The audio engine can re-sample and play anything from 44.1kHz to 192kHz on the fly, while background rendering creates files matching the current project sample rate that will be used eventually to reduce the processing overhead this rate juggling incurs. Luna allows you to mix sample rates freely, which, while not unique in the DAW world, is completely transparent. When you create a cue mix it’s actually happening on the interface, and you can even turn the 48 volt phantom power on and off. Inputs appear automatically and there’s no buffer size setting. Now Luna handles all that so visits to Console are rare.Īs a byproduct of this DAW/hardware integration, there’s no configuring of the audio interface. Formerly, UA’s separate Console application was required to set up the Apollo’s DSP effects on cue mixes (what the artist hears in the headphones) and inputs. First and foremost there’s the largely seamless melding of the Apollo interface DSP effects with those that are computer-rendered.

Universal Audio’s Luna with two windows open showing the two main views: timeline and mixer.Īfter the break-in period, it was time to delve into some of the impressive stuff going on under the hood. It’s not note for note, but the users of Avid’s flagship DAW will feel at home right off the bat. Even the keyboard shortcuts are largely the same. That was more than enough time for the schematical and operational resemblance to Pro Tools to sink in. I spent about 15 minutes luxuriating in Luna’s new-car smell and getting used to the general layout.

Do i need hardware for uad plugins