#Avid m audio fast track driver driver#
#Avid m audio fast track driver pro#

Only the layout of some menus and buttons are different because the two interfaces don't have the exact same features.

#Avid m audio fast track driver pro#

Yes, of course! It's very similar to the MBox Pro control panel we reviewed recently.

#Avid m audio fast track driver driver#

Inputs 1 and 2 are equipped with an additional button to select the front or rear connectors.ДЄfter installing the driver on your computer (I used a MacBook Pro) you can launch the control panel, which looks pretty familiar. You get a Pad button for each input stage and two buttons to turn on/off the Phantom power of inputs 1/2 or 3/4. And once again, the space available on the control panel provides valuable extras, like the 8-segment LED meter for each input. On the left you'll find the controls dedicated to the four audio inputs of the sound card. Such controls should be available on all audio interfaces. In other words, it's not a Mackie Control but it's enough to save you time and increase ease of use.

Play, Rec, Stop, FFW and RWD: all main transport controls are there, and a 'Multi' button allows you to program eight sequential steps (define eight operations you want to be performed one after the other when you press the button once). This section offers another valuable feature: a MIDI transport panel allowing you to control your sequencer. This way, you can use this section as a monitoring controller, connecting a pair of speakers to each output pair and switching between them very easily. Above these rotary controls, you'll find three buttons to turn on/off the audio outs of the sound card pairwise: 'A' for outs 1/2, 'B' for outs 3/4 and 'C' for outs 5/6. The first thing that catches your eye is the big volume control on the right with a pair of smaller controls to adjust the level of the two headphone outs (independent, channels 1/2 and 3/4). in a home studio between a sound card and Kubrick's monolith in 2001: A Space Odyssey. It looks wonderful, like a fortuitous meetingвЂ¦. Which is the case with the Fast Track C600 we want to review today. The controls and lighting indicators are bigger, there is more space between them, and sometimes even more features. This way, the unit can't be rack mounted but it gains in ease of use. The principle of a desktop interface is simple: instead of having the controls on the front panel like an effect rack, all controls are placed on the top panel while connections are located on the front or rear sides.

Where does it come from? Hard to tell, even if Mackie's Onyx Satellite came out in 2006 and TC Electronic's nice Konnekt 6 (2008) are precursors, recently followed by Steinberg's CI2 & CI2+, Lexicon's I-Onix U42S and Roland's Capture series, and now by the Steinberg UR28M, Propellerhead's Balance and M-Audio's new Fast Track C400 and C600.

Another follow-the-leader example is the introduction of dozens of pocket recorders following the success of the Zoom H2.ДЄnd now, I'm pleased to announce the arrival of a new trend, this time in the world of external audio interfaces: the 'desktop' interface. Treading in Samplitude's and Altiverb's footsteps, all manufacturers wanted to have a convolution reverb in their product range - nowadays replaced by the 'algorithm reverb is definitely better' trend. A few months later, and by unanimous decision, a new wave of pocket amps and all-tube 5-watt amps came out. Not so long ago, Line 6's modeling amps set a trend followed by all manufacturers, from Ibanez to Vox, Zoom, Fender, and Marshall.

Just like the textile and record industries, the small audio world has been hit by popular trends as we can see every year at the main international trade shows, like NAMM and Musikmesse.