash`s duet with June Carter, `Jackson`, won a Grammy Award.[60] Cash was last arrested in 1967 in Walker County, Georgia, after police found he was carrying a bag of prescription pills and was in a car accident. Cash attempted to bribe a local deputy, who turned the money down. He was jailed for the night in LaFayette, Georgia. Sheriff Ralph Jones released him after giving him a long talk, warning him about the danger of his behavior and wasted potential. Cash credited that experience with helping him turn around and save his life. He later returned to LaFayette to play a benefit concert; it attracted 12,000 people (the city population was less than 9,000 at the time) and raised $75,000 for the high school.[61] Reflecting on his past in a 1997 interview, Cash noted: `I was taking the pills for awhile, and then the pills started taking me.`[62] June, Maybelle, and Ezra Carter moved into Cash`s mansion for a month to help him get off drugs. Cash proposed onstage to June on February 22, 1968, at a concert at the London Gardens in London, Ontario, Canada. The couple married a week later (on March 1) in Franklin, Kentucky. She had agreed to marry Cash after he had `cleaned up.`[63] Cash`s journey included rediscovery of his Christian faith. He took an `altar call` in Evangel Temple, a small church in the Nashville area, pastored by Reverend Jimmie Rodgers Snow, son of country music legend Hank Snow. According to Marshall Grant, though, Cash did not completely stop using amphetamines in 1968. Cash did not end all drug use until 1970, staying drug-free for a period of seven years. Grant claims that the birth of Cash`s son, John Carter Cash, inspired Cash to end his dependence.[64] Cash began using amphetamines again in 1977. By 1983, he was deeply addicted again and became a patient at the Betty Ford Clinic in Rancho Mirage for treatment. He stayed off drugs for several years, but relapsed. By 1989, he was dependent and entered Nashville`s Cumberland Heights Alcohol and Drug Treatment Center. In 1992, he started care at the Loma Linda Behavioral Medicine Center in Loma Linda, California, for his final rehabilitation treatment. (Several months later, his son followed him into this facility for treatment.)[65][66] Folsom and other prison concerts Cash began performing concerts at prisons in the late 1950s. He played his first famous prison concert on January 1, 1958, at San Quentin State Prison.[67] These performances led to a pair of highly successful live albums, Johnny Cash at Folsom Prison (1968) and Johnny Cash at San Quentin (1969). Both live albums reached number one on Billboard country album music and the latter crossed over to reach the top of the Billboard pop album chart. In 1969, Cash became an international hit when he eclipsed even The Beatles by selling 6.5 million albums.[68] In comparison, the prison concerts were much more successful than his later live albums such as Strawberry Cake recorded in London and Live at Madison Square Garden, which peaked at numbers 33 and 39 on the album charts, respectively. The Folsom Prison record was introduced by a rendition of his `Folsom Prison Blues` while the San Quentin record included the crossover hit single `A Boy Named Sue`, a Shel Silverstein-penned novelty song that reached number one on the country charts and number two on the U.S. top-10 pop charts. Cash performed at the Österåker Prison in Sweden in 1972. The live album På Österåker (At Österåker) was released in 1973. `San Quentin` was recorded with Cash replacing `San Quentin` with `Österåker`. In 1976, a concert at Tennessee State Prison was videotaped for TV broadcast, and received a belated CD release after Cash`s death as A Concert Behind Prison Walls. Activism for Native Americans Cash used his stardom and economic status to bring awareness to the issues surrounding the Native American people.[69] Cash sang songs about indigenous humanity in an effort to confront the U.S. government. Many non-Native Americans stayed away from singing about these things.[70] In 1965, Cash and June Carter appeared on Pete Seeger`s TV show, Rainbow Quest, on which Cash explained his start as an activist for Native Americans: In `57, I wrote a song called `Old Apache Squaw` and then forgot the so-called Indian protest for a while, but nobody else seemed to speak up with any volume of voice.[71] Columbia Music, the label for which Cash was recording then, was opposed to putting the song on his next album, considering it `too radical for the public`.[72] Cash singing songs of Indian tragedy and settler violence went radically against the mainstream of country music in the 1950s, which was dominated by the image of the righteous cowboy who simply makes the native`s soil his own.[73] In 1964, coming off the chart success of his previous album I Walk the Line, he recorded the aforementioned album Bitter Tears: Ballads of the American Indian. We`re Still Here: Johnny Cash`s Bitter Tears Revisited, a documentary by Antonino D`Ambrosio (author of A Heartland and a Guitar: Johnny Cash and the Making of Bitter Tears) tells the story of Johnny Cash`s controversial concept album Bitter Tears: Ballads of the American Indian, covering the struggles of Native Americans. The film`s DVD was released on August 21, 2018.