The update lets you use the SSP as a multichannel USB audio/cv/trigger/gate interface, supporting up to 24 I/O channels (with 16 physical inputs and 8 physical outputs), at up to 192khz sample rate.… Read More SSP Eurorack Module Update Adds 24-Channel Audio I/O & More
Today Focusrite unveiled the third generation of their Scarlett range of USB audio interfaces.
The new Scarlett interfaces are available in six configurations of ins and outs, paired with high-performing Scarlett mic preamps, along with Air, high headroom instrument inputs, and high-performance converters.… Read More Focusrite Intros New Generation Scarlett USB Audio Interfaces
The answer to questions like “I just need a simple audio interface,” and “I want a compact keyboard that doesn’t suck,” and “oh, yeah, wait, does this connect to my Eurorack?” along with “did I mention I’ve got almost no money?” – just got some new answers.
Native Instruments launched the new audio interfaces and the latest addition to their keyboard line as part of some grand, abstract PR idea called “for the music in you,” and said a bunch of things about starting points and ecosystems.
To cut to the chase – these are inexpensive, very mobile devices with a ton of bundled software extras that make sense for anyone on a budget, beginner or otherwise. And whereas most inexpensive stuff looks really cheap, they look pretty nice. (That holds up in person – I got a hands-on in Berlin just before NAMM.)
KOMPLETE AUDIO 1, AUDIO 2
There are two audio interfaces – KOMPLETE AUDIO 1 and KOMPLETE AUDIO 2. These take one of the best features of NI’s past audio interfaces – they put a big volume knob right on top so you can quickly adjust your level, and they’ve got meters so you can see what that level is. But crucially, they promise better audio quality.
There are two models here, but let me break it down for you: you don’t want the AUDIO 1, you want the AUDIO 2. Why?
The AUDIO 1 was clearly made with the idea that singers just want one mic input (so there’s only a single XLR in), and for some reason also with RCA jacks on the back (because consumers, I suppose).
But if you spend just a little more on the AUDIO 2, you get a lot more usefulness.
First, two inputs – both XLR/jack combo, for mics and instruments, with mic preamps and phantom power so you can use any microphone. My guess is at some point everyone wants to record two inputs rather than one. (Think line inputs, stereo instruments, a mic and an instrument… you get the point.)
And you get jack outputs instead of RCA.
And while this won’t matter to everyone, the AUDIO 2 I’m told also has DC coupling, so you can use your computer and your Eurorack or other modular gear. That means you can pull off tricks like combining modular software and hardware, with tools like Ableton Live, Softube Modular, VCV Rack, Bitwig Studio, and oh yeah, Reaktor.
So, quietly, NI just created the most affordable way of connecting a computer and a modular.
If you are a beginner, you get a bunch of software to play around with. Ableton Live 10 Lite is actually a reasonable version of Live to try – only 8 tracks, but all of the core functionality of the software and many instruments and effects. There’s also MASCHINE Essentials, MONARK, REPLIKA, PHASIS, SOLID BUS COMP, and KOMPLETE START, which represents plenty of music making time.
The price is really the big point: US$109 / 99 EUR and $139 / 129 EUR. Coming in March.
A micro keyboard
But what if you don’t want some new-fangled touch insanity? What if you just want a piano keyboard?
And you want it to be inexpensive, and fit in a backpack so you can take it with you or fit it on cramped desks?
Good news: you’ve got loads of options.
Bad news: they’re all kind of horrible. They’re ugly, and they feel cheap. And they have extras you may not need (like drum pads, mapped to the same channel as the keyboard, begging the question why you wouldn’t just play the keys).
So I welcome the introduction of Native Instruments’ KOMPLETE KONTROL M32. This is one that I figured I needed myself the moment I saw it. (Normally, my reaction on keyboard product launches is more on the lines of – “God, please don’t make me write about another generic keyboard controller.”)
The feel is solid – a bit like some of the mini-key keyboards from Roland/Edirol a few years back. They don’t have the travel of full-sized keys, allowing this low profile, but seemed reasonably velocity sensitive.
