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• Simple plug-and-play operation with the Apple iPad. With an iPad and an iOS compatible audio application such as Steinberg Cubasis it is easy to record and create with impressive quality just about anywhere. There’s also a loopback function that can be handy for video.
• UR22mkII offers connectivity with Apple’s iPad and iPhone. When paired with Steinberg’s iPad-based Cubasis or other iOS audio apps, the UR22mkII offers a portable and effortlessly intuitive production experience. MIDI input and output.

How to connect a USB Audio Interface to an iPhone (Steinberg UR12). Nov 03, 2015  How to Set up the UR22mkII with Your iPad and Cubasis LE Setting up the UR22mkII Audio Interface. Garageband on iPad with iOS. Steinberg UR22 USB Audio Interface - Duration.

Could Steinberg’s mid–sized USB audio interface provide the perfect package for the home studio and music on the move?

The UR44 is the latest addition to Steinberg’s roster of audio interfaces, providing a definite step up in specification from the small and capable UR22 we looked at in June 2013 (see www.soundonsound.com/sos/jun13/articles/steinberg–ur22.htm). It features the same Yamaha D–Pre microphone preamps as the rest of the range (which are also found on Yamaha digital mixers) and a maximum sample rate of 192kHz. When compared to the UR22, the UR44 offers more inputs and outputs (six ins and four outs) plus a flexible low-latency monitoring system with effects. The package includes the Yamaha DSP bundle, comprising the REV–X reverb, Sweet Spot Morphing Channel Strip compressor/EQ and the new Guitar Amps Classics amp simulator, plus a basic version of Cubase. iOS compatibility is achieved through the use of an appropriate Apple Connection Kit, making it an interesting option for music-making on the iPad.

Opened Up

Just like the more diminutive UR22, the UR44 is packaged in an incredibly sturdy metal case, sporting the ever–popular brushed aluminium and black finish. The build quality and paint job really do eclipse other interfaces at this price. The unit is nicely weighted, whilst switches and pots feel positive and abundantly hardy in use. Chunky rubber feet beneath the case and handy labelling of connections on the top round things off nicely. The interface is powered by a wall–wart DC adaptor, which is included alongside a USB cable with a removable ferrite core. As with other larger USB audio interfaces, bus powering is not an option, which might constitute a limitation for those interested in location recording.

Starting with the front panel, four Neutrik Combo connectors give access to the D–Pre mic preamplifiers. On the jack front, inputs 1 and 2 are set at instrument level for guitars and bass, whilst inputs 3 and 4 are line level (either unbalanced or balanced). Above the Combo sockets is a series of LEDs: a peak indicator for each input as well as phantom power and mains power. It perhaps would have been nice to have multi–coloured LEDs here to show input activity as well as input overload. To the right of the four input connectors are the gain controls. Such a layout is neat when the various cables are plugged in, and also allows for more accurate gain matching between channels. Phantom power switching is in pairs — a welcome feature if you need to connect anything that doesn’t like it — and although there is no pad switch, a high–pass filter and polarity switch are accessible via software control. A monitor section follows, with volume controls for two independent headphone mixes plus the master output.

Around the back, two further line inputs are provided and, usefully, these can be switched in sensitivity between +4dBu and –10dBV. There are four line outputs here, and two additional main left and right line outputs that carry the same signals as outputs 1–2. Such a specification is handy for users wanting to connect a second set of monitors, but as an engineer who regularly dabbles with surround mixing, it would have been nice to have six independent outputs to make the interface even more versatile. I suppose this decision makes sense when comparing the specification of the UR44 to the larger UR28M (which does have six outputs), but I will continue to keep this on my wish list! Another omission that sets the UR44 apart from the UR28M is the lack of digital I/O, which could prove problematic for those wishing to connect external equipment using S/PDIF, for example. MIDI In and Out connections and a switch for class-compliant (iOS) operation complete the back panel line–up.

Installation

As with other Steinberg products, getting started involves a number of steps and user registration. The interface is boxed with a ‘tools’ disc containing the USB driver, the ‘dspMixFx’ software control application and the DSP effects. This software — plus subsequent updates — is also available from the Steinberg web site, for those who don’t have an optical drive. The DSP effects need to be activated before use, and this is achieved by first launching the installed ‘eLicenser’ application and entering the serial number supplied on a licence card.