[74] The album featured stories of a multitude of Indigenous peoples, mostly of their violent oppression by white settlers: the Pima (`The Ballad of Ira Hayes`), Navajo (`Navajo`), Apache (`Apache Tears`), Lakota (`Big Foot`), Seneca (`As Long as the Grass Shall Grow`), and Cherokee (`Talking Leaves`). Cash wrote three of the songs himself and one with the help of Johnny Horton, but the majority of the protest songs were written by folk artist Peter La Farge (son of activist and Pulitzer prizewinner Oliver La Farge), whom Cash met in New York in the 1960s and whom he admired for his activism.[75] The album`s single, `The Ballad of Ira Hayes` (about Ira Hayes, one of the six to raise the U.S. flag at Iwo Jima), was neglected by nonpolitical radio at the time, and the record label denied it any promotion due to its provocative protesting and `unappealing` nature. Cash faced resistance and was even urged by an editor of a country music magazine to leave the Country Music Association: `You and your crowd are just too intelligent to associate with plain country folks, country artists, and country DJs.`[76] In reaction, on August 22, 1964, Cash posted a letter as an advertisement in Billboard, calling the record industry cowardly: `D.J.s – station managers – owners [...] where are your guts? I had to fight back when I realized that so many stations are afraid of Ira Hayes. Just one question: WHY??? Ira Hayes is strong medicine [...] So is Rochester, Harlem, Birmingham and Vietnam.`[77][78] Cash kept promoting the song himself and used his influence on radio disc jockeys he knew eventually to make the song climb to number three on the country charts, while the album rose to number two on the album charts.[76] Cash in 1969 Later, on The Johnny Cash Show, he continued telling stories of Native-American plight, both in song and through short films, such as the history of the Trail of Tears.[79] In 1966, in response to his activism, Cash was adopted by the Seneca Nation`s Turtle Clan.[23] He performed benefits in 1968 at the Rosebud Reservation, close to the historical landmark of the massacre at Wounded Knee, to raise money to help build a school. He also played at the D-Q University in the 1980s.[80] In 1970, Cash recorded a reading of John G. Burnett`s 1890, 80th-birthday essay[81] on Cherokee removal for the Historical Landmarks Association (Nashville).[82] The Johnny Cash Show From June 1969 to March 1971, Cash starred in his own television show, The Johnny Cash Show, on the ABC network.[83] Produced by Screen Gems, the show was performed at the Ryman Auditorium in Nashville. The Statler Brothers opened for him in every episode; the Carter Family and rockabilly legend Carl Perkins were also part of the regular show entourage. Cash also enjoyed booking mainstream performers as guests; including Linda Ronstadt in her first TV appearance, Neil Young, Louis Armstrong, Neil Diamond, Kenny Rogers and The First Edition (who appeared four times), James Taylor, Ray Charles, Roger Miller, Roy Orbison, Derek and the Dominos, Joni Mitchell, and Bob Dylan.[83] From September 15–18, 1969, in Albuquerque, New Mexico, he performed a series of four concerts at the New Mexico State Fair to promote the first season of The Johnny Cash Show.[84][85] These live shows were produced with help from ABC and local concert producer Bennie Sanchez, during these sets Johnny Cash and Al Hurricane performed together.[86] Also during The Johnny Cash Show era, he contributed the title song and other songs to the film Little Fauss and Big Halsy, which starred Robert Redford, Michael J. Pollard, and Lauren Hutton.[87] The title song, `The Ballad of Little Fauss and Big Halsy`, written by Carl Perkins, was nominated for a Golden Globe award in 1971.[88] Cash had first met with Dylan in the mid-1960s and became neighbors in the late 1960s in Woodstock, New York. Cash was enthusiastic about reintroducing the reclusive Dylan to his audience. Cash sang a duet with Dylan, `Girl from the North Country`, on Dylan`s country album Nashville Skyline and also wrote the album`s Grammy-winning liner notes. Another artist who received a major career boost from The Johnny Cash Show was Kris Kristofferson, who was beginning to make a name for himself as a singer-songwriter. During a live performance of Kristofferson`s `Sunday Mornin` Comin` Down`, Cash refused to change the lyrics to suit network executives, singing the song with its references to marijuana intact: On a Sunday morning sidewalk I`m wishin`, Lord, that I was stoned.[89] The closing program of The Johnny Cash Show was a gospel music special. Guests included the Blackwood Brothers, Mahalia Jackson, Stuart Hamblen, and Billy Graham.[90] The `Man in Black` Cash advocated prison reform at his July 1972 meeting with President Richard Nixon By the early 1970s, Cash had established his public image as the `Man in Black`. He regularly performed in entirely black suits with a long, black, knee-length coat. This outfit stood in contrast to the rhinestone suits and cowboy boots worn by most of the major country acts of his day. Cash performing in Bremen, West Germany, in September 1972 Cash said he wore all black on behalf of the poor and hungry, the `prisoner who has long paid for his crime`, and those who have been betrayed by age or drugs.[91] He added, `With the Vietnam War as painful in my mind as it was in most other Americans, I wore it `in mourning` for the lives that could have been` ... Apart from the Vietnam War being over, I don`t see much reason to change my position ... The old are still neglected, the poor are still poor, the young are still dying before their time, and we`re not making many moves to make things right. There`s still plenty of darkness to carry off.