Boom! Apogee releases entry-level USB audio interface with built-in DSP effects

Apogee has become the latest pro-level audio company to release a more affordable audio interface, following the trend set by the likes of SSL and Universal Audio. It’s called Boom, and is a 2-in/2-out device that connects via USB-C.

There’s a little more to Boom than that, though, because it also has some onboard DSP. This enables you to record through the Symphony ECS Channel Strip; tuned by legendary mixer engineer Bob Clearmountain, this gives you analogue-style 3-band EQ, compression and drive.

Boom offers one 1/4-inch instrument input and one combi mic/line/instrument input. Apogee is keen to talk-up the quality of the onboard preamp, which offers 62dB of gain.

At the other end of the signal chain, there are two 1/4-inch balanced outputs and a 1/4-inch headphone output. Again, Apogee reckons that it’s gone the extra mile here, including a “studio-grade” headphone amp and zero-ohm output, making it suitable for powering everything from in-ear monitors to high-impedance cans.

There’s also a streaming-friendly Loopback mode. Configured via the Apogee Control mixer software, this enables you to blend and balance your analogue inputs with audio from any apps that you’re running, all ready to send to Twitch, YouTube or Instagram.

We should also add that, with its low-profile design and purple aluminium case, we think Boom looks pretty fine. Good looks aren’t what really matter in an audio interface, of course, but they certainly don’t hurt.

Boom is compatible with PC, Mac and USB-C-equipped iOS devices, and can also connect to the Lightning connector using an adapter. As well as the Apogee Control software, it ships with Ableton Live Lite and the Apogee Soft Limit plugin. You can also get 50% off any Apogee plugin or plugin bundle by registering your Boom on the Apogee website.

Boom is available now priced at $299/£329. Find out more on the Apogee website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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