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NAMM: M-audio M-Track range of audio interfaces
Old 23rd January 2013
  #1
Manufacturer contact @ GS
 
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🎧 10 years
Hardware NAMM: M-audio M-Track range of audio interfaces



M-Track
  • 24-bit / 48 kHz digital audio processing
  • Zero-latency audio monitoring
  • 2 XLR mic inputs with selectable phantom power
  • 2 balanced 1/4” line inputs with guitar-level switching
  • 2 TRS 1/4” inserts; MIDI in and out
  • Balanced 1/4” main outputs with level control
  • Headphone out with independent level control
  • USB powered for ultra-mobility
  • Includes Ignite™ by AIR and Ableton® Live Lite




M-Track Plus
  • 24-bit / 48 kHz digital audio processing
  • Zero-latency audio monitoring
  • 2 XLR mic inputs with selectable phantom power
  • 2 balanced 1/4” line inputs with guitar-level switching
  • 2 TRS 1/4” inserts; MIDI in and out
  • Balanced 1/4” main outputs with level control
  • Headphone out with independent level control
  • USB powered for ultra-mobility; sturdy aluminum shell
  • S/PDIF coaxial digital in/out
  • Ignite™ by AIR software quickly captures musical ideas
  • Includes Avid® Pro Tools® Express for advanced production



M-Track Quad
  • 24-bit / 96 kHz audio resolution
  • Zero-latency audio monitoring
  • 4 XLR+1/4” combo inputs accommodate any source
  • Selectable phantom power and guitar-level switching
  • 4 TRS 1/4” inserts; MIDI in and out
  • 1/4” balanced outs; monitor (1, 2) with level; fixed (3,4)
  • Headphone out with independent level control
  • USB connection; powered USB hub with three ports
  • Ignite™ by AIR software quickly captures musical ideas
  • Includes Avid® Pro Tools® Express for advanced production

Pricing and Availability: TBC

Link : M-AUDIO
Old 23rd January 2013
  #2
Here for the gear
 
🎧 5 years
So, it looks like they're merging their look with the Alesis IO2 series... Just looks like a black IO2. And the larger one looks very EIE-like.
Old 23rd January 2013
  #3
Here for the gear
 
🎧 5 years
Hmm looks like more of the same :( , why Continue to produce Low end gear when there are so many better options at pretty much the same Price ??
Old 23rd January 2013
  #4
Here for the gear
 
🎧 5 years
24-bit / 48 kHz digital audio -- not impressed, they should all be at least 96kHz, the new Steinberg stuff is 192 kHz and at the same price!
Old 24th January 2013
  #5
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DonM's Avatar
 
🎧 15 years
Not shaking the earth with these offerings. It is 2013, these products look like 2003.

-D
Old 24th January 2013
  #6
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heraldo_jones's Avatar
 
🎧 10 years
WTF??? Quad looks like a DIY project XD .
Old 24th January 2013 | Show parent
  #7
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Quote:
Originally Posted by robbacon ➡️
24-bit / 48 kHz digital audio -- not impressed, they should all be at least 96kHz, the new Steinberg stuff is 192 kHz and at the same price!
I hate to say it, but the 96k myth is just that...a myth. Check out this article by Dan Lavry, of Lavry Engineering. It's not a quick read, but it's an eye opener. He explains in great detail why a sample rate higher than about 60Khz is actually worse! Very interesting, indeed. Made a believer out of me.

Unless I'm going to be pitch shifting for sound design, there's absolutely NO NEED to sample anything above 48Khz.

Lavry White Paper

Chris
Old 24th January 2013 | Show parent
  #8
Gear Addict
 
Format C: yes's Avatar
 
🎧 10 years
Quote:
Originally Posted by conleec ➡️
I hate to say it, but the 96k myth is just that...a myth. Check out this article by Dan Lavry, of Lavry Engineering. It's not a quick read, but it's an eye opener. He explains in great detail why a sample rate higher than about 60Khz is actually worse! Very interesting, indeed. Made a believer out of me.

Unless I'm going to be pitch shifting for sound design, there's absolutely NO NEED to sample anything above 48Khz.

Lavry White Paper

Chris
+1 every time I see someone asking for more than 48k I shake my head. Not even my dog's need more than 48k.
Old 24th January 2013
  #9
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🎧 5 years
So these are just re-badged Alesis and Akai boxes, right?
Old 24th January 2013 | Show parent
  #10
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Quote:
Originally Posted by Format C: yes ➡️
+1 every time I see someone asking for more than 48k I shake my head. Not even my dog's need more than 48k.
Furthermore, the practical limits of analog to digital conversion is about 20 bits of resolution, anything in the lowest 4 bits is noise. I lifted this tidbit from Greg Malcangi's excellent post on the DUC:

Quote:
You need to appreciate the enormous dynamic range that 24bits of data represents (144dB). Just the sound produced by the electrons colliding within a 1.5k resistor equates to about -138dB. In other words, if the analogue input circuitry in your ADC only contained a single 1.5k resistor, your ADC would only be able to resolve 23bits of audio data, the 24th bit would only contain the sound of electrons colliding in our resistor. Of course there are more components than a single 1.5k resistor in the analogue input circuitry of an ADC and therefore more noise. It is this noise which defines our theoretical recording limit of about 126dB and is never going to change unless we find a way of stopping electrons colliding and AFAIK that would require a change to the laws of physics! This 126dB limit is purely theoretical and cannot be achieved in practice and is even more unobtainable in a real world recording situation. Forget about the ridiculously low level sound of electrons colliding in your ADC, what about the noise floor of your recording environment and the internal noise of your mic and mic-pre? Summing all this noise, even a world class live room, mic and mic-pre is going to struggle to achieve 100dB of SNR, making the dynamic range of our effectively 20bit ADC more than sufficient.