`[91] Cash in the `one piece at a time` Cadillac Initially, he and his band had worn black shirts because that was the only matching color they had among their various outfits. He wore other colors on stage early in his career, but he claimed to like wearing black both on and off stage. He stated that political reasons aside, he simply liked black as his on-stage color.[11] The outdated US Navy`s winter blue uniform used to be referred to by sailors as `Johnny Cashes`, as the uniform`s shirt, tie, and trousers are solid black.[92] In the mid-1970s, Cash`s popularity and number of hit songs began to decline. He made commercials for Amoco and STP, an unpopular enterprise at the time of the 1970s energy crisis. In 1976, he made commercials for Lionel Trains, for which he also wrote the music.[93] However, his first autobiography, Man in Black, was published in 1975 and sold 1.3 million copies. A second, Cash: The Autobiography, appeared in 1997. Cash`s friendship with Billy Graham[94] led to his production of a film about the life of Jesus, Gospel Road: A Story of Jesus, which Cash co-wrote and narrated. It was released in 1973. Cash viewed the film as a statement of his personal faith rather than a means of proselytizing.[95] Cash and June Carter Cash appeared several times on the Billy Graham Crusade TV specials, and Cash continued to include gospel and religious songs on many of his albums, though Columbia declined to release A Believer Sings the Truth, a gospel double-LP Cash recorded in 1979 and which ended up being released on an independent label even with Cash still under contract to Columbia. On November 22, 1974, CBS ran his one-hour TV special entitled Riding The Rails, a musical history of trains. He continued to appear on television, hosting Christmas specials on CBS in the late 1970s and early 1980s. Later television appearances included a starring role in an episode of Columbo, entitled `Swan Song`. June and he appeared in an episode of Little House on the Prairie, entitled `The Collection`. He gave a performance as abolitionist John Brown in the 1985 American Civil War television miniseries North and South. In the 1990s, Johnny and June appeared in Dr. Quinn, Medicine Woman in recurring roles. He was friendly with every US president, starting with Richard Nixon. He was closest to Jimmy Carter, with whom he became close friends and who was a distant cousin of his wife, June.[96] When invited to perform at the White House for the first time in 1970,[97] Richard Nixon`s office requested that he play `Okie from Muskogee` (a satirical Merle Haggard song about people who despised hippies, young drug users and Vietnam war protesters), `Welfare Cadillac` (a Guy Drake song which chastises the integrity of welfare recipients), and `A Boy Named Sue`. Cash declined to play the first two and instead selected other songs, including `The Ballad of Ira Hayes` and his own compositions, `What Is Truth` and `Man in Black`. Cash wrote that the reasons for denying Nixon`s song choices were not knowing them and having fairly short notice to rehearse them, rather than any political reason.[98] However, Cash added, even if Nixon`s office had given Cash enough time to learn and rehearse the songs, their choice of pieces that conveyed `antihippie and antiblack` sentiments might have backfired.[99] In his remarks when introducing Cash, Nixon joked that one thing he had learned about him was one did not tell him what to sing.[100] Johnny Cash was the grand marshal of the United States Bicentennial parade.[101] He wore a shirt from Nudie Cohn which sold for $25,000 in auction in 2010.[102] After the parade he gave a concert at the Washington Monument.[103] Highwaymen and departure from Columbia Records The Highwaymen members Kris Kristofferson, Johnny Cash, Waylon Jennings, Willie Nelson In 1980, Cash became the Country Music Hall of Fame`s youngest living inductee at age 48, but during the 1980s, his records failed to make a major impact on the country charts, although he continued to tour successfully. In the mid-1980s, he recorded and toured with Waylon Jennings, Willie Nelson, and Kris Kristofferson as The Highwaymen, making three hit albums, which were released beginning with the originally titled Highwayman in 1985, followed by Highwaymen 2 in 1990, and concluding with Highwaymen – The Road Goes On Forever in 1995. During that period, Cash appeared in a number of television films. In 1981, he starred in The Pride of Jesse Hallam, winning fine reviews for a film that called attention to adult illiteracy. In 1983, he appeared as a heroic sheriff in Murder in Coweta County, based on a real-life Georgia murder case, which co-starred Andy Griffith as his nemesis. Cash relapsed into addiction after being administered painkillers for a serious abdominal injury in 1983 caused by an incident in which he was kicked and wounded by an ostrich on his farm.