New Gear Review: UR-RT4 by Steinberg
Steinberg joins forces with Rupert Neve Designs to deliver the UR-RT4 interface, featuring four Rupert Neve Designs transformers.
Steinberg and Rupert Neve Designs are both household names in the world of pro audio, each of them offering very different (but very crucial) types of tools for the record-making process.
Recently, these two companies have teamed up to create a unique audio interface that’s sure to turn some heads.
The UR-RT4 audio interface contains 4 Rupert Neve Designs transformers, in addition to 4 Yamaha-designed D-PRE microphone preamps. Engaging one of these transformers on your input channel applies a moderate amount of compression and distortion to your input signal.
Today, we’ll take an in-depth look at the UR-RT4 collaboration and see if this unit can bring any value to your recording setup.
Features
The UR-RT4 is a 6 input/4 output USB 2.0 audio interface that records at 24-bit/192 kHz resolution. It features 4 Class-A D-PRE mic preamps that support +48V phantom power, which can be engaged in groups (channels 1+2, and 3+4) on the back of the unit. The 4 Rupert Neve Designs transformers are built into the incoming signal path of each of the 4 D-PRE mic preamps; you can toggle on/off each transformer individually with dedicated buttons on the front of the interface.
There are 4 analog combo inputs (2 Mic/Hi-Z and 2 Mic/Line) on the front, as well as 2 TRS line inputs on the back. Additionally, there’s a MIDI input and output that allows you to incorporate MIDI-enabled hardware into your setup. The UR-RT4 allows you to connect your monitors to the 2 main outputs, and still access 4 additional line outputs; these can be used for outboard gear, headphone amps, etc. Topping it off, there are two separate headphone buses with individual outputs that are easily accessible on the front of the unit.
With the built-in SSP2 DSP chip, and using the dspMixFx software, you can achieve zero-latency monitoring with effects. For recording sessions, this is a very convenient feature. The UR-RT4 includes Steinberg’s Cubase AI and Cubasis LE software, and can be connected to Windows computers, Mac computers, or iOS devices using a camera connection kit. The portability that this unit offers is an excellent bonus, and it’s slim enough to fit inside a backpack.
The Steinberg dspMixFx software that’s included with the UR-RT4 allows you to control the unit’s onboard effects, as well as some of its other functions. Similar to Universal Audio’s Console application, there are multiple analog input channels to which you can apply a high-pass filter, flip the phase, as well as control pan, mute, and solo functions.
In Use
Let’s cut to the chase, we both know why you’re here. You want to hear what the D-PRE mic preamps sound like with and without the Rupert Neve Designs transformers applied. I get it, and I was wondering the same thing when I ripped this interface out of its packaging like a 6-year-old opening presents on Christmas morning.
I’ve included an A/B comparison of a guitar I ran through one of the D-PRE mic preamps with and without the transformer engaged. This audio clip is composed of 4 sections: the first section is without the transformer engaged (A), the second is with it engaged (B), the third is without it engaged, then engaged halfway through (AB), and the fourth is without it engaged, then engaged halfway through (BA).
I haven’t applied any processing to the guitar, so what you’ll hear is what I recorded directly into my DAW. I didn’t apply any of the onboard effects to the input signal either. As an additional note, the guitar I used was an Epiphone LP Special II Les Paul. Make sure to listen to the following sample using a quality pair of headphones or studio monitors, as it makes hearing the difference between A and B significantly easier.
Click here to download the audio samples.
By default, the D-PRE mic preamps sound really smooth in the low end, and crisp and defined in the high end. As you can hear, the transformer applies a subtle effect; the distortion enriches the signal with more harmonic content, and also seems to infuse it with a flavor typically found in analog equipment. Something else I noticed is that the transformer adds a layer of depth to the input signal that the D-PRE doesn’t produce on its own. With the transformer engaged, the input signal almost sounds more lively and less round than when the transformer is disengaged; there’s definitely a time and a place for both options.
The UR-RT4’s onboard effects include a compressor, EQ, and reverb, along with 4 classic guitar amp models; these effects are ideal for creating latency-free mixes for your performer. You can commit to the effects (except for the reverb) and bake them right into the signal you record. Utilizing processing in this way allows you to save CPU power by taking advantage of the DSP provided by the UR-RT4.
I usually like to apply reverb using an aux track once I’ve recorded all of my audio. To take advantage of the UR-RT4’s audio effects once you’ve already recorded your audio, you can run the included dspMixFx plugins natively or powered by the DSP on the unit itself. This means that you aren’t limited to using the dspMixFx only at the recording level.
To Be Critical
My primary complaint of the UR-RT4 is that the switches to engage +48V phantom power are on the back of the unit; it seems as though this design choice was due to a lack of space on the front of the interface. It would have been nice if Steinberg allowed you to toggle phantom power on/off through the dspMixFx software. That being said, Steinberg was able to make good use of the space on the front of the device; it’s packed with inputs and knobs but doesn’t feel too cluttered.
Initially, I was expecting the Rupert Neve Designs transformers to make my input signal sound drastically different when I applied them to my signal path; this was not the case. If you listened to the included audio recording, you could probably hear some subtle differences between recordings A and B, but overall you’re not hearing a stark contrast when you engage the transformers.
I had also auditioned my voice through the mic preamps; I found that the variation in sound was more noticeable here than with guitar, but the differences were still subtle. This leads me to believe that you’ll achieve varying results depending on what it is that you’re recording. The mic preamps sound great on their own, but you aren’t overhauling the character of your input signal when you engage the transformers. This is fine, and the subtle difference is welcome, but it’s something to keep in mind if you’re considering purchasing one of these interfaces.
In addition, to make the most out of this audio interface, you’ll definitely want to use the dspMixFx software, as well as the onboard effects when you’re recording. It would have been nice if there were more effects available as part of the dspMixFx software, although I’m pretty understanding here because the included effects were meant primarily to cover basic needs while recording—not to take the production to an entirely different place. Steinberg’s intention was first and foremost to provide a suite of latency-free effects for the artist being recorded; to this end, they’ve succeeded.
Summing it Up
I think that the UR-RT4 is a practical, well-designed audio interface with exceptional preamps and transformers. The number of inputs, outputs, and additional connectivity options are all quite standard for an audio interface in this price range ($599 USD), so I’d say it not only steps up to the plate, but delivers a home run considering the sound quality it provides.
When Steinberg set out to create this unit, their intention was to develop a high-quality, affordable audio interface, with the characteristic sound of Rupert Neve Designs’ legendary transformers. Having achieved this, they’ve created an audio interface that’s within reach of hobbyist musicians, and also a viable option for professional audio engineers. The sought-after sound of the Rupert Neve Designs transformers are really just the icing on top of an otherwise already delicious cake.
Charles Hoffman is a Mixing and Mastering Engineer at Black Ghost Audio. After graduating from the University of Manitoba with an English degree, Charles completed his education at Icon Collective in Los Angeles, CA.
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