One last point, there are virtually no commercially released recordings which have a dynamic range of more than about 60dB, that of course equates to about 10bits, making even 16bit complete overkill as a consumer delivery format.
No, 24 bit / 48Khz is enough to resolve all that physics will practically allow (or certainly all that human beings can HEAR). The rest is marketing hype to pry hard earned dollars out of consumers' wallets.

Chris
Old 24th January 2013
  #11
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dbjp's Avatar
 
🎧 10 years
And yet Mr Lavry sells 96khz converters. Why not stick to his own philosophy and not release anything where quality supposedly decreases?
Old 24th January 2013 | Show parent
  #12
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Quote:
Originally Posted by dbjp ➡️
And yet Mr Lavry sells 96khz converters. Why not stick to his own philosophy and not release anything where quality supposedly decreases?
While he makes a pretty convincing case that accuracy goes down when sampling at that high a frequency, there is still benefit in rare cases: primarily for sound design, as you can stretch and pull the samples with pitch shift plugs and it doesn't fall apart as fast. But that's purely a matter of having more samples in a given time to interpolate. I firmly believe it doesn't improve the sound, per se, to sample at 96Khz.

As always, your mileage may vary.

Chris
Old 24th January 2013
  #13
Lives for gear
 
🎧 5 years
So these are re-badged Akais or what?
Old 24th January 2013
  #14
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1 Review written
🎧 10 years
How many times are we going to see rebranded Alesis products? What a load of rubbish.
Old 24th January 2013 | Show parent
  #15
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ModernViking's Avatar
 
🎧 5 years
Quote:
Originally Posted by conleec ➡️
I hate to say it, but the 96k myth is just that...a myth. Check out this article by Dan Lavry, of Lavry Engineering. It's not a quick read, but it's an eye opener. He explains in great detail why a sample rate higher than about 60Khz is actually worse! Very interesting, indeed. Made a believer out of me.

Unless I'm going to be pitch shifting for sound design, there's absolutely NO NEED to sample anything above 48Khz.

Lavry White Paper

Chris
Actually, I believe Lavry was arguing the case for digital audio above 96k sampling, that 192k was not necessary and can actually be harmful to the sonic integrity. His argument for 192k being harmful was based on the high data rate needed, in which dropouts can occur, and that the DAC oversampling bandwidth would be reduced. Unfortunately those reasons are a bit dated, since modern DAC's can handle oversampling a 192k signal and the data rates can now be easily accommodated with modern computers.

While I agree that I can't hear any difference between 96k and 192k, I definitely hear a difference when capturing and playing back audio at 88.2k/96k (from 48k that is). The mid to high frequency detail is simply greater, everything seems to open up without sounding bright. Although, I only started noticing this when improved my listening environment, with higher end DAC's, headphones and monitors, basically a better analog stage. So until base consumer audio gets better analog stages I guess recording at 88.2k/96k would be mainly for future-proofing your music, it's catching up though.

Last edited by ModernViking; 24th January 2013 at 03:28 PM..
Old 24th January 2013
  #16
Here for the gear
 
🎧 5 years
Well I trust my ears and I can definitely hear difference between 44kHz and 96kHz. Especially on clean electric guitars like the Fender Strats and Teles, the sound is much more detailed and clearer. As you start distorting the guitar sounds the difference becomes less easy to distinguish.

Example: listen to the difference between Apogee Jam at 44kHz and the Duet at 192 kHz. Night and day in terms of quality.
Old 24th January 2013
  #17
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🎧 5 years
IMHO, although 44.1k can reproduce a 20-20k analog bandwidth, I don't believe it is completely true to the original analog waveform, which is inherent in PCM sampling. Lavry demonstrates that a base sinc wave is modulated according to the sample pulse amplitude, and when the sinc waves are summed, they form the "original" waveform. My main problem with that is, it's still only sampling/capturing at a fixed time interval, where as real analog does not adhere to such laws. What if a tight transient sound were to propagate in-between sample intervals? Sure that wave would be eventually picked up at the next sampling interval, but that minuet detail might be the difference in providing the high level detail/sparkle that comes through in higher sampling frequencies like 88.2k/96k.
Honestly I'm looking forward to DSD being the new standard since it seems to be more true to real analog.
Old 24th January 2013
  #18
GnS
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It's about 6 months that M-Audio has been bought by InMusic. It's hard in this time to build a new interface line from scratch, that haven't been existed before at least at the drawing board. But is the sales reps need something new some re-branding is a good way, if you want to re-organize the brands: audio & midi = M-Audio, Electronic Drums and iOS accessories = Alesis, DJ = Numark etc.