[104] At a hospital visit in 1988, this time to watch over Waylon Jennings (who was recovering from a heart attack), Jennings suggested that Cash have himself checked into the hospital for his own heart condition. Doctors recommended preventive heart surgery, and Cash underwent double bypass surgery in the same hospital. Both recovered, although Cash refused to use any prescription painkillers, fearing a relapse into dependency. Cash later claimed that during his operation, he had what is called a `near-death experience`. In 1984, Cash released a self-parody recording titled `The Chicken in Black` about Cash`s brain being transplanted into a chicken and Cash receiving a bank robber`s brain in return. Biographer Robert Hilburn, in his 2013 book Johnny Cash: The Life, disputes the claim made that Cash chose to record an intentionally poor song in protest of Columbia`s treatment of him. On the contrary, Hilburn writes, it was Columbia that presented Cash with the song, which Cash – who had previously scored major chart hits with comedic material such as `A Boy Named Sue` and `One Piece at a Time` – accepted enthusiastically, performing the song live on stage and filming a comedic music video in which he dresses up in a superhero-like bank-robber costume. According to Hilburn, Cash`s enthusiasm for the song waned after Waylon Jennings told Cash he looked `like a buffoon` in the music video (which was showcased during Cash`s 1984 Christmas TV special), and Cash subsequently demanded that Columbia withdraw the music video from broadcast and recall the single from stores—interrupting its bona fide chart success—and termed the venture `a fiasco.`[105] Between 1981 and 1984, he recorded several sessions with famed countrypolitan producer Billy Sherrill (who also produced `The Chicken in Black`), which were shelved; they would be released by Columbia`s sister label, Legacy Recordings, in 2014 as Out Among the Stars.[106] Around this time, Cash also recorded an album of gospel recordings that ended up being released by another label around the time of his departure from Columbia (this due to Columbia closing down its Priority Records division that was to have released the recordings). After more unsuccessful recordings were released between 1984 and 1985, Cash left Columbia. In 1986, Cash returned to Sun Studios in Memphis to team up with Roy Orbison, Jerry Lee Lewis, and Carl Perkins to create the album Class of `55; according to Hilburn, Columbia still had Cash under contract at the time, so special arrangements had to be made to allow him to participate.[107] Also in 1986, Cash published his only novel, Man in White, a book about Saul and his conversion to become the Apostle Paul. He recorded Johnny Cash Reads The Complete New Testament in 1990. American Recordings Johnny Cash sings with a Navy lieutenant during a military event c. January 1987 After Columbia Records dropped Cash from his recording contract, he had a short and unsuccessful stint with Mercury Records from 1987 to 1991. During this time, he recorded an album of new versions of some of his best-known Sun and Columbia hits, as well as Water from the Wells of Home, a duets album that paired him with, among others, his children Rosanne Cash and John Carter Cash, as well as Paul McCartney. A one-off Christmas album recorded for Delta Records followed his Mercury contract. Though Cash would never have another chart hit from 1991 until his death, his career was rejuvenated in the 1990s, leading to popularity with an audience which was not traditionally considered interested in country music. In 1988, British post-punk musicians Marc Riley (formerly of the Fall) and Jon Langford (the Mekons) put together `Til Things Are Brighter, a tribute album featuring mostly British-based indie-rock acts` interpretations of Cash`s songs. Cash was enthusiastic about the project, telling Langford that it was a `morale booster`; Rosanne Cash later said `he felt a real connection with those musicians and very validated ... It was very good for him: he was in his element. He absolutely understood what they were tapping into, and loved it`. The album attracted press attention on both sides of the Atlantic.[108] In 1991, he sang a version of `Man in Black` for the Christian punk band One Bad Pig`s album I Scream Sunday. In 1993, he sang `The Wanderer`, the closing track of U2`s album Zooropa. According to Rolling Stone writer Adam Gold, `The Wanderer` – written for Cash by Bono, `defies both the U2 and Cash canons, combining rhythmic and textural elements of Nineties synth-pop with a Countrypolitan lament fit for the closing credits of a Seventies western.`[109] No longer sought-after by major labels, he was offered a contract with producer Rick Rubin`s American Recordings label, which had recently been rebranded from Def American, under which name it was better known for rap and hard rock. Under Rubin`s supervision, he recorded American Recordings (1994) in his living room, accompanied only by his Martin Dreadnought guitar – one of many Cash played throughout his career.[110] The album featured covers of contemporary artists selected by Rubin. The album had a great deal of critical and commercial success, winning a Grammy for Best Contemporary Folk Album. Cash wrote that his reception at the 1994 Glastonbury Festival was one of the highlights of his career. This was the beginning of a decade of music industry accolades and commercial success. He teamed up with Brooks & Dunn to contribute `Folsom Prison Blues` to the AIDS benefit album Red Hot + Country produced by the Red Hot Organization. On the same album, he performed Bob Dylan`s `Forever Young.