M Audio Projectmix I O Driver For Mac
2021年11月18日Download here: http://gg.gg/wxg7p
M-Audio Firewire for Yosemite and El Capitan. Contribute to guyaudio3/M-Audio-Firewire development by creating an account on GitHub. M-audio says Mac OS X 10.5 (Leopard) Updated 10/26/07 M-Audio has a history of quickly bringing the benefits of significant new advancements in computer technology to the pro audio community—from the advent of USB and FireWire to the release of Mac OS X. Download ProjectMix Control 1.10.3 for Mac from our website for free. The application lies within Audio & Video Tools, more precisely Music Production. The actual developer of this free Mac application is Avid Technology, Inc. This app’s bundle is identified as com.MAudio.ProjectMixControl.app.
*M Audio Projectmix I O Driver For Mac Download
*M-audio Projectmix I/o Driver Mac El Capitan
*Projectmix I O Windows 10
by Steve Cunningham
When it comes to control surfaces, particularly ones that work with Pro Tools, I admit to being spoiled. I have access to most everything that Digidesign makes through USC, including the budget-busting Pro Control, Icon D-Command, Control24, as well as the more moderate 002 and Command-8. But the production room at home features a well-worn (and lately cranky) Yamaha digital board with features I rarely use anymore. I’d like to replace it and reclaim some space, as well as reduce the AC bill (it’s a lovely space heater in the winter), but since I also use Vegas and Audition now and then it has to work well with those programs too. So when M-Audio dropped their ProjectMix I/O interface/control surface at the doorstep I was cranked.
The Project Mix I/O bears some resemblance to Digidesign’s 002 interface/control surface, which makes sense. After all, Digidesign and M-Audio are now both divisions of Avid, so one could speculate that they pooled their design resources, and both products are variations of the same theme. Like the 002, the ProjectMix I/O combines a multi-channel Firewire audio interface with a control surface based on touch-sensitive, motorized faders, and can be used with Pro Tools and several other software editors.
However, insiders at Digidesign claim that the ProjectMix was developed independently, and one actually intimated that the build quality was not the same. But in many ways, the M-Audio product actually turns out to be better in some respects. The ProjectMix comes with word clock I/O, has eight mic preamps rather than four, has a shuttle wheel and master fader in addition to the eight channel faders, and there are two headphone outputs rather than one. It can’t be used as a standalone mixer like the 002, and doesn’t have the fancy LED rings around its encoders, but overall the ProjectMix has more of what production folks need on a daily basis with just a few caveats.
OPENING THE BOX
Given its moderate price, you might expect M-Audio to have cut some corners in the construction of the Project Mix, but it’s actually very solid. At 20 inches wide by 18 deep, the case is quite large and feels substantial, with rigid molded plastic edges and a metal surface that doesn’t flex under pressure. The motorized faders, perhaps the most important components, are reliably touch-sensitive and reasonably smooth and quiet. They are also full-length 100mm devices rather than the cheaper 60mm faders found on other products.
Some manufacturers of cheap control surfaces save money by not including a display, but the ProjectMix’s two-line LCD is clear and bright. There are no dedicated meters, but in most applications the LCD can be used to display channel levels. The only signs of chintz reside in a few details — the plastic gain knobs and rotary controllers look cheap, the laptop-style brick-in-a-cord power supply doesn’t inspire confidence, and the shuttle wheel is a bit wobbly.
But hey, at least it has a shuttle wheel, unlike some other controllers. And the included six-pin to six-pin and six-pin to four- pin Firewire cables are of decent length.
Installing the drivers from CD was straightforward, although it generated a couple of error messages while attempting to uninstall my existing M-Audio Firewire drivers, and it worked first time. The Project Mix comes with a very brief, fold-out Quick Start Guide and a PDF manual. The latter is not exactly comprehensive, and although it tells you the function of each control, you will need to consult your editor’s own documentation to learn how it works with a control surface. The system requirements are modest, and include Windows XP SP2 and Mac OS 10.3.9 or later. The documentation claims that the ProjectMix works on a Pentium III or Mac G3, but most editors require more horsepower than that.