Two additional line inputs are located next to the four line outputs on the rear panel. A further Main LR pair of line outputs carry the same signals as outputs 1–2, so that two sets of monitors can be connected. MIDI input/output is present, as well as a class-compliant mode switch for use with iOS. Power is by means of a 12 volt external supply.Cubase AI is downloaded directly from the Steinberg web site using the code from a second licence card. User registration is required, and the install is very sizeable at around 3.4GB. Following investigation, it was revealed that such substantial size is due to the standard installation including over 2.5GB of content that isn’t even used by the free version of the software! I assume that this is related to the special offer upgrade to Cubase Elements that is advertised when Cubase AI is first used, but it’s extremely presumptuous of Steinberg to assume that users would like to have the content there ready for a potential upgrade. Frustratingly, the content is fairly difficult to remove manually afterwards, so users would benefit from clearer information on screen at the installation stage. To negate this issue, ‘Custom Install’ must be selected and all content options unchecked, ensuring that only data pertaining to AI only is copied to the hard disk.

The firmware can be easily updated at any time via the Information window within the dspMixFx software . Clicking ‘Check For Update’ here will search for firmware and software updates and then apply them. Those wishing to use the UR44 with an iPad require firmware version 2.1 or later.

Bundled Bits

A colourful dspMixFx application is provided to set up foldback mixes and control other hardware features on the interface. This software is to be used with audio applications other than Cubase, and is presented as a virtual mixer panel with a reassuringly intuitive layout. On the left–hand side of the mixer panel, each input is represented as a channel with volume, pan and mute/solo controls, plus a polarity switch and high–pass filter (inputs 1–4 only). DSP effects can be added to signals in the foldback mix as inserts, but typically the blue send knob is used to effortlessly add a touch of reverb to incoming signals. The master section on the right–hand side features master output faders and meters, and an effects return to specify the reverb algorithm being used and control reverb time/return level. Two independent headphone mixes can be set up by toggling the Mix buttons, and all settings can be simply stored for later recall. By pressing the Set–up button at the top right-hand side of the window, users can access additional hardware settings, including sensitivity switching for line inputs 5–6 and to change the high-pass filter frequency for the first four inputs.

The dspMixFx software (top left) working in conjunction with Reaper. The Sweetspot Morphing Channel Strip and Guitar Amp Classics plug–ins are also pictured, in this case being used to provide low-latency effects on the foldback mix.An iPad app version of dspMixFx is also available and can be downloaded once the firmware has been updated. The app works alongside other iOS audio apps to provide the same functionality as described above. Used creatively, the app can alternatively act as a digital mixer for a live session or rehearsal, for example with microphones running through the reverb, EQ and compression, and guitars passed through the amp simulator.

Cubase AI 7 features 32 audio tracks, up to 16 virtual instrument tracks and an updated graphical user interface. Notably, version 7 allows the use of sample rates above 96kHz, and so constitutes a more useful recording package than previous versions (which were limited to 96kHz). A limited Halion Sonic SE sound set is available, consisting of General MIDI timbres plus a handful of pads and synths. The 28 stock audio effects are also basic, but are complemented nicely by using the VST3 versions of the bundled plug–ins on inserts and sends. The REV–X plug–in is a parameter–rich digital reverb from Yamaha, whilst Guitar Amp Classics offers a variety of usable tones and simple user interface. Likewise, the Sweet Spot Morphing Channel Strip offers a pleasant-sounding EQ plus more detailed control of compression parameters than the stock dynamics plug–in (for instance, higher compression ratios are available). Cubase AI integrates DSP monitoring controls for the UR44 into its native mixer panel, so the dspMixFx software is not required when using Cubase.

In Session

Using the UR44 with my DAW of choice (Reaper) was a delight and yielded excellent results. Simple hardware controls combined with the intuitive layout of the dspMixFx made it incredibly simple to plug in microphones and manipulate the sound coming from the headphones to my liking. Plenty of gain was available to the microphones (up to +52dB) and again, I found the D–Pre preamps to be low in noise and transparent. Adding reverb on the foldback mix really allows the instruments being recorded to work in context with the other tracks playing back, whilst panning the inputs helps to separate them in the headphones, particularly in a self–operation situation where a number of inputs are being used by the performer/engineer. The only down side to all this was that I was unable to access the VST3 versions of the bundled effects plug–ins for mixing, since Reaper does not support this standard.

Meanwhile, in Cubase AI, a UR44 template provides a useful starting point for a recording project. Use of a template is key to getting the device’s inputs and outputs active and direct monitoring switched on, but annoyingly, some fiddling with the VST Connections panel was still required to get inputs 5–6 up and running. Seasoned Cubase users will not be fazed by this, but the way in which inputs and outputs are accessed isn’t at all obvious for the beginner.