Plus there are transport buttons and encoders, and two very usable touch strips. In software like Ableton Live and Apple Logic, these map to the usual transport features, and the encoders are assignable. In Native Instruments’ software, of course, you get the usual deep integration with parameters, browsing, and production.
The M32 will be a particularly strong companion to Maschine on the go, finally with a small footprint – something simply not possible with a 4×4 pad layout, much as I love it.
Speaking of Maschine – this is the full Maschine software. There’s a smaller sound bank, but even that is still 1.5GB. So when they say “Maschine Essentials,” they’re practically giving Maschine away. The other extras I mentioned above are slick, too – Reaktor Prism alone you could lose weeks or months in. Monark is a gorgeous Minimoog emulation with realistic filters and some sound design twists not on the original.
And it’s just US$129 (119 EUR). So it looks twice as expensive, but is actually cheaper than a lot of other options out there.
NI are trying to tell a lot of stories at once – something about Sounds.com, something about DJs, something about producers… and they’re following us all over social media and Google with constant ads.
But here’s the bottom line: this is only compact keyboard at any price that feels good or looks good, it’s still only just over a hundred bucks, and the “beginners” bundle is likely to please advanced users for months.
Coming in March.
The post NI now has killer, budget audio interfaces and compact keys appeared first on CDM Create Digital Music.
The iPad finally gets a dedicated port for connectivity, as you’d find on a “desktop” computer – and it’s loaded with potential uses, from power to music gear. Let’s break down exactly what it can do.
“USB-C” is a port type; it refers to the reversible, slim, oval-shaped connector on the newest gadgets. But it doesn’t actually describe what the port can do as far as capabilities. So initially, Apple’s reference to the “USB-C” port on the latest iPad Pro generation was pretty vague.
Since then, press have gotten their hands on hardware and Apple themselves have posted technical documentation. Specifically, they’ve got a story up explaining the port’s powers:
Now, keep in mind the most confusing thing about Apple and USB-C is the two different kinds of ports. There’s a Thunderbolt-3 port, as found on the high-end MacBooks Pro and the Mac mini. It’s got a bolt of lightning indicator on it, and is compatible with audio devices like those from Universal Audio, and high-performance video gadgetry. And then there’s the plain-vanilla USB-C port, which has the standard USB icon on it.
All Thunderbolt 3 ports also double as USB-C ports, just not the other way around. The Thunderbolt 3 one is the faster port.
Also important, USB-C is backwards compatible with older USB formats if you have the right cable.
So here’s what you can do with USB-C. The basic story: do more, with fewer specialized adapters and dongles.
You can charge your iPad. Standard USB-C power devices as well as Apple’s own adapter. Nicely enough, you might even charge faster with a third-party adapter – like one you could share with a laptop that uses USB-C power.
Connect your iPad to a computer. Just as with Lightning-to-USB, you can use USB cables to connect to a USB-C port or older standard USB-A port, for charge and sync.
Connect to displays, projectors, TVs. Here you’ve got a few options, but they all max out at far higher quality than before:
- USB-C to HDMI. (up to 4K resolution, 60 Hz, with HDMI 2.0 adapter.)
- USB-C Digital AV Multiport. Apple’s own adapter supports up to 4K resolution, 30Hz. (The iPad display itself is 1080p / 60Hz, video up to 4K, 30Hz.)
- USB-C displays. Up to 5K, with HR10 high dynamic range support. Some will even charge the iPad Pro in the process.
High end video makes the new iPad Pro look indispensable as a delivery device for many visual applications – including live visuals. It’s not hard to imagine people carrying these to demo high-end graphics with, or even writing custom software using the latest Apple APIs for 3D graphics and using the iPad Pro live.
Connect storage – a lot of it. Fast. USB-C is now becoming the standard for fast hard drives – USB 3.1/3.2. That theoretically allows for up to 2500 MB/s data access, and Apple says the iPad Pro will now work with 1 TB of storage. I’ve asked them for more clarification, but basically, yes, you can plug in big, fast storage and use it with your iPad, not limiting yourself to internal storage capacity. So that’s a revelation for pros, especially when using the iPad as an accessory to process video and photos and field recordings on the go.