GOZINTAS AND GOZOUTAS
The ProjectMix has eight XLR mic inputs, eight 1/4’ TRS line inputs, and four 1/4’ TRS line outputs, all of which are balanced. As you would expect, the microphone inputs all have phantom power and input gain controls, along with a switch to select either mic or line inputs (no, you can’t use both simultaneously). Unfortunately there are no pads on any of the inputs, but the mic preamps have a solid 55dB of gain and, according to the specs, will handle a maximum level of -3dBu with the trims set to minimum. But the preamps spec at -104dB (A-weighted) signal-to-noise ratio, and sound like the FW410 — clean and open with virtually no coloration or added noise even when cranked.
While the ProjectMix’s preamps are very serviceable, some of you may want to connect your fancy high-buck mic preamps to the line inputs to get an even better tone from your voice talent. But beware — while the line level inputs and outputs sound equally clean, they both max out at +10dBu, so there isn’t a great deal of headroom available in the analog domain.
Supported sample rates for all inputs and outputs are 44.1, 48, 88.2, and 96 kHz (including ADAT using SMUX II), at 24 bits of resolution. Dual front-mounted headphone outputs with independent level controls and A/B source switch allow for shared monitoring and cue auditioning, which is a minor joy. You can also enable zero-latency direct hardware monitoring via the driver control panel.
The four balanced 1/4’ line outputs on the back are configurable as pairs for connecting monitors and other analog devices. But with no auxiliary outs or channel insert paths, you can’t hook up much in the way of outboard processing, nor can you conduct surround monitoring with only four outputs. I suppose you could feed the eight ADAT Lightpipe channels to an ADAT-to-analog converter, but that will raise the total price considerably.
Coaxial BNC connectors handle word clock in/out for external digital sync, plus there’s an RCA S/PDIF input and output, and MIDI in and out ports. The ProjectMix I/O has both Firewire 400 and 800 ports to connect it to your computer, although there are no extra Firewire ports for connecting a hard disk. Perhaps this is M-Audio’s way of encouraging us to put Firewire hard drives on a different Firewire bus. My desktop machines all have Firewire cards with two ports so there was no problem, but if you’re using a laptop then you’ll need a Firewire hub.
The audio interface portion of the ProjectMix I/O is compatible with Core Audio, ASIO 2, WDM, DirectX, MME and even GSIF2, so most audio editors will see the ProjectMix’s inputs and outputs. But the Big Deal here is that it’s one of the only non-Digidesign interface/control surface combos that is fully compatible with Pro Tools 7, giving the ProjectMix I/O one of the widest compatibility ranges on the market and making it extremely enticing for owners of other editors to get into the Pro Tools club for a mere $399 extra.
Unfortunately, the audio interface portion of the ProjectMix I/O is not compatible with Pro Tools versions prior to version 7, but the upgrade from 6 to 7 is cheap by Digidesign standards — $75 for LE, and $150 for TDM.Leave your comments
* Posting comment as a guest. Your post will be moderated. Your email address will not be shown or linked. (If you have an account, log in for real time posting and other options.)
With more professional music being produced at home than ever before, the integrated control surface/audio interface market seems to be heating up. Sharing parent company Avid’s roster with Digidesign has put M-Audio in the enviable position of delivering a product with an unfair advantage over the competition.
The ProjectMix I/O borrows heavily from M-Audio’s acclaimed FireWire 1814 audio interface, pairing an even greater complement of I/O with a rugged control surface design. The audio interface is compatible with Core Audio, ASIO 2, WDM, DirectX, MME and even GSIF2 — music to the ears of GigaStudio owners out there. The real kicker, though, is that the audio interface is also directly compatible with Pro Tools M-Powered 7 (sold separately), giving the ProjectMix I/O one of the widest compatibility ranges on the market and making it extremely enticing for owners of other DAWs to get into the Pro Tools club for a paltry $299 extra.
DOUBLE COHORT
As with most compact controllers on the market, the ProjectMix I/O supports the HUI, Mackie Control and Logic Control protocols, allowing it to work with Pro Tools, Logic, Cubase, Nuendo, SONAR, Digital Performer and Live. To change surface modes, hold down specific buttons while powering on the unit, and it will retain that setting even on power down.
A bank of eight channel strips features 100mm, long-throw, touch-sensitive motorized faders with 10-bit (1,024-step) resolution; illuminated mute, solo, channel select and record-arm buttons; and eight assignable rotary encoders beneath a large two-line, amber backlit LCD status/scribble strip.
