If you see it again it's because something has changed so please set your preferences accordingly. My Studio. Pro Tools MP 7. I am considering selling both of these pieces and replacing them with a Profire I've heard the converters are quite good, maybe even on par with the RME stuff. What do you all think? But I'm way more of a songwriter and not as much of an engineer, so I don't always trust my ear when it comes to fine detail like this.
I listened to Peeder's recent "shootout" files so I could listen to the ADI-2 and back to back, but I'm not sure my ears aren't biased, or just confused. I thought I heard a little more depth in the ADI-2 file, but the more I listened the more they started sounding the same to me.
The ADI seems quite a bit better, but better than the ? Or I might go the route. Finances permitting, I'd like the with a Mytek 8X, though that combo is over 4 grand. Thanks for the responses everyone. I have a nice coupon that I can use on a before the end of the month, but that is approaching quickly.
Not sure what to do. Any other takes? The clincher for me was the conversion quality on the Profire. That convinced me to make the move. That thing has been too good to me to ditch it. Only one aux is available at sample rates above 96kHz, though. The Profire's control panel software is clearly laid out and it's quick and simple to use for setting up cue mixes.
As well as the aux sends, the cue mixer offers the usual level faders, pan, mute and solo controls, but there's no EQ or other signal processing, so if your singer wants to hear reverb on his or her voice, you'll have to swallow the latency and set up a monitor mix within your recording application. Not that that's too much of a hardship: as you'd expect from a company who have been developing audio interfaces for many years, the Profire's drivers handled low-latency operation very well indeed in the review system.
This operates in the digital domain, and the control panel is used to choose which outputs are affected by it. The Profire can also operate as a stand-alone device when not connected to a computer, and the control panel allows you to configure settings for this mode, too. Considering the close relationship between M-Audio and Digidesign, I was disappointed to find that Pro Tools M-Powered is somewhat the poor relation when it comes to software partners for the Profire.
And, although you can still hear input signals with near-zero latency via the Profire's DSP mixer, if you choose to do so you'll spend a lot of time muting and unmuting tracks within Pro Tools.
For a long time, Pro Tools has offered two input monitoring modes: Input Only monitoring, where you always hear the input signal, regardless of any audio that might have been previously recorded on a track, and Auto Input monitoring. In this mode, the input signal is heard during recording and when the transport is stopped, but is muted during playback, so that you can hear previously recorded audio on the track in question.
This has obvious uses when you want to drop into a previously recorded take. However, if the input signal is being independently routed to the outputs, as it is when you employ the Profire 's cue mixer, neither of these monitoring modes is any help.
What you want then is for the input signal within Pro Tools to be permanently muted, but playback of previously recorded material on a track to function as in Auto Input mode. This wasn't possible when the Digidesign M Box was launched in , and it still isn't possible eight years later; you have to manually mute tracks for recording and then unmute them when you want to hear what you've recorded, and there's no neat way to drop in on an existing track when monitoring via the 's cue mixer.
Some control panel functions, such as the ability to change buffer sizes, are disabled while Pro Tools is running. Mostly this isn't a problem, but it's a little annoying that although you can make changes to the cue mixer and save its configuration, you can't load stored mixer settings without quitting Pro Tools.
In the review system, this exhibited a really odd bug, which I hadn't experienced in previous versions. While recording some guitar overdubs to previously recorded drums, I occasionally heard snatches of what sounded like the wrong audio parts appearing in the playback. This didn't happen very often, nor for more than half a second or so at once, but it was disconcerting — not least because it sometimes seemed to be playing back audio parts that I hadn't yet recorded!
Assuming Digidesign haven't discovered the key to time travel, it's possible that Pro Tools was somehow dropping in fragments of audio from different Sessions. It wasn't usually repeatable, but I did end up with one Session where a 'foreign' snippet of vocal was clearly audible in a recorded guitar track, even though it didn't show up in the waveform display, and I hadn't actually recorded any vocals in that Session.
Not fatal, but bloody weird. M-Audio have a lot of experience behind them when it comes to designing audio interfaces, and it shows in the Profire Installation and getting started are straightforward, and the drivers threw up no nasty surprises or quirks in any of the recording applications I tried. Today's Posts competitions support us FAQ advertise our advertisers newsletter. When you buy products through links across our site, we may earn an affiliate commission.
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If you see it again it's because something has changed so please set your preferences accordingly. ProFire 12 Reviews Sell this product. See All Discussions. View Post. Sound Quality. Ease of Use. Bang for Buck.
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