`[citation needed] Cash and his wife appeared on a number of episodes of the television series Dr. Quinn, Medicine Woman. He also lent his voice for a cameo role in The Simpsons episode `El Viaje Misterioso de Nuestro Jomer (The Mysterious Voyage of Homer)`, as the `Space Coyote` that guides Homer Simpson on a spiritual quest. Cash was joined by guitarist Kim Thayil of Soundgarden, bassist Krist Novoselic of Nirvana, and drummer Sean Kinney of Alice in Chains for a cover of Willie Nelson`s `Time of the Preacher`, featured on the tribute album Twisted Willie, released in January 1996.[111] In 1996, Cash collaborated with Tom Petty and the Heartbreakers on Unchained (also known as American Recordings II), which won the Best Country Album Grammy in 1998. The album was produced by Rick Rubin with Sylvia Massy engineering and mixing. A majority of Unchained was recorded at Sound City Studios and featured guest appearances by Lindsey Buckingham, Mick Fleetwood, and Marty Stuart. Believing he did not explain enough of himself in his 1975 autobiography Man in Black, he wrote Cash: The Autobiography in 1997. Later years and death Cash with President George W. Bush and First Lady Laura Bush in 2002 In 1997, during a trip to New York City, Cash was diagnosed with the neurodegenerative disease Shy–Drager syndrome, a form of multiple system atrophy.[112] According to biographer Robert Hilburn, the disease was originally misdiagnosed as Parkinson`s disease, and Cash even announced to his audience that he had Parkinson`s after nearly collapsing on stage in Flint, Michigan, on October 25, 1997. Soon afterwards, his diagnosis was changed to Shy–Drager, and Cash was told he had about 18 months to live.[113] The diagnosis was later again altered to autonomic neuropathy associated with diabetes. The illness forced Cash to curtail his touring. He was hospitalized in 1998 with severe pneumonia, which damaged his lungs. During the last stage of his career, Cash released the albums American III: Solitary Man (2000) and American IV: The Man Comes Around (2002). American IV included cover songs by several late 20th-century rock artists, notably `Hurt` by Nine Inch Nails and `Personal Jesus` by Depeche Mode.[114] Trent Reznor of Nine Inch Nails commented that he was initially skeptical about Cash`s plan to cover `Hurt`, but was later impressed and moved by the rendition.[115] The video for `Hurt` received critical and popular acclaim, including a Grammy Award.[116][117] June Carter Cash died on May 15, 2003, aged 73.[118] June had told Cash to keep working, so he continued to record, completing 60 songs in the last four months of his life. He even performed surprise shows at the Carter Family Fold outside Bristol, Virginia. At the July 5, 2003, concert (his last public performance), before singing `Ring of Fire`, Cash read a statement that he had written shortly before taking the stage: The spirit of June Carter overshadows me tonight with the love she had for me and the love I have for her. We connect somewhere between here and Heaven. She came down for a short visit, I guess, from Heaven to visit with me tonight to give me courage and inspiration like she always has. She`s never been one for me except courage and inspiration. I thank God for June Carter. I love her with all my heart. Cash continued to record until shortly before his death. `When June died, it tore him up`, Rick Rubin recalled. `He said to me, `You have to keep me working because I will die if I don`t have something to do.` He was in a wheelchair by then and we set him up at his home in Virginia… I couldn`t listen to those recordings for two years after he died and it was heartbreaking when we did.`[119] Cash`s final recordings were made on August 21, 2003, and consisted of `Like the 309`, which appeared on American V: A Hundred Highways in 2006, and the final song he completed, `Engine 143`, recorded for his son John Carter Cash`s planned Carter Family tribute album.[120] Cash`s grave located at Hendersonville Memory Gardens in Hendersonville, Tennessee While being hospitalized at Baptist Hospital in Nashville, Cash died of complications from diabetes at around 2:00 am Central Time on September 12, 2003, aged 71—less than four months after his wife. He was buried next to her at Hendersonville Memory Gardens near his home in Hendersonville, Tennessee. Personal life Cash and his second wife, June Carter, in 1969 On July 18, 1951, while in Air Force basic training, Cash met 17-year-old Italian-American Vivian Liberto at a roller skating rink in San Antonio, Texas.[121] They dated for three weeks until Cash was deployed to West Germany for a three-year tour. During that time, the couple exchanged hundreds of love letters.[122] On August 7, 1954, one month after his discharge, they were married at St. Ann`s Roman Catholic Church in San Antonio. They had four daughters: Rosanne, Kathy, Cindy, and Tara. In 1961, Cash moved his family to a hilltop home overlooking Casitas Springs, California. He had previously moved his parents to the area to run a small trailer park called the Johnny Cash Trailer Park. His drinking led to several run-ins with local law enforcement. Liberto later said that she had filed for divorce in 1966 because of Cash`s severe drug and alcohol abuse, as well as his constant touring, his repeated acts of adultery with other women, and his close relationship with singer June Carter. Their four daughters were then raised by their mother. Cash met June of the famed Carter Family while on tour, and the two became infatuated with each other. In 1968, thirteen years after they first met backstage at the Grand Ole Opry, Cash proposed to June, during a live performance in London, Ontario.