Completing the surface are illuminated transport and locater controls, a jog/scrub wheel with mode switch, channel zoom with quad navigation buttons, channel/bank shift and fader flip switches, and numerous other buttons for DAW functions. At 20×18.5×4.25 inches and 27.8 pounds, it’s a comfortable footprint for any work area.
DRIVERS WANTED
I downloaded the latest M-Audio FireWire driver and control surface firmware (10.19.05.A), which adds jog wheel calibration and support for Cakewalk SONAR 4.03, Ableton Live 5.02 and MOTU Digital Performer 4.6. (System requirements include Windows XP SP2 and Mac OS 10.3.9 or later.) I then snapped up a newly released utility called ProjectMix Control, which allows you to configure the control surface to communicate standard MIDI messages (instead of HUI/Mackie) with any application or hardware that supports the MIDI protocol. Also, for a limited time, M-Audio is bundling Ableton’s Live 5 free with all ProjectMix I/Os.
AUDIO YOUR WAY
ProjectMix I/O gives you just about every kind of I/O you might need for a session, starting with eight analog mic/line inputs (balanced ¼-inch and XLR) featuring individual mic/line switches, gain knobs and signal/clip LEDs. Add 8×8 ADAT Lightpipe I/O, stereo S/PDIF I/O, word clock, 1×1 MIDI interface and a front-mounted hi-Z instrument input for guitar or bass (sharing channel 1), and you’ve got an abundance of choices. Supported sample rates (24-bit) for all ports are 44.1, 48, 88.2, 96 kHz (including ADAT using SMUX II). Dual front-mounted headphone outputs with independent level controls and A/B source switch allow for shared monitoring and cue auditioning — very handy. Zero-latency direct monitoring can be turned on via the driver control panel.
Phantom power is provided across all eight mic preamps with -104dB (A-weighted) SNR, a frequency response of 20 to 20k Hz and 55dB gain. The quality of the mic preamps sounded like my FW410 and FW1814: clean and open with virtually no added noise or coloration, even when fully cranked. If you need more mic inputs, then you can always capitalize on the ADAT input by inserting a device such as M-Audio’s Octane preamp and record up to 16 microphone inputs simultaneously.
There are four balanced ¼-inch line outputs on the back that are configurable as pairs for connecting monitors and other analog devices. Call me greedy, but with no auxiliary outs or channel insert paths, you’re prevented from hooking up much in the way of outboard processing, not to mention that you can’t conduct surround monitoring with only four outputs. I suppose you could feed the eight Lightpipe channels to an ADAT-to-analog converter such as the SM Pro Audio AI8, but that bumps up the asking price considerably.
A PROJECT TO MIX
I tried ProjectMix I/O in Logic 7.1, Nuendo 3.2, Live 5 and Pro Tools M-Powered 7. By far, Logic support felt the most thorough, with extra channel views, automation functions and deeper panning and plug-in editing. Souriau lift manual. Granted, ProjectMix I/O can only support functions that a protocol offers, so this is not to fault M-Audio. All programs responded well to control, and FireWire audio latency was impressively low as I ran live instruments through a 128-sample buffer, resulting in a delay of only a couple milliseconds at 96 kHz.
To keep the price of ProjectMix I/O competitive, M-Audio’s design team opted to drop controls that they report users found “daunting” on competitors’ desks, and they streamlined the design by placing some functions under the control of the keyboard and mouse. The result is a surface that doesn’t have much of a learning curve and is quite intuitive. By the same token, many of the labeled functions do not translate universally across all DAW programs, and switching between the discrete DAW modes can leave you guessing as to which buttons or combinations to press.
The encoders and LCD work well together to control EQ and assigned plug-in parameters. Pressing the MTR key turns the LCD into a meter bridge showing levels horizontally (for higher resolution, I presume), which takes some getting used to. I’m not a fan of the tiny jog wheel, which I found too “tight” in radius to spin quickly, and although I was able to bear the shallow 1/32-inch click of the desk’s control buttons, I do wish the transport buttons were meatier with deeper travel; they caused me to miss more than one cue.