Play audio. There’s no minijack audio output (grrr), but what you do get is audio playback to USB-C audio interfaces, docks, and specialized headphones. There’s also a USB-C to 3.m mm headphone jack adapter, but that’s pretty useless because it doesn’t include power passthrough – it’s a step backward from what you had before. Better to use a specialized USB-C adapter, which could also mean getting an analog audio output that’s higher quality than the one previous included internally on the iPad range.
And of course you can use AirPlay or Bluetooth, though it doesn’t appear Apple yet supports higher quality Bluetooth streaming, so wires seem to win for those of us who care about sound.
Oh, also interesting – Apple says they’ve added Dolby Digital Plus support over HDMI, but not Dolby Atmos. That hints a bit at consumer devices that do support Atmos – these are rare so far, but it’ll be interesting to watch, and to see whether Apple and Dolby work together or compete in this space.
Speaking of audio and music, though, here’s the other big one:
Work with USB devices. Apple specifically calls out audio and MIDI tools, presumably because musicians remain a big target Pro audience. What’s great here is, you no longer have the extra Lightning to USB “Camera” adapter required on older iPads, which was expensive and only worked with the iPad, and you should be free of some of the more restrictive electrical power capabilities of those past models.
You could also use a standard external keyboard to type on, or wired Ethernet – the latter great for wired use of applications like Liine’s Lemur.
The important thing here is there’s more bandwidth and more power. (Hardware that draws more power may still require external power – but that’s already true on a computer, too.)
The iPad Pro is at last closer to a computer, which makes it a much more serious tool for soft synths, controller tools, audio production, and more.
Charge other stuff. This is also cool – if you ever relied on a laptop as a mobile battery for phones and other accessories, now you can do that with the USB-C on the iPad Pro, too. So that means iPhones as well as other non-Apple phones. You can even plug one iPad into another iPad Pro.
Thunderbolt – no. Note that what you can’t do is connect Thunderbolt hardware. For that, you still want a laptop or desktop computer.
What about Made for iPhone? Apple’s somewhat infamous “MFI” program, which began as “Made for iPod,” is meant to certify certain hardware as compatible with their products. Presumably, that still exists – it would have to do so for the Lightning port products, but it seems likely certain iPad-specific products will still carry the certification.
That isn’t all bad – there are a lot of dodgy USB-C products out there, so some Apple seal of approval may be welcome. But MFI has hamstrung some real “pro” products. The good news as far as USB-C is, because it’s a standard port, devices made for particular “pro” music and audio and video uses no longer need to go through Apple’s certification just to plug directly into the iPad Pro. (And they don’t have to rely on something like the Camera Connection Kit to act as a bridge.)
Apple did not initially respond to CDM’s request for comment on MFI as it relates to the USB-C port.
MacStories tests the new fast charging and power adapter.
9to5Mac go into some detail on what works and what doesn’t (largely working from the same information I am, I think, but you get another take):
What can you connect to the new iPad Pro with USB-C?
And yeah, this headline gives it away, but agree totally. Note that Android is offering USB-C across a lot of devices, but that platform lacks some of the support for high-end displays and robust music hardware support that iOS does – meaning it’d be more useful coming from Apple than coming from those Android vendors.
The post The new iPad Pro has a USB-C port – so what can it do, exactly? appeared first on CDM Create Digital Music.
Taiwanese manufacturer Midiplus, normally known for perfectly reasonable and utilitarian low-price MIDI gear, has gone off the rails. As part of their “fancy” series, they’ve fashioned an audio interface as an mock eyeshadow palette, literally dubbed MIRROR.
I feel obligated to write about this just to stop all the people sending it to me, so – against my better judgment, here we go.
The ad copy and the way this is marketed? Sexist. The design? Yeah, I want one. So Midiplus, make up for the “designed specially for females” error here by sending me one to review for CDM.
