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Eie Pro Driver For Mac 10.83/24/2021
For simplicity, all settings are controlled directly from within the DAW or system sound preferences.This flagship model was inspired by market research from potential customers who wanted to be able to use all inputs simultaneously at higher sample rates (a function limited on the original EIE) and the resulting product was adorned with a new paint job and Pro badging.Sample rates of up to 96kHz are available at 24-bit resolution.
The case is solid, the controls feel positive, and the colour scheme and materials are cleverly co-ordinated to mirror current trends in computer design. The four combi connector inputs can be individually switched between micline and guitar level, while phantom power is separately switchable for input pairs 12 and 34. Given the recent resurgence in popularity of ribbon microphones, which may not be happy with phantom, this is a neat move that outsmarts other competitors at the price point. Throw-switch operation goes even further to ensure that phantom power is only applied when required, and contrasts favourably with the soft push switches of similar devices. One of the throw switches on the review model was a little tough to operate, but should loosen up with continued use). The ability of all four inputs to work at guitar level is also quite a rarity, and will surely appeal to those who like to record multiple guitar and bass parts straight in. The preamp doesnt include a sensitivity pad or high-pass filter, but neither would typically be expected at this end of the audio interface market. Next to these, a master output-level control is provided, along with a monostereo switch. This is handy both for checking mixes for mono compatibility and creating a mono headphone mix when monitoring inputs at source (otherwise inputs appear to be panned hard left and right while youre recording). A single headphone output is provided here, with a switch to select the source to be monitored. Finally, a Monitor InOut control is used to set the balance between inputs monitored at source and output (playback) level. This simple, yet effective approach provides zero-latency monitoring and follows a trend most readily associated with the original Digidesign M-Box interfaces. Notably, when recording is finished, this control needs to be set to maximum level (out), as otherwise it attenuates the output level monitored by the VU meters. There ought to have been sufficient space here to also include a second headphone output perhaps just a duplicate of the first. This could be considered quite an omission, given that the four input channels open up a number of possibilities beyond a one-man-band affair. The EIE Pro also dispenses with any form of digital connection on the back plate. This is not surprising, given that the unit is designed to be an all-in-one recording solution that provides good connectivity with external equipment via its array of analogue socketry. While digital connections are invariably handy for additional inputs, they usually come at the expense of limiting the number of simultaneous analogue inputs available, which in this case would be at odds with the products concept. A flick through the Quick Start Guide reveals that the unit is not intended for rackmounting, and I feel that Akai may have missed a trick in this respect. Eie Pro 10.8 Professional External UnitsThe Pro badging of the unit, the provision of insert points and lack of bus powering all make it an ideal candidate for rackmounting alongside other professional external units.
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