I love that you can toggle back and forth between HUI/Mackie mode and MIDI mode on the fly, as it allowed me to create custom surfaces for external MIDI gear and edit them while recording their parts. Programming MIDI continuous controller messages to the faders, knobs, buttons and jog wheel couldn’t be simpler thanks to ProjectMix Control’s friendly interface. Furthermore, the lights behind the buttons can be controlled by MIDI events, thus allowing the audio application to create a two-way relationship with the ProjectMix I/O if it is within the audio application’s capabilities.M Audio Projectmix I O Driver For Mac Download
However, I feel there are a number of items sorely missing from ProjectMix I/O. First, it’s a shame that there’s no talkback facilities onboard. An Undo button would be handy, as would some dedicated click/metronome and automation (read/write/latch) controls. The fact that there’s no FireWire expansion port, I presume, is M-Audio’s way of telling us that audio drives should be on their own bus.
FINAL OUTPUT
Though its price is comparable to some compact control surfaces that do not offer audio capabilities, I would be lying if I said that ProjectMix I/O is worth the money for its control features alone. Controller-only solutions such as the Mackie Control Universal offer more parametric and better tactile control, as well as entry into an expandable system including the brilliant C4 soft-knob sidecar, at roughly two-thirds the street price. On the other hand, users also looking to condense or upgrade their old DAWs to 24/96, and who are in need of several line and microphone inputs and perhaps a MIDI controller input have every reason to be attracted to ProjectMix I/O.
The comparably spec’d Digidesign 002 (considerably more expensive even after factoring the extra cost of Pro Tools M-Powered into ProjectMix I/O) has only half as many mic preamps, but boasts stand-alone digital mixing capabilities; though as a controller, it locks you into only using Pro Tools LE. Tascam’s FW1884 costs less, has a few extra perks and works with Pro Tools, but requires that you already have Digidesign audio hardware.
What separates ProjectMix I/O from the pack is that it bridges the gap between artists, producers and mixers with support for every major DAW, including an affordable ticket into the Pro Tools industry standard. M-Audio has always understood its market and positioned itself according to the needs of today’s demanding home recordists, so bundling Live 5 — a $499 value — could be the icing that makes this deal irresistible.
Price: $1,599.95.
M-Audio, 626/633-9050, www.m-audio.com.M-audio Projectmix I/o Driver Mac El CapitanProjectmix I O Windows 10
Jason Scott Alexander is a producer/mixer/remixer in Ottawa, Ontario.
Download here: http://gg.gg/wxg7p
https://diarynote-jp.indered.space
M-Audio Firewire for Yosemite and El Capitan. Contribute to guyaudio3/M-Audio-Firewire development by creating an account on GitHub. M-audio says Mac OS X 10.5 (Leopard) Updated 10/26/07 M-Audio has a history of quickly bringing the benefits of significant new advancements in computer technology to the pro audio community—from the advent of USB and FireWire to the release of Mac OS X. Download ProjectMix Control 1.10.3 for Mac from our website for free. The application lies within Audio & Video Tools, more precisely Music Production. The actual developer of this free Mac application is Avid Technology, Inc. This app’s bundle is identified as com.MAudio.ProjectMixControl.app.
*M Audio Projectmix I O Driver For Mac Download
*M-audio Projectmix I/o Driver Mac El Capitan
*Projectmix I O Windows 10
by Steve Cunningham
When it comes to control surfaces, particularly ones that work with Pro Tools, I admit to being spoiled. I have access to most everything that Digidesign makes through USC, including the budget-busting Pro Control, Icon D-Command, Control24, as well as the more moderate 002 and Command-8. But the production room at home features a well-worn (and lately cranky) Yamaha digital board with features I rarely use anymore. I’d like to replace it and reclaim some space, as well as reduce the AC bill (it’s a lovely space heater in the winter), but since I also use Vegas and Audition now and then it has to work well with those programs too. So when M-Audio dropped their ProjectMix I/O interface/control surface at the doorstep I was cranked.
The Project Mix I/O bears some resemblance to Digidesign’s 002 interface/control surface, which makes sense. After all, Digidesign and M-Audio are now both divisions of Avid, so one could speculate that they pooled their design resources, and both products are variations of the same theme. Like the 002, the ProjectMix I/O combines a multi-channel Firewire audio interface with a control surface based on touch-sensitive, motorized faders, and can be used with Pro Tools and several other software editors.