The absurdity of saying this product is “SPECIALLY DESIGNED FOR FEMALES” is self-evident; there’s no doubt this is horrific and offensive. But let’s not let the sheer sexism here distract us from just how weird this thing is. Under the hood, it’s a perfectly normal audio interface – it’s a 24-bit, 192kHz audio box with mic in (with preamp and phantom power), and two headphone outs (apparently independent). There’s also a guitar input and something labeled “phone” – which seems to just be a minijack in.
It’s the case itself that gets odd, along with the profoundly strange, broken English ad copy. As a makeup kit, the device is sadly non functional: those are just dials in the shape of eyeshadow palettes, not actual eyeshadow. (Opportunity missed.) But the mirror at least works, flipping open and lit by an LED lamp (5500K, say the maker).
But yes, be ready for more of this sort of weirdness from OEMs as manufacturing costs plummet and designers get … creative. At a recent Musikmesse there was a manufacturer hawking audio interfaces covered in fake fur, a pricey sequined backpack kit, and a sales guy dressed as a magician.
The MIRROR isn’t along in the “fancy” line Midiplus are unleashing on us; there’s also a VINTAGE model. That one at least is absent the sexist ad copy, but crosses visual cues from a cassette tape, a practice amp, and a radio, and has some sort of live waveform display.
Anyway, all this gets me thinking. See, I may have to respond to MIRROR by making my own CDM jetlag/tour emergency kit. Mirror and LED, yes. But I’m also imagining some cover up for the dark circles under my eyes, a bit of hair pomade, and a built-in USB hub with various Rekordbox-formatted USB sticks, plus a Raspberry Pi running a looper/effects unit so if my luggage gets lost I can still do a live PA set.
I’m only half joking. I may have to actually make this thing. I’m slightly fatigued of being confused for an extra from The Walking Dead each time I travel more than two hours. So, with actual working makeup (which MIRROR lacks), my product will help me to LOOK AT THE BEAUTY ONE IN THE MIRROR. Oh, hi there.
As for Midiplus, the only line that rings true is this one: “DISCARD THE COMMON THINKING FLOW.” Yeah, you did that.
Mirror, mirror, on the wall, how did this misogynistic design trainwreck happen?
And yes, this was apparently the way they conceived “female” design:
The post Bizarre, sexist MIDIPLUS audio interface mimics a makeup case appeared first on CDM Create Digital Music.
Universal Audio’s Apollo flagship audio interface and DSP platform is getting a big generational refresh and Thunderbolt 3. There’s a lot here, but maybe the most significant development is that 5.1 and 7.1 surround monitoring support is coming later this year.
It’s the Apollo X line for Mac and Windows – the x6, x8, x8p, and x16, all with Thunderbolt 3 connections to the computer and loads of I/O.
“UA’s hardware are just dongles for their plug-ins” – yeah, I hear that a lot. But the Apollo line was from the beginning the hardware that changed that. It said to users, hey, what if that add-on was also one of the best audio interfaces you can buy, even before adding in the DSP benefits. And then, over time, we’ve seen UA bake in greater functionality using that DSP horsepower.
The new Apollo really speaks to the high end of the market. These are the people who do depend on the reliability of the DSP hardware – because native processing, while enormously powerful, lacks the same predictability. (That’s a nice way of saying your CPU will suddenly peg and make a horrible glitching noise out of your sound.) That’s good to have anywhere, but especially in production environments in studios, in TV and video and games, in live tracking. A “studio” isn’t what it once was, to be sure, but then that’s also been the advantage of UA’s mobile interfaces. This is still about those situations where time is money and quality is everything, even if that use case may or may not be a studio per se.
Nicely enough, UA has managed to price out these systems for that full range, from the entry-level model at two grand (in reach of at least some serious independent producers) up to a maxed-out $3499 model.
In the process, we also see UA’s move from its more iterative, provisional approach of the past to a top-to-bottom hardware upgrade and greater software integration we get now. Having been on the UA train for a while, their stuff is just way more useful and way more reliable and easier to configure than when it started.
