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Cubasis: Mobile music creation for iPhone and iPad. Quickly and easily capture your ideas as soon as they arrive and turn them into professional-sounding songs with the multi-award winning Cubasis 3. Enjoy performing, recording, mixing and sharing your music in no time, wherever you are, right there on your iPhone and iPad. 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 delivery in today’s fast-paced Internet environment.

The compact UR22 offers 24-bit, 192kHz recording, a bundled version of Cubase, and a very reasonable price: what's not to like?

The UR22 is a two-in, two-out bus-powered USB 2 audio interface from Steinberg, and is the entry-level unit in a range that includes two bigger brothers, the desktop UR28M and the rackmounted UR824. This interface represents a definite step up in quality from the more compact CI series, which employ USB 1.1 and have sample rates limited to 48kHz. Most notably, the UR22 features the same Yamaha D-Pre preamplifiers used in the more expensive UR/MR-series units and Yamaha's N-series mixers, and offers sample rates of up to 192kHz, all of which bodes well for quality at a relatively modest price point. To further sweeten the deal, the interface comes bundled with Cubase AI, version 6.

Unwrapped

Out of the box, first impressions are very favourable. The UR22 is presented in a stylish black and silver metal case that feels even sturdier than that of the UR28M I previously reviewed. Indeed, this robustness extends to the controls themselves; the potentiometers all have a solid action and a stiff, flush-mounted toggle switch is used to avoid the accidental switching of phantom power.

The front panel houses the two combination mic/line inputs and monitor controls. The preamps have simple controls comprising gain and a switch for toggling input 2 between line and instrument level. LEDs are provided to indicate input overload, and there are additional indicators for phantom power and USB connection. The monitoring section has controls to set the level for the main output and the single headphone output, and a mix control takes care of the hardware monitoring, establishing the balance between input signals and playback from the computer. This potentiometer is centre-detented to make setting a 50/50 mix a trivial task.

On the back panel there are two balanced quarter-inch TRS line outputs, MIDI In/Out sockets, and the aforementioned phantom-power switch. Helpfully, the physical locations of these facilities are marked on the top of the case in white, making it easy to plug things in without having to look around the back. A USB cable is provided in the box, as well as a license card for use when downloading Cubase AI.

Getting Going

The UR22's rear panel features a USB 2 port, a switch for the phantom power, MIDI I/O sockets and a pair of audio outputs on quarter-inch jack sockets.

To get the hardware up and running, you install a simple USB driver from the disc included in the box. This driver provides a control panel allowing Windows users to change buffer settings and sample rate. For Mac OS computers, these settings are available in the standard Audio MIDI Setup application.

As is common to all Steinberg products, gaining access to the bundled software does require you to jump through a few hoops. First, the hardware needs to be registered online and a user account set up. The activation code on the card supplied in the box is then entered. Following this, Cubase AI 6 is available for download via a hefty installer file (almost 600MB in size). Frustratingly, the servers timed out a couple of times when I attempted to download the software, but did eventually succeed in delivering it to me. Finally, another code needs to be entered in the 'eLicenser Control Center ' application, to ensure permanent functionality (the software is otherwise limited to a 30-day evaluation period).

Cubase Capabilities

Once you've succeeded in installing it, Cubase AI 6 supports up to 32 audio tracks and 16 instrument tracks. Also provided are 180 basic instrument sounds (principally the General MIDI set), courtesy of the included Halion Sonic SE instrument. These are useful for sketching out musical lines. AI 6's four-band EQ section and other quirky limitations (a maximum compression ratio of 8:1, for example) could well prove restricting for some, but although the bundled reverb plug-in tends to sound quite nasty on acoustic instruments, other plug-ins, such as the amp simulator and the ubiquitous 'Grungelizer', are surprisingly useful, considering the software's entry-level status. Given that its functionality can be expanded exponentially through the addition of freeware or inexpensive third-party VST plug-ins, AI6 constitutes a useful starting point for recording projects.

The main sticking point, however, is that the software only supports sample rates of up to 96kHz, so users wishing to record at higher rates will need to turn to other software. This needn't be expensive, but is worth consideration if high sample rates are crucial to your work. To address this situation, Steinberg promise UR22 purchasers a free upgrade to AI 7, which will apparently support higher sample rates, on its release. They were unable to comment on when the update might be released, but I assume that it will be fairly soon. An upgrade path to Cubase Elements is also offered for a modest fee. This offers further virtual instrument sounds, a higher track count and useful plug-in additions including pitch correction. However, the sample-rate limit is imposed here too.