However, insiders at Digidesign claim that the ProjectMix was developed independently, and one actually intimated that the build quality was not the same. But in many ways, the M-Audio product actually turns out to be better in some respects. The ProjectMix comes with word clock I/O, has eight mic preamps rather than four, has a shuttle wheel and master fader in addition to the eight channel faders, and there are two headphone outputs rather than one. It can’t be used as a standalone mixer like the 002, and doesn’t have the fancy LED rings around its encoders, but overall the ProjectMix has more of what production folks need on a daily basis with just a few caveats.
OPENING THE BOX
Given its moderate price, you might expect M-Audio to have cut some corners in the construction of the Project Mix, but it’s actually very solid. At 20 inches wide by 18 deep, the case is quite large and feels substantial, with rigid molded plastic edges and a metal surface that doesn’t flex under pressure. The motorized faders, perhaps the most important components, are reliably touch-sensitive and reasonably smooth and quiet. They are also full-length 100mm devices rather than the cheaper 60mm faders found on other products.
Some manufacturers of cheap control surfaces save money by not including a display, but the ProjectMix’s two-line LCD is clear and bright. There are no dedicated meters, but in most applications the LCD can be used to display channel levels. The only signs of chintz reside in a few details — the plastic gain knobs and rotary controllers look cheap, the laptop-style brick-in-a-cord power supply doesn’t inspire confidence, and the shuttle wheel is a bit wobbly.
But hey, at least it has a shuttle wheel, unlike some other controllers. And the included six-pin to six-pin and six-pin to four- pin Firewire cables are of decent length.
Installing the drivers from CD was straightforward, although it generated a couple of error messages while attempting to uninstall my existing M-Audio Firewire drivers, and it worked first time. The Project Mix comes with a very brief, fold-out Quick Start Guide and a PDF manual. The latter is not exactly comprehensive, and although it tells you the function of each control, you will need to consult your editor’s own documentation to learn how it works with a control surface. The system requirements are modest, and include Windows XP SP2 and Mac OS 10.3.9 or later. The documentation claims that the ProjectMix works on a Pentium III or Mac G3, but most editors require more horsepower than that.
GOZINTAS AND GOZOUTAS
The ProjectMix has eight XLR mic inputs, eight 1/4’ TRS line inputs, and four 1/4’ TRS line outputs, all of which are balanced. As you would expect, the microphone inputs all have phantom power and input gain controls, along with a switch to select either mic or line inputs (no, you can’t use both simultaneously). Unfortunately there are no pads on any of the inputs, but the mic preamps have a solid 55dB of gain and, according to the specs, will handle a maximum level of -3dBu with the trims set to minimum. But the preamps spec at -104dB (A-weighted) signal-to-noise ratio, and sound like the FW410 — clean and open with virtually no coloration or added noise even when cranked.
While the ProjectMix’s preamps are very serviceable, some of you may want to connect your fancy high-buck mic preamps to the line inputs to get an even better tone from your voice talent. But beware — while the line level inputs and outputs sound equally clean, they both max out at +10dBu, so there isn’t a great deal of headroom available in the analog domain.
Supported sample rates for all inputs and outputs are 44.1, 48, 88.2, and 96 kHz (including ADAT using SMUX II), at 24 bits of resolution. Dual front-mounted headphone outputs with independent level controls and A/B source switch allow for shared monitoring and cue auditioning, which is a minor joy. You can also enable zero-latency direct hardware monitoring via the driver control panel.
The four balanced 1/4’ line outputs on the back are configurable as pairs for connecting monitors and other analog devices. But with no auxiliary outs or channel insert paths, you can’t hook up much in the way of outboard processing, nor can you conduct surround monitoring with only four outputs. I suppose you could feed the eight ADAT Lightpipe channels to an ADAT-to-analog converter, but that will raise the total price considerably.
Coaxial BNC connectors handle word clock in/out for external digital sync, plus there’s an RCA S/PDIF input and output, and MIDI in and out ports. The ProjectMix I/O has both Firewire 400 and 800 ports to connect it to your computer, although there are no extra Firewire ports for connecting a hard disk. Perhaps this is M-Audio’s way of encouraging us to put Firewire hard drives on a different Firewire bus. My desktop machines all have Firewire cards with two ports so there was no problem, but if you’re using a laptop then you’ll need a Firewire hub.
The audio interface portion of the ProjectMix I/O is compatible with Core Audio, ASIO 2, WDM, DirectX, MME and even GSIF2, so most audio editors will see the ProjectMix’s inputs and outputs. But the Big Deal here is that it’s one of the only non-Digidesign interface/control surface combos that is fully compatible with Pro Tools 7, giving the ProjectMix I/O one of the widest compatibility ranges on the market and making it extremely enticing for owners of other editors to get into the Pro Tools club for a mere $399 extra.