So here’s what you get:
All new A/D and D/A conversion which UA claims now best the industry for dynamic range and low signal-to-noise.
More DSP. 6-core processing boosts DSP by 50% over the past generation.
Mic preamp emulations. So, here’s another reason to run dedicated DSP – you can track through integrated preamp emulations of Neve, API, Manley, Fender, and more, saving money and space and adding flexibility in the studio, and then letting you take that studio rig on the road in a way that was previously impossible.
Surround formats up to 7.1, with speaker calibration and fold-down.
The surround thing is coming quarter 4, and obviously makes this way more appealing to exactly the sort of production environments likely to be attracted to UA in the first place.
There’s also various nice little touches: a built-in talkback mic and cue support, +24/+20 switchable operation, and a nice software bundle which interestingly now includes Marshall and Ampeg models. (I’m guessing that’s part of this focus on producers.)
The various models:
Apollo | x16 — US$3,499
133 dB dynamic range, THD+N -129 dB, 18 x 20 interface.
Apollo | x8p — $2,999
8 Unison-ready mic preamps, 129 dB dynamic range, switchable +24 dBu headroom settings, 18 x 22
Apollo | x8 — $2,499
Like the above but 4 Unison mic pres, 18×24.
Apollo | x6 — $1,999
The “producer one” – 2 Unison mic pres and Hi-Z ins, still surround support up to 5.1 (the others do 7.1), and 16×22 I/O.
The full range looks like a winner to me; I think we will see a lot of these show up in the studios, mix rooms, post facilities, and a lot of producer rigs, as UA promises.
There just isn’t anyone else doing this kind of platform. (The closest, Softube’s Console 1, in fact works perfectly with the UAD so it’s less a rival than a part of the same ecosystem.) It’s not going to be for everyone, but it does continue to look better for the people it’s for.
The post UA unveils a maxed-out Thunderbolt 3 Apollo – and it’ll monitor surround sound appeared first on CDM Create Digital Music.
TASCAM today introduced the Model 24 digital multitrack recorder, which offers 24 tracks of 24-bit, 48 kHz audio capture (22 channels and a stereo main mix) and 22 playback tracks, via either USB 2.0 or to the unit’s onboard SD Card recorder.… Read More TASCAM Intros Model 24 Multi-Track Live Recording Console
Apogee says that this 25% tax on electronic components from China, will ultimately result in price increases, making them less competitive.… Read More Apogee Electronics Joins Moog In Asking For Help Fighting Trump Tariffs
High-end audio interfaces often have the equivalent of virtual mixing desks packed inside. But most of us fail to take advantage of that, because it means switching to a software window. MOTU just put its console on iOS and Android – and that makes life way easier.
MOTU’s interfaces are popular for their I/O configurations and reliability in common use cases. And they’ve always been one of the leaders when it comes to packing mixing functionality inside.
But… having to access mixing features from desktop software is frankly a pain. You know the drill: you’re in your DAW. Now you switch over to some mixing app. Then you fumble around with your mouse trying to find what you need. You can’t adjust more than one fader at a time, because you can only mouse around to one at a time. Then you need to switch back to your DAW.
In fact, half the time, it seems this ritual takes place because you’ve accidentally set some setting wrong in said mixing app and need to go back and fix it.
So that’s why MOTU’s Touch Console is a very big deal. It isn’t the first remote-control touch app for music gear. But it fits a very popular set of audio interfaces in a very crucial set of use cases.
Touch Console runs on iOS and Android smartphones and tablets, so you’ve likely already got gear it can use. And it gives you access to the full 4-channel mixer in your interface. That means you effectively have a full mixing desk on the go wherever you can bring your MOTU box.
And apart from basic mixing, you get:
12 buses, with 7 stereo aux buses
Effects (4-band parameteric EQ, dynamics processing, reverb
A model of the vintage LA-2A – the legendary tube compressor or “Leveling Amplifier” as Teletronix called it
Compatible MOTU boxes: 1248, 16A, 8M, 112D, 828es, UltraLite-mk4, UltraLite AVB, Monitor-8 and Stage-B16, plus the 8pre-es. (8pre-es already has that pre-installed; everyone else will get a free firmware update, which you can install online or offline.)