In Use

The Cubase AI arrange window with the Amp Simulator and Grungelizer plug-ins visible.

I put the hardware and software through their paces by recording some acoustic instruments with a condenser microphone. The microphone inputs provide a very healthy level of gain — up to 60dB — and so don't need to be set very high to achieve a desirable level. This is perfect for dynamic and ribbon microphones requiring lots of gain. Meanwhile, very loud instruments might possibly require pad switches to be engaged if condenser mics are being used. The preamps are noticeably less noisy than other units I've used at this end of the market. They capture life-like performances with ease and a great sense of dynamic range, even at relatively modest sample rates. Phantom power is applied to both inputs simultaneously and, while that's not unusual for a unit at this price, individual switching would have really set the UR22 apart from its competitors. It would also have complemented the 'special' status of the preamps and would have introduced the option to use condenser and ribbon mics in combination.

Steinberg Ur22 Garageband Ipad 6

The UR22 is incredibly straightforward to use, especially when monitoring inputs at source, when you don't have to adjust buffer sizes and so on. The Mix control can immediately be tweaked to give the perfect balance between inputs and playback. Inputs are summed to the direct monitoring mix in dual mono, and it would have been great to have a mono/stereo switch for this. I find that hearing each input hard panned can prove useful for distinguishing between microphones when placing and recording them, especially when I'm playing an instrument and engineering concurrently! The headphone amp provides a strong output level to the cans, but is slightly noisy at the very top of its range. Indeed, the same is true for the main outputs if they're cranked to the very highest levels.

One slightly frustrating quirk of Cubase AI meant that I could not disable software monitoring globally; the option was greyed out in the control panel on my system (Mac OS 10.7). This is a pain when using the hardware monitoring method described above, and has to be side-stepped by turning monitoring off on individual channels when you're preparing for recording. This is not ideal, since you lose input level metering on the channel, but thankfully the input levels still remain visible in the transport bar, and are represented in the waveform as it's drawn. The issue didn't arise with any non-Cubase software I tested.

Verdict

Those looking for a compact, good-quality audio interface will not be disappointed by the UR22. Its rugged construction and low noise are big plus points at this price, and the ability to record with very high sample rates at 24-bit resolution will surely appeal to anyone in the market for an interface to use for mobile stereo recording.

Alternatives

The Tascam US144 MKII has a slightly lower street price than the UR22 and supports recording up to 24-bit/96kHz. It adds S/PDIF digital I/O to the UR22 specification, and its direct monitoring mix can be switched between stereo and dual mono. Level verification is slightly more sophisticated, too, via dual-colour signal/overload LEDs. Its line inputs and outputs are unbalanced (with the latter being RCA connections), so it may be a little more susceptible to noise.

The Roland Duo-Capture Ex is slightly more expensive than the UR22 and records at resolutions of up to 24-bit/48kHz. Like the Steinberg, it has high-quality preamps, one switchable between line and instrument level. Its unique selling point is its iPad/stand-alone compatibility, achieved using a power adaptor or batteries. Direct monitoring has a simple on/off control, but can be switched between stereo and dual-mono modes.

Vital Statistics

• USB 2 audio interface.
• Recording quality of up to 24-bit/192kHz.
• Works with Windows XP SP3; Windows 7 SP1; Windows 8 (32- or 64-bit) and Mac OS 10.5.8 to 10.8 (tested using 10.7.2).
• Two balanced mic/line 'combi' sockets with Yamaha D-class preamps (input 2 switchable to unbalanced instrument input).
• Two balanced TRS line outputs.
• One quarter-inch headphone output.
• Direct monitoring mix control.
• MIDI In/Out.
• Supplied with USB cable and Cubase AI 6 (via download).

Pros

• Very respectable sound quality.
• Incredibly simple to use.
• Solid build.

Cons

• Individual phantom power switching would have been nice.
• There's no stereo option for direct monitoring path.

Summary

An easy to use audio interface capable of high-quality results. If you only require two inputs and outputs and don't need digital connections, this smart little unit should be near the top of your list.

information

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.

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

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.

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 Garageband Ipad 2

Conclusions

Steinberg Ur22 Garageband Ipad 7

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.

Steinberg Ur22 Garageband