Unfortunately, the audio interface portion of the ProjectMix I/O is not compatible with Pro Tools versions prior to version 7, but the upgrade from 6 to 7 is cheap by Digidesign standards — $75 for LE, and $150 for TDM.Leave your comments
* Posting comment as a guest. Your post will be moderated. Your email address will not be shown or linked. (If you have an account, log in for real time posting and other options.)
With more professional music being produced at home than ever before, the integrated control surface/audio interface market seems to be heating up. Sharing parent company Avid’s roster with Digidesign has put M-Audio in the enviable position of delivering a product with an unfair advantage over the competition.
The ProjectMix I/O borrows heavily from M-Audio’s acclaimed FireWire 1814 audio interface, pairing an even greater complement of I/O with a rugged control surface design. The audio interface is compatible with Core Audio, ASIO 2, WDM, DirectX, MME and even GSIF2 — music to the ears of GigaStudio owners out there. The real kicker, though, is that the audio interface is also directly compatible with Pro Tools M-Powered 7 (sold separately), giving the ProjectMix I/O one of the widest compatibility ranges on the market and making it extremely enticing for owners of other DAWs to get into the Pro Tools club for a paltry $299 extra.
DOUBLE COHORT
As with most compact controllers on the market, the ProjectMix I/O supports the HUI, Mackie Control and Logic Control protocols, allowing it to work with Pro Tools, Logic, Cubase, Nuendo, SONAR, Digital Performer and Live. To change surface modes, hold down specific buttons while powering on the unit, and it will retain that setting even on power down.
A bank of eight channel strips features 100mm, long-throw, touch-sensitive motorized faders with 10-bit (1,024-step) resolution; illuminated mute, solo, channel select and record-arm buttons; and eight assignable rotary encoders beneath a large two-line, amber backlit LCD status/scribble strip.
Completing the surface are illuminated transport and locater controls, a jog/scrub wheel with mode switch, channel zoom with quad navigation buttons, channel/bank shift and fader flip switches, and numerous other buttons for DAW functions. At 20×18.5×4.25 inches and 27.8 pounds, it’s a comfortable footprint for any work area.
DRIVERS WANTED
I downloaded the latest M-Audio FireWire driver and control surface firmware (10.19.05.A), which adds jog wheel calibration and support for Cakewalk SONAR 4.03, Ableton Live 5.02 and MOTU Digital Performer 4.6. (System requirements include Windows XP SP2 and Mac OS 10.3.9 or later.) I then snapped up a newly released utility called ProjectMix Control, which allows you to configure the control surface to communicate standard MIDI messages (instead of HUI/Mackie) with any application or hardware that supports the MIDI protocol. Also, for a limited time, M-Audio is bundling Ableton’s Live 5 free with all ProjectMix I/Os.
AUDIO YOUR WAY
ProjectMix I/O gives you just about every kind of I/O you might need for a session, starting with eight analog mic/line inputs (balanced ¼-inch and XLR) featuring individual mic/line switches, gain knobs and signal/clip LEDs. Add 8×8 ADAT Lightpipe I/O, stereo S/PDIF I/O, word clock, 1×1 MIDI interface and a front-mounted hi-Z instrument input for guitar or bass (sharing channel 1), and you’ve got an abundance of choices. Supported sample rates (24-bit) for all ports are 44.1, 48, 88.2, 96 kHz (including ADAT using SMUX II). Dual front-mounted headphone outputs with independent level controls and A/B source switch allow for shared monitoring and cue auditioning — very handy. Zero-latency direct monitoring can be turned on via the driver control panel.
Phantom power is provided across all eight mic preamps with -104dB (A-weighted) SNR, a frequency response of 20 to 20k Hz and 55dB gain. The quality of the mic preamps sounded like my FW410 and FW1814: clean and open with virtually no added noise or coloration, even when fully cranked. If you need more mic inputs, then you can always capitalize on the ADAT input by inserting a device such as M-Audio’s Octane preamp and record up to 16 microphone inputs simultaneously.