Here’s an overview:
And here’s a look at how the effects work. You might want to mute the cheesy hold music, but … the interface looks fluid and slick:
By the way, if you’re on RME, they have a wireless app for their TotalMix app, plus an app with FX support. RME’s offering is crude by comparison, though; MOTU deserves credit for building something from the ground up that feels touch native. (Also, RME is iOS-only – it’s nice to see MOTU support Android.)
Touch Console [MOTU.com]
The post The mixing powers in MOTU audio interfaces are now on iOS, Android appeared first on CDM Create Digital Music.
There are some exceptional audio interfaces out there. But Arturia stands out by cramming an unusual amount of connectivity in an ultra-mobile package.
Look, when it comes to audio interfaces, compromise is the name of the game. The interface either never has every single port you want, or … it does, but it’s big. And computer operating systems remain an obstacle – especially once you’re beyond what theoretically should work, and into the realm of now something is popping and I better turn up the buffer size. Some of this is in the hands of manufacturers; some is decidedly not. (Computer and OS makers, I’m looking at you. Yes, you. Music – it’s kind of important to human civilization. Check it out some time.)
What’s impressive about Arturia’s AudioFuse is that they seem to have taken to heart a lot of the wishes of the mobile musician – and actually delivered.
I’ve had my hands on the AudioFuse for some time now, long enough to torture test it with both my Mac and PC in a variety of live and studio conditions. And I can share what I’ve been sharing with friends about it – this is easily on my short list of easy-to-recommend audio interfaces. (More on the others at the end.)
What the AudioFuse manages to pull off, and this isn’t easy, is maximizing flexibility in a variety of situations while still fitting into an enclosure small enough that you may always keep it in your backpack.
Plug-and-play, reliable performance
First, one feature that makes the AudioFuse essential to keep around is, it’s USB 2.0 class-compliant, driver free. With this amount of I/O, USB 2.0 makes this box far more flexible and compatible. Officially, that means Mac and Windows support that’s plug-and-play. But unofficially, that means Linux, Raspberry Pi, iOS, and Android, too.
You will need Mac or Windows to run the AudioFuse Control Center for additional configuration options. But I’ve happily dual-booted to Linux on my PC and gotten great results from the box. And there’s enough onboard control that I didn’t feel stranded without the software control panel, even though it’s useful in some situations. Meanwhile, the AudioFuse remembers all of its settings after you disconnect from the control panel.
You mileage may vary, but I got extremely reliable results with a 64 sample buffer size, which means well under 10 ms latency, on Mac, Windows, and Linux with a variety of tools. Remember that with latency the point isn’t just paper specs or whether the audio interface can run with a small buffer size; it’s whether you consistently remain without pops at that small buffer size. For me, the Arturia out-performed a number of USB devices laying around my studio.
If you have a single OS environment, and you don’t mind installing drivers, you may well best the AudioFuse’s performance. And I would consider Thunderbolt/USB3 if you want to use more I/O than the AudioFuse has onboard. But I find there’s some comfort in knowing I’m traveling with an interface I can plug into a different computer without worrying about driver installation, and I like owning at least one box like the AudioFuse that can work outside just Mac and Windows.
Connect nearly everything
Wow, did someone hear or intuit what I wanted in I/O (with one caveat below):
4 inputs: 2 XLR mic ins, 2 phono/line ins
2 RIAA phono preamps (seriously)
4 analog outputs
2 analog inserts
Word clock in/out
3-port USB hub
2(!) independent headphone jacks
MIDI in/out (via minijack adapters)
Including MIDI, the USB hub, and separate headphone jacks alone makes this a huge boon to the mobile musician. And everything works as advertised – plus it all runs via bus power if you like (adjusting automatically to allow it to do so). A bit on the power modes:
USB is via micro USB. That may sound fidgety, but structurally I’ve found these to be sound. The included cable has a second USB connection, but if you lose your cable, you can swap a phone cable – also critical, because it means again the interface will still function when you’re on the road and misplaced a cable or someone lifted it from you. Uh… not that those things ever happen.