[123] The couple married on March 1, 1968, in Franklin, Kentucky. They had one child together, John Carter Cash, born March 3, 1970. He was the only son for both Johnny and June. In addition to having his four daughters and John Carter, Cash also became stepfather to Carlene and Rosie, June`s daughters from her first two marriages, to, respectively, honky-tonk singer Carl Smith, and former police officer, football player, and race-car driver Edwin `Rip` Nix. Cash and Carter continued to work, raise their child, create music, and tour together for 35 years until June`s death in May 2003. Throughout their marriage, June attempted to keep Cash off amphetamines, often taking his drugs and flushing them down the toilet. June remained with him even throughout his multiple admissions for rehabilitation treatment and decades of drug addiction. After June`s death in May 2003, Cash believed that his only reason for living was his music; he died only four months later.[124] Religious beliefs Cash was raised by his parents in the Southern Baptist denomination of Christianity. He was baptized in 1944 in the Tyronza River as a member of the Central Baptist Church of Dyess, Arkansas.[125] A troubled but devout Christian,[126][127] Cash has been characterized as a `lens through which to view American contradictions and challenges.`[e][129][130] On May 9, 1971, he answered the altar call at Evangel Temple, an Assemblies of God congregation pastored by Jimmie R. Snow, with outreach to people in the music world.[131] Cash penned a Christian novel, Man in White, in 1986, and in the introduction writes about a reporter, who, interested in Cash`s religious beliefs, questioned whether the book is written from a Baptist, Catholic, or Jewish perspective. Cash replied, `I`m a Christian. Don`t put me in another box.`[132][133][134][135] In the mid-1970s, Cash and his wife, June, completed a course of study in the Bible through Christian International Bible College, culminating in a pilgrimage to Israel in November 1978.[66]: 66  Around that time, he was ordained as a minister, and officiated at his daughter`s wedding.[136] He often performed at Billy Graham Crusades. At a Tallahassee Crusade in 1986, June and Johnny sang his song `One of These Days I`m Gonna Sit Down and Talk to Paul`.[137] At a performance in Arkansas in 1989, Johnny Cash spoke to attendees of his commitment to the salvation of drug dealers and alcoholics. He then sang, `Family Bible`.[138] He recorded several gospel albums and made a spoken-word recording of the entire New King James Version of the New Testament.[139][140] Cash declared he was `the biggest sinner of them all`, and viewed himself overall as a complicated and contradictory man.[141][f] Accordingly,[g] Cash is said to have `contained multitudes`, and has been deemed `the philosopher-prince of American country music.`[145][146] Cash is credited with having converted actor and singer John Schneider to Christianity.[147] Legacy The clothes and guitar of Johnny Cash on exhibit in the Artist Gallery of the Musical Instrument Museum of Phoenix Cash nurtured and defended artists (such as Bob Dylan[49]) on the fringes of what was acceptable in country music even while serving as the country music establishment`s most visible symbol. At an all-star concert which aired in 1999 on TNT, a diverse group of artists paid him tribute, including Dylan, Chris Isaak, Wyclef Jean, Norah Jones, Kris Kristofferson, Willie Nelson, Dom DeLuise, and U2. Cash himself appeared at the end and performed for the first time in more than a year. Two tribute albums were released shortly before his death; Kindred Spirits contains works from established artists, while Dressed in Black contains works from many lesser-known musicians. In total, he wrote over 1,000 songs and released dozens of albums. A box set titled Unearthed was issued posthumously. It included four CDs of unreleased material recorded with Rubin, as well as a Best of Cash on American retrospective CD. The set also includes a 104-page book that discusses each track and features one of Cash`s final interviews.[148] In 1999, Cash received the Grammy Lifetime Achievement Award. In 2004, Rolling Stone ranked Cash number 31 on their `100 Greatest Artists of All Time` list[149][150] and No. 21 on their `100 Greatest Singers` list in 2010.[151] In 2012, Rolling Stone ranked Cash`s 1968 live album At Folsom Prison and 1994 studio album American Recordings at No. 88[152] and No. 366[153] in its list of the 500 greatest albums of all time. In recognition of his lifelong support of SOS Children`s Villages, his family invited friends and fans to donate to the Johnny Cash Memorial Fund in his memory. He had a personal link with the SOS village in Dießen, at the Ammersee Lake in Bavaria, near where he was stationed as a GI, and with the SOS village in Barrett Town, by Montego Bay, near his holiday home in Jamaica.[154][155] In January 2006, Cash`s lakeside home on Caudill Drive in Hendersonville was sold to Bee Gees vocalist Barry Gibb and wife Linda for $2.3 million. On April 10, 2007, during major renovation works carried out for Gibb, a fire broke out at the house, spreading quickly due to a flammable wood preservative that had been used. The building was completely destroyed.