Think about it...
Old 24th January 2013 | Show parent
  #19
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🎧 10 years
Quote:
Originally Posted by GnS ➡️
It's about 6 months that M-Audio has been bought by InMusic. It's hard in this time to build a new interface line from scratch, that haven't been existed before at least at the drawing board. But is the sales reps need something new some re-branding is a good way, if you want to re-organize the brands: audio & midi = M-Audio, Electronic Drums and iOS accessories = Alesis, DJ = Numark etc.

Think about it...
Sorry, do not agree with this at all. The only point in bringing out anything is if you are going to be able to sell it and if it will bring kudos to your brand. Considering this is a product that was discontinued by Alesis, what's the point in bringing it back from the dead, only for it to die again? It's doesn't do anything for M-Audio's rep.

I remember owning a pair of Alesis ProLinear 820's in my early days, which I got for a hugely discounted £200 (for a pair of powered 8" monitors) literallly just before Alesis Discontinued them. Then a few years later, they came out again as rebranded AKAI RPM8's, with AKAI hyping that they were good for dance/hip hop production as well as for DJ's as they had extended bass etc etc. What happened to them? AKAI discontinued them as well and what did it do for AKAI's rep? Nothing.

This is a bad move full stop. What IS a good move for M-Audio is the M3-8 monitors. Now that COULD bring M-Audio some kudos. Will be interesting to hear what they sound alike.
Old 27th January 2013
  #20
Deleted User
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I doubt we'll see Windows 8 drivers for existing M-Audio interfaces.
Old 27th January 2013
  #21
Gear Maniac
 
🎧 10 years
I think M-audio is about to die. These look like re-branded alesis boxes. I should start thinking about selling my profire 2626 before there's no drivers to be found for it.
Old 27th January 2013
  #22
Gear Maniac
 
🎧 5 years
I'm not seeing what would be compelling about these over Presonus's VSL line, or Focusrite Scarlett's.
Old 27th January 2013
  #23
Gear Nut
 
🎧 10 years
Horrible design wise.
Old 27th January 2013
  #24
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1 Review written
🎧 10 years
There are a couple of amazing products from M-Audio, such as the Sputnik Tube Mic and the DSM monitor range, with the DMP3 Pre Amp also being a feather in the M-Audio cap, but rebranding bang average budget Alesis interfaces is poor
Old 27th January 2013
  #25
GnS
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2 Reviews written
🎧 10 years
Quote:
Originally Posted by dxavier ➡️
(...)

I remember owning a pair of Alesis ProLinear 820's in my early days, which I got for a hugely discounted £200 (for a pair of powered 8" monitors) literallly just before Alesis Discontinued them. Then a few years later, they came out again as rebranded AKAI RPM8's, with AKAI hyping that they were good for dance/hip hop production as well as for DJ's as they had extended bass etc etc. What happened to them? AKAI discontinued them as well and what did it do for AKAI's rep? Nothing.
(...)
Just when two products share a similar design you never know if the stuff inside is the same. To discontinue a product can have a lot of reasons: Sales below expectations or a no-more availability of a component like a woofer. Perhaps the DSP Chip has been discontinued by the manufacturer and there was no substitute. So they discontinued them and later re-introduced them under the AKAI brand w/o DSP.

You never know...
Old 28th January 2013
  #26
Here for the gear
 
🎧 5 years
I'm just excited that the Sputnik is back. If its identical to the original, it is a GEM of a LDC.
Old 28th January 2013
  #27
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As far as the 96 kHz vs. 48 kHz argument is concerned, just run a Latest News. Audio Rightmark test on your hardware. Mine is a LOT more linear at 96 kHz vs. 48 kHz because well...I'm using cheap gear. Better gear is more linear HOWEVER signal processing is where the higher sampling rates come into play.

I have been told by plugin developers to use higher sample rates while mixing whenever possible. Not every effect benefits but certain ones definitely do...ones involving saturation/distortion and pitch come to mind.
Old 28th January 2013
  #28
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TS-12's Avatar
 
🎧 10 years
]
Quote:
[*]Includes Avid® Pro Tools® Express for advanced production[/LIST]]
Lol. Since when did express version of pt got so advanced?
Old 4th February 2013
  #29
Here for the gear
 
🎧 5 years
Focusrite Scarlett 18i6
vs
Akai EIE pro
vs
M-Audio M-Track Quad
???????

Any idea on pricing yet for the M-Audio?
Old 7th February 2013
  #30
Motown legend
 
Bob Olhsson's Avatar
 
🎧 15 years
My experience with digital audio has been that it's really all about implementation.

Theory tells us what is potentially best or potentially sufficient but real world implementation will often lead to different conclusions that are specific to one piece of gear and certain specific software. This is why using your ears is so important.
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