There are four balanced ¼-inch line outputs on the back that are configurable as pairs for connecting monitors and other analog devices. Call me greedy, but with no auxiliary outs or channel insert paths, you’re prevented from hooking up much in the way of outboard processing, not to mention that you can’t conduct surround monitoring with only four outputs. I suppose you could feed the eight Lightpipe channels to an ADAT-to-analog converter such as the SM Pro Audio AI8, but that bumps up the asking price considerably.
A PROJECT TO MIX
I tried ProjectMix I/O in Logic 7.1, Nuendo 3.2, Live 5 and Pro Tools M-Powered 7. By far, Logic support felt the most thorough, with extra channel views, automation functions and deeper panning and plug-in editing. Souriau lift manual. Granted, ProjectMix I/O can only support functions that a protocol offers, so this is not to fault M-Audio. All programs responded well to control, and FireWire audio latency was impressively low as I ran live instruments through a 128-sample buffer, resulting in a delay of only a couple milliseconds at 96 kHz.
To keep the price of ProjectMix I/O competitive, M-Audio’s design team opted to drop controls that they report users found “daunting” on competitors’ desks, and they streamlined the design by placing some functions under the control of the keyboard and mouse. The result is a surface that doesn’t have much of a learning curve and is quite intuitive. By the same token, many of the labeled functions do not translate universally across all DAW programs, and switching between the discrete DAW modes can leave you guessing as to which buttons or combinations to press.
The encoders and LCD work well together to control EQ and assigned plug-in parameters. Pressing the MTR key turns the LCD into a meter bridge showing levels horizontally (for higher resolution, I presume), which takes some getting used to. I’m not a fan of the tiny jog wheel, which I found too “tight” in radius to spin quickly, and although I was able to bear the shallow 1/32-inch click of the desk’s control buttons, I do wish the transport buttons were meatier with deeper travel; they caused me to miss more than one cue.
I love that you can toggle back and forth between HUI/Mackie mode and MIDI mode on the fly, as it allowed me to create custom surfaces for external MIDI gear and edit them while recording their parts. Programming MIDI continuous controller messages to the faders, knobs, buttons and jog wheel couldn’t be simpler thanks to ProjectMix Control’s friendly interface. Furthermore, the lights behind the buttons can be controlled by MIDI events, thus allowing the audio application to create a two-way relationship with the ProjectMix I/O if it is within the audio application’s capabilities.M Audio Projectmix I O Driver For Mac Download
However, I feel there are a number of items sorely missing from ProjectMix I/O. First, it’s a shame that there’s no talkback facilities onboard. An Undo button would be handy, as would some dedicated click/metronome and automation (read/write/latch) controls. The fact that there’s no FireWire expansion port, I presume, is M-Audio’s way of telling us that audio drives should be on their own bus.
FINAL OUTPUT
Though its price is comparable to some compact control surfaces that do not offer audio capabilities, I would be lying if I said that ProjectMix I/O is worth the money for its control features alone. Controller-only solutions such as the Mackie Control Universal offer more parametric and better tactile control, as well as entry into an expandable system including the brilliant C4 soft-knob sidecar, at roughly two-thirds the street price. On the other hand, users also looking to condense or upgrade their old DAWs to 24/96, and who are in need of several line and microphone inputs and perhaps a MIDI controller input have every reason to be attracted to ProjectMix I/O.
The comparably spec’d Digidesign 002 (considerably more expensive even after factoring the extra cost of Pro Tools M-Powered into ProjectMix I/O) has only half as many mic preamps, but boasts stand-alone digital mixing capabilities; though as a controller, it locks you into only using Pro Tools LE. Tascam’s FW1884 costs less, has a few extra perks and works with Pro Tools, but requires that you already have Digidesign audio hardware.
What separates ProjectMix I/O from the pack is that it bridges the gap between artists, producers and mixers with support for every major DAW, including an affordable ticket into the Pro Tools industry standard. M-Audio has always understood its market and positioned itself according to the needs of today’s demanding home recordists, so bundling Live 5 — a $499 value — could be the icing that makes this deal irresistible.
Price: $1,599.95.
M-Audio, 626/633-9050, www.m-audio.com.M-audio Projectmix I/o Driver Mac El CapitanProjectmix I O Windows 10
Jason Scott Alexander is a producer/mixer/remixer in Ottawa, Ontario.
Download here: http://gg.gg/wxg7p
https://diarynote-jp.indered.space
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