Arturia advertises their own, built-from-scratch mic pres. They certainly sounded transparent to me, and I appreciate that they get their own signal path. And you’ve got onboard 48V phantom power plus a multi-level pad and auto-impedance matching. Basically, you can more or less plug anything into this and forget about it. 24-bit 192kHz may sound like overkill, but then – quite literally, friends and I have lately got interested in recording ultrasonic birdsong and bat noises, so there’s that.
There are also unique monitoring settings, like handy summing to mono. (Having once had my trusty mastering engineer yell at me when I accidentally sent something that had phase cancellation problems, thanks for this!)
The one thing I’m missing here is more than four outputs. With some serious multichannel output situations becoming more commonplace, that means the AudioFuse isn’t quite the last interface I’d ever need to own. (Someone somewhere is saying the same about the inputs.) But let’s not consider the fact that the whole thing is a tiny square. Speaking of which:
That form factor / UX
Arturia really nailed it here. This is the one audio interface with a decent selection of I/O I can comfortably drop in a backpack or suitcase without worry, thanks to its small size, low weight, and a cute and indispensable cover. That’s not just for looks – a lot of audio interfaces have some dangerously exposed controls. (It does look nice, too, of course.)
I’m also a fan of the top panel. There’s a big knob, certainly reminiscent of interfaces from Universal Audio and others, plus dedicated meters for input and output and gain and phone knobs, plus shortcut keys and a cleverly-positioned dial for adjusting whether you monitor from the computer source or direct through the interface.
Arturia were clearly inspired by Universal Audio both in those dials and the displays. (Not to be outdone, UA also have a slick new box called the Arrow. Upside: Thunderbolt, DSP processing. Downside: far less connectivity.)
Here, I’ll link directly to Sound on Sound and say everything Sam says about monitoring is absolutely true. (Sam, I’m not cribbing your review notes – I just definitely can say I can directly count myself with the opposite use case!)
I can be even less diplomatic than Sam and say, if you want an audio interface that doubles as a (sub)mixer, or if you want particular control over what goes to the monitor mix, forget the AudioFuse and go with something else.
If you just want to quickly plug in some inputs and then reach one dial that’s either the computer or whatever input you’ve got, the AudioFuse makes sense. That is, if you literally aren’t thinking about what’s plugged in – and quite often in the heat of the moment onstage or on the road recording, you really aren’t – it’s great. Monitoring, like connectivity, are about instant plug and play. I don’t think there’s a right or wrong answer to that; I’d say what this box does is suit this particular use case.
As a versatile all-around mobile interface, I love the AudioFuse. I’d still choose the Universal Audio Apollo Twin for audio quality, and the ability to add processing via UA’s effects without adding round-trip latency through the computer. I’d consider MOTU and RME for adding more I/O, too (especially if you don’t need or want the UAD effects), and certainly MOTU for its unique AV applications and mixer operation. Thunderbolt really does look like the future for more advanced applications.
MOTU is worth an additional mention for being universally compatible with their 828es, which has both Thunderbolt and USB. And that’s the box you want if you find the AudioFuse appealing but want more I/O and real standalone mixing operation, plus better performance.
But that also slightly misses the point. You wouldn’t throw an 828es into a backpack and take it with you everywhere. The AudioFuse, you would. And all musicians don’t always travel with road cases.
And that’s why one size doesn’t really fit all. But for under $/EUR600, in a small size that does fit everywhere, the AudioFuse is worth a look. Now, note to Arturia – if this is a big hit, a micro edition might make sense. Or an expanded box that’s a rectangle rather than a square for a little more I/O. In the meantime, I’ve got to go pack my backpack and get a move on.
Got another audio interface you’re using? One you prefer? Let us know in comments.
The post Arturia AudioFuse Review: the tiny square that packs nearly everything appeared first on CDM Create Digital Music.