The re–designed Cubase mixer panel displaying the UR44 direct monitoring controls in the top section for the first three mixer channels (which correspond to hardware inputs). The REV–X digital reverb processor is also shown and offers a good range of adjustable parameters.When using any of the Cubase variants, control of the foldback mix and DSP effects is integrated into the software itself, so there’s no need to use dspMixFX (which in fact will not function whilst Cubase is running). Far from making the process more streamlined, I found the somewhat cryptic graphics on the Input Settings and Hardware Control panels within the Cubase mixer to be less intuitive than the dspMixFx user interface. Furthermore, it took me a while to get going, as the default horizontal zoom setting on the mixer rendered many of the direct monitoring controls invisible, a confusing situation that was only rectified by undertaking an Internet search to find out the keyboard shortcut for zooming out in the mixer (‘H’ on the keyboard). However, once these hurdles were overcome, Cubase AI did do everything I needed for recording, editing and mixing some audio tracks, whilst also providing some passable string pads to layer up the mix. If you don’t own any other DAW software, Cubase AI does represent a worthwhile option when starting out, if only to access the VST3 versions of REV–X and the other bundled plug–ins for mixing duties.

Verdict

Summing things up, the Steinberg UR44 is a high-quality and sturdy four–input interface with flexible direct monitoring features, decent-quality bundled plug–ins, and a basic DAW to get you started. The dspMixFx software works incredibly well when working alongside external software, but it’s frustrating that this cannot also be used when recording with Steinberg’s own sequencers. This package will fit the bill for those who want to record more than two simultaneous inputs at high sample rates using analogue inputs, or those wanting to switch between computer and an iPad rig with minimal headaches. The UR44 is well worth a look!

Alternatives

The Focusrite Scarlett 18i8 is a slightly more expensive option. It features a greater number of line inputs than the UR44, plus SPDIF I/O and ADAT optical in. Software–controlled direct monitoring and two separate cue mixes are present, but doesn’t include any DSP effects processing. In use, I’ve found the mic preamps to not be nearly as clean as the Steinberg’s, and maximum sample rate is set at 96kHz.

Steinberg Ur22 Garageband

The Akai EIE Pro is a fantastic budget option. It has broadly similar features to the UR44 with retro styling, VU meters and bonus features including insert points and USB hub. The preamps don’t match the quality of those on the UR44, and there is a simple direct monitoring system that doesn’t have software control or effects. Sister company M–Audio recently launched a re–boxed version of this interface called the M–Track Quad.

Specifications

• Four D–Pre mic preamplifiers with Neutrik Combo connectors.
• Two instrument jack inputs on Combo connectors, two TRS line inputs on Combo connectors.
• Two further TRS line inputs.
• Four TRS line outputs, plus Main LR line outputs (which yield same signals as line outputs 1–2).
• Two quarter–inch headphone sockets.
• MIDI In and Out.
• USB 2.0.
• Requires Mac OS 10.7 or 10.8, or Windows 7 or 8 (32– or 64–bit).
• Compatible with iOS (requires an Apple Connection Kit).
• Comes with Cubase AI Elements 7 (via download), REV–X reverb, Sweet Spot Morphing Channel Strip & Guitar Amp Classics amp simulator.
• Supplied with DC power adaptor & USB cable.

Pros

• Great build quality.
• Clean mic preamps.
• Easy operation and flexible DSP direct monitoring with dspMixFx.

Cons

• Unused installed software steals lots of disk space!
• Integrated direct monitoring within Cubase AI is not as intuitive as using dspMixFx software.

Summary

Despite minor shortcomings, its decent audio and build quality, simple operation and capable low–latency monitoring features make the UR44 a worthy contender in the four–input USB 2 audio interface market.

information

Steinberg +49 (0)40 210350.

With the addition of the UR12, Steinberg have rounded out their popular UR-series of audio interfaces. While it is the most affordable of the bunch, Matthew Loel T. Hepworth explores the other unique features of this versatile little interface.

There are a great many audio interfaces on the market, and the Steinberg UR-series (ranging in input channels from 2 to 24) already has several models with a broad range of features. So my first question was: Why are they adding the UR12 to the fold? Now that I’ve used the interface on both computers and an iPad, I can see exactly for whom this model is designed.

Watch Matt Hepworth using the UR12 with iPad:

First Glance

Like all the other portable UR interfaces, the UR12 is built like a tank, a really tough tank. When you take it out of the box, you’ll instantly appreciate the all-metal chassis. It’s roughly the size of a large paperback book, and the controls and jacks are clearly labeled on the front and rear panels, the latter of which are also labeled on top. Included in the box is a USB cable, UR Tools disc, owner’s manual, and a code with which you can download a license for Cubase AI 7 for Mac or PC. That version of Cubase offers 32-tracks of audio, 48-tracks of MIDI, a variety of mixing and production features, as well as being able to record at the UR12 high sample frequency of 192 kHz.

Steinberg Ur22 Garageband Ipad 4

Front Panel

The front panel has a phantom powered XLR input with a D-Pre mic preamp (more on that later), along with a Hi-Z 1/4” input for instruments. Both inputs have gain controls and peak indicators. The USB light will indicate the status of the connection to a computer or iPad (flashing for no connection or no driver installed, solid for proper connection), and the output knob controls the level of both the single headphone jack and the stereo output jacks on the back panel. There’s also a Direct Monitor button that provides latency free input monitoring.