[156] One of Cash`s final collaborations with producer Rick Rubin, American V: A Hundred Highways, was released posthumously on July 4, 2006. The album debuted at number one on the Billboard Top 200 album chart for the week ending July 22, 2006. On February 23, 2010, three days before what would have been Cash`s 78th birthday, the Cash Family, Rick Rubin, and Lost Highway Records released his second posthumous record, titled American VI: Ain`t No Grave. The main street in Hendersonville, Tennessee, Highway 31E, is known as `Johnny Cash Parkway`.[157] The Johnny Cash Museum, located in one of Cash`s properties in Hendersonville until 2006, dubbed the House of Cash, was sold based on Cash`s will. Prior to this, having been closed for a number of years, the museum had been featured in Cash`s music video for `Hurt`. The house subsequently burned down during the renovation by the new owner. A new museum, founded by Shannon and Bill Miller, opened April 26, 2013, in downtown Nashville.[158] On November 2–4, 2007, the Johnny Cash Flower Pickin` Festival was held in Starkville, Mississippi, where Cash had been arrested more than 40 years earlier and held overnight at the city jail on May 11, 1965. The incident inspired Cash to write the song `Starkville City Jail`. The festival, where he was offered a symbolic posthumous pardon, honored Cash`s life and music, and was expected to become an annual event.[159] JC Unit One, Johnny Cash`s private tour bus from 1980 until 2003, was put on exhibit at the Rock and Roll Hall of Fame and Museum in Cleveland, Ohio, in 2007. The museum offers public tours of the bus on a seasonal basis (it is stored during the winter and not exhibited during those times).[160] A limited-edition Forever stamp honoring Cash went on sale June 5, 2013. The stamp features a promotional picture of Cash taken around the 1963 release of Ring of Fire: The Best of Johnny Cash.[161] On October 14, 2014, the City of Folsom unveiled phase 1 of the Johnny Cash Trail to the public with a dedication and ribbon-cutting ceremony attended by Rosanne Cash. Along the trail, eight larger-than-life public art pieces will tell the story of Johnny Cash, his connection to Folsom Prison, and his epic musical career. The Johnny Cash Trail features art selected by a committee that included Cindy Cash, a 2-acre (0.81 ha) Legacy Park, and over 3 miles (4.8 km) of multi-use class-I bike trail. The artists responsible for the sculptures are Sacramento-based Romo Studios, LLC and the Fine Art Studio of Rotblatt Amrany, from Illinois.[162] In 2015, a new species of black tarantula was identified near Folsom Prison and named Aphonopelma johnnycashi in his honor. In 2016, the Nashville Sounds Minor League Baseball team added the `Country Legends Race` to its between-innings entertainment. At the middle of the fifth inning, people in oversized foam caricature costumes depicting Cash, as well as George Jones, Reba McEntire, and Dolly Parton, race around the warning track at First Horizon Park from center field to the home plate side of the first base dugout.[163] On February 8, 2018, the album Forever Words was announced, putting music to poems that Cash had written and which were published in book form in 2016.[164] Johnny Cash`s boyhood home in Dyess was listed in the National Register of Historic Places on May 2, 2018, as `Farm No. 266, Johnny Cash Boyhood Home.`[30] The Arkansas Country Music Awards honored Johnny Cash`s legacy with the Lifetime Achievement award on June 3, 2018. The ceremony was held that same date, which was a Monday night at the University of Arkansas at Little Rock in Little Rock, Arkansas. The nominations took place in early 2018.[165][166] In 2019, Sheryl Crow released a duet with Cash on her song `Redemption Day` for her final album Threads. Crow, who had originally written and recorded the song in 1996, recorded new vocals and added them to those of Cash, who recorded the song for his American VI: Ain`t No Grave album.[167] In April 2019, it was announced that the state of Arkansas would place a statue of Cash in the National Statuary Hall in an effort to represent the modern history of Arkansas. The Governor of Arkansas, Asa Hutchinson, stated that Cash`s contributions to music made him an appropriate figure to tell the story of the state.[168] Portrayals Country singer Mark Collie portrayed Cash in John Lloyd Miller`s award-winning 1999 short film I Still Miss Someone. In November 2005, Walk the Line, a biographical film about Cash`s life, was released in the United States to considerable commercial success and critical acclaim. The film featured Joaquin Phoenix as Johnny (for which he was nominated for the Academy Award for Best Actor) and Reese Witherspoon as June (for which she won the Academy Award for Best Actress). Phoenix and Witherspoon also won the Golden Globe for Best Actor in a Musical or Comedy and Best Actress in a Musical or Comedy, respectively. They both performed their own vocals in the film (with their version of `Jackson` being released as a single), and Phoenix learned to play guitar for the role. Phoenix received a Grammy Award for his contributions to the soundtrack. John Carter Cash, the son of Johnny and June, served as an executive producer. On March 12, 2006, Ring of Fire, a jukebox musical of the Cash oeuvre, debuted on Broadway at the Ethel Barrymore Theater, but closed due to harsh reviews and disappointing sales on April 30. Million Dollar Quartet, a musical portraying the early Sun recording sessions involving Cash, Elvis Presley, Jerry Lee Lewis, and Carl Perkins, debuted on Broadway on April 11, 2010. Actor Lance Guest portrayed Cash. The musical was nominated for three awards at the 2010 Tony Awards and won one. Robert Hilburn, veteran Los Angeles Times pop music critic, the journalist who accompanied Cash in his 1968 Folsom prison tour, and interviewed Cash many times throughout his life including months before his death, published a 688-page biography with 16 pages of photographs in 2013.