The front panel.

Rear Panel

The rear panel has two different USB ports (the difference is important and will be discussed in a moment) with a Power Source switch, stereo outputs on RCA connectors, a +48V phantom power switch (with corresponding LED on the front panel), and an anti-theft slot.

The rear panel.

On a Power Trip

As for the USB ports, they are NOT both data ports. The USB 2.0 port is for data and must be connected to a computer or iPad (Apple USB Camera Connection Kit required) for the UR12 to communicate with the host device. When connected to a computer, the port is buss-powered, so the Power Source switch needs to be set to the USB 2.0 port. But because an iPad cannot supply power through either the 30-pin or Lightning connector (depending on your iPad model), you must switch the Power Source to the Micro-USB port and attach a power supply or external battery that can supply 5-volts (4.8 to 5.2 V nominal) and 0.5-amps (500 mA) of current or greater. Since many iPad-toting road warriors already have a portable battery or USB charger that meets those specifications, you may already have a device that will power the UR12. However, you will need to supply your own USB-A to Micro-USB B cable. I tested the UR12 with the Jackery Giant + battery, as well as a generic phone charger with a USB port. The UR12 performed properly with both.

Power options: Jackery Giant + battery pack (left) and generic 5V 500 mA phone charger (right).

Who It’s For

The UR12 is perfect for singer/songwriters who need a small yet rugged portable interface, or anyone that records with no more than one microphone and/or one Hi-Z input simultaneously. However, if you do any stereo recording, you’d be better off looking at the UR22 or UR44, the latter of which also works with the iPad. It also works well as a monitor-only device for video editors or DJs who may not need audio input capabilities as often as musicians do, or anyone using iPad apps who desire higher sound quality.

How It Sounds

Steinberg Ur22 Garageband Ipad Pro

With 24-bit resolution, the UR12 can easily compete with other interfaces in its price range. But when you consider that most of the competition is stuck at 96 kHz, the 192 kHz capability of the UR12 makes it very unique in the sub-$100.00 class. Also, as I’ve mentioned in my reviews of other UR interfaces, the D-Pre mic preamp (a Class-A Inverted Darlington design) produces a very musical character. If you haven’t heard one yet, you should. The D-Pre does have its detractors in several forums and blogs, with a common refrain of, ‘it’s not flat.’ While it’s true that the D-Pre is not the flattest-sounding preamp on the market, it’s also fair to say there has never been a piece of boutique studio gear that has been highly desired for a flat response. (“I love the old Neumann U47 microphone because of how flat it sounds”, said no one… ever.) Flat is boring; Don’t be boring, be interesting.

How It Works

I tested the UR12 on different Mac and Windows-based computers, along with several programs including Cubase, Ozone, RX 4, Premiere Pro CC, Audition, and WaveLab, all of which worked perfectly without a single issue. The Yamaha-designed USB audio drivers have been around for quite a while, so rock-solid performance was no surprise.

Steinberg Ur22 Garageband Ipad 2

When I tried the UR12 with the iPad, well… it just worked. And the sound quality and character is vastly improved over the iPad built-in audio system. I first tried Steinberg’s Cubasis DAW app ($49.99 at the Apple App Store) and made sure to set the bit depth to 24-bit. I also tried it with Yamaha Mobile Sequencer and TNR-i, Arturia iProphet, Moog Animoog, GarageBand, Vogel CMI Pro, and Jordan Rudess MorphWiz, all of which worked flawlessly and sounded great. Connecting the UR12 to my iPad was all it took for all my favorite apps to recognize it with no other configuration necessary.

An iPad-based recording studio that fits in a small briefcase.

The UR12 also has a unique Loopback feature that allows you to stream audio from your DAW straight to the Internet. While that may not be a feature everyone needs, those that do will appreciate the capability.

Steinberg Ur22 Driver Mac

Conclusions

Steinberg Ur22 Garageband Ipad 2

There is some competition out there in the ‘1-mic, 1-1/4’ audio interface market. The Focusrite iTrack Solo comes to mind, and it’s even a little cheaper than the UR12, but only supports up to 96 kHz sample frequency. (Personally, I think the UR has a big advantage coming with Cubase AI 7 rather than Ableton Live Lite 8.) The ICON Digital MicU Solo does have 192 kHz capability, but costs about $35.00 more, won’t work with the iPad, and comes with no software at all. So if you need 192 kHz, a great sounding mic preamp, computer and iPad compatibility, great software, all in a portable chassis that’s built to outlive the owner, the UR12 will certainly give you the one-two punch.