[169] The meticulously reported biography is said to have filled in the 80% of Cash`s life that was unknown, including details about Cash`s battles with addiction and infidelity.[170][56][171] Awards and honors For detailed lists of music awards, see List of awards received by Johnny Cash. If there were a hall of fame for creating larger-than-life personae, Cash would no doubt have been elected to it as well. His 1971 song `Man in Black` codified an image that the singer had assumed naturally for more than fifteen years at that point. Part rural preacher, part outlaw Robin Hood, he was a blue-collar prophet who, dressed in stark contrast to the glinting rhinestones and shimmering psychedelia of the time, spoke truth to power. —Johnny Cash: Remembering the Incomparable Legend of Country, Rock and Roll, Rolling Stone.[172] Cash received multiple Country Music Association Awards, Grammys, and other awards, in categories ranging from vocal and spoken performances to album notes and videos. In a career that spanned almost five decades, Cash was the personification of country music to many people around the world. Cash was a musician who was not defined by a single genre. He recorded songs that could be considered rock and roll, blues, rockabilly, folk, and gospel, and exerted an influence on each of those genres. His diversity was evidenced by his presence in five major music halls of fame: the Nashville Songwriters Hall of Fame (1977), the Country Music Hall of Fame (1980), the Rock and Roll Hall of Fame (1992), GMA`s Gospel Music Hall of Fame (2010). and the Memphis Music Hall of Fame (2013).[173][174] Marking his death in 2003, Rolling Stone stated other than Elvis Presley Cash was the only artist inducted as a performer into both the Country Music Hall of Fame and the Rock and Roll Hall of Fame.[172] His contributions to the genre have been recognized by the Rockabilly Hall of Fame.[175] Cash received the Kennedy Center Honors in 1996 and stated that his induction into the Country Music Hall of Fame in 1980 was his greatest professional achievement. In 2001, he was awarded the National Medal of Arts.[176] `Hurt` was nominated for six VMAs at the 2003 MTV Video Music Awards. The only VMA the video won was that for Best Cinematography. With the video, Johnny Cash became the oldest artist ever nominated for an MTV Video Music Award.[177] Justin Timberlake, who won Best Video that year for `Cry Me a River`, said in his acceptance speech: `This is a travesty! I demand a recount. My grandfather raised me on Johnny Cash, and I think he deserves this more than any of us in here tonight.`[178] Discography Main articles: Johnny Cash albums discography, Johnny Cash singles discography, and Johnny Cash Sun Records discography See also: List of songs recorded by Johnny Cash Johnny Cash with His Hot and Blue Guitar! (1957) The Fabulous Johnny Cash (1958) Hymns by Johnny Cash (1959) Songs of Our Soil (1959) Now, There Was a Song! (1960) Ride This Train (1960) Hymns from the Heart (1962) The Sound of Johnny Cash (1962) Blood, Sweat and Tears (1963) The Christmas Spirit (1963) Keep on the Sunny Side (with the Carter Family) (1964) I Walk the Line (1964) Bitter Tears: Ballads of the American Indian (1964) Orange Blossom Special (1965) Johnny Cash Sings the Ballads of the True West (1965) Everybody Loves a Nut (1966) Happiness Is You (1966) Carryin` On with Johnny Cash & June Carter (with June Carter) (1967) From Sea to Shining Sea (1968) The Holy Land (1969) Hello, I`m Johnny Cash (1970) Man in Black (1971) A Thing Called Love (1972) America: A 200-Year Salute in Story and Song (1972) The Johnny Cash Family Christmas (1972) Any Old Wind That Blows (1973) Johnny Cash and His Woman (with June Carter Cash) (1973) Ragged Old Flag (1974) The Junkie and the Juicehead Minus Me (1974) The Johnny Cash Children`s Album (1975) Johnny Cash Sings Precious Memories (1975) John R. Cash (1975) Look at Them Beans (1975) One Piece at a Time (1976) The Last Gunfighter Ballad (1977) The Rambler (1977) I Would Like to See You Again (1978) Gone Girl (1978) Silver (1979) A Believer Sings the Truth (1979) Johnny Cash Sings with the BC Goodpasture Christian School (1979) Rockabilly Blues (1980) Classic Christmas (1980) The Baron (1981) The Adventures of Johnny Cash (1982) Johnny 99 (1983) Highwayman (with Waylon Jennings, Willie Nelson & Kris Kristofferson) (1985) Rainbow (1985) Heroes (with Waylon Jennings) (1986) Class of `55 (with Roy Orbison, Jerry Lee Lewis & Carl Perkins) (1986) Believe in Him (1986) Johnny Cash Is Coming to Town (1987) Classic Cash: Hall of Fame Series (1988) Water from the Wells of Home (1988) Boom Chicka Boom (1990) Highwayman 2 (with Waylon Jennings, Willie Nelson & Kris Kristofferson) (1990) The Mystery of Life (1991) Country Christmas (1991) American Recordings (1994) The Road Goes on Forever (with Waylon Jennings, Willie Nelson & Kris Kristofferson) (1995) American II: Unchained (1996) American III: Solitary Man (2000) American IV: The Man Comes Around (2002) My Mother`s Hymn Book (2004) American V: A Hundred Highways (2006) American VI: Ain`t No Grave (2010) Out Among the Stars (2014) Džoni Keš