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I love my Profire 2626
Old 21st November 2011
  #1
Lives for gear
 
mattjew24's Avatar
 

I love my Profire 2626

I recently made a bold move and sold my old Firepod and bought an M-Audio Profire 2626...

The main reasons for the swap were:

1. More expansion capabilities - 2 ADAT Ins and Outs

2. Pro Tools Compatibility...this was the seller.

3. SOMETHING NEW. I've had the firepod 7+ years!

To be honest, it took me an hour or so to get used to the Profire's onboard DSP Mixer. I am not used to something being in-between my interface and DAW. The term "Software Return" threw me off for a while.

Turns out I really like the routing capabilities! I can send audio out my dog's @$$ and into my crappy monitors. Pun intended.

More importantly than the improved sound quality I get from the better converters and clock.... (The stereo field seems better and more clearly defined, with tighter bass?)

I am more inspired than I have been in two years.

I now get 16 inputs to Pro Tools M-Powered at 48Khz 24 bit...using a Behringer ADA8000. I am considering modding it to bypass the preamps on the line input.

YES!


Anyone considering this, go for it.

On another note, people have been mentioning an annoying Pro Tools issue with this interface. The DSP Mixer makes it impossible to do Punch Ins the way they are meant to be done. I recognize and accept this quirk...A true musician should know his/her song well enough to compensate for this on a punch in.

Its definitely worth it to give them Zero-Latency mixes from this interface's own power source!

Thanks, and goodbye!
Old 21st November 2011
  #2
just wondering.. what is the punch in problem..
Old 21st November 2011
  #3
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mattjew24's Avatar
 

There is a strange phasey effect that happens because you cannot turn off Input Monitoring in Pro Tools M.
Old 21st November 2011 | Show parent
  #4
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"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 2626'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 2000, 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 2626's cue mixer. It's about time M-Powered users got something like the Low Latency Monitoring functionality that's available for 002, 003 and M Box 2 Pro users in Pro Tools LE."

Soundonsound, Sep 2008
Sam Inglis
M-Audio Profire 2626
Old 21st November 2011 | Show parent
  #5
oh i understand.. is loop back an option
Old 21st November 2011 | Show parent
  #6
Gear Addict
 

my two biggest gripes with the profire 2626

1.) the internal clock was causing clicks and pops in my recordings, have not had this problem since clocking it to a lynx aurora.

2.) opening pro tools sessions while the profire was clocked to my lynx aurora gave me an message "the plaback device does not support 48k" or whatever sample rate I had. I would have to clock the profire internally, then open the session, then clock back to the Aurora. Very annoying.

3.) the control software lets you save configurations, thats great, but it doesn't show you what configuration your in. You can save A, B, and C setting and nowhere will it tell you you have A, B, or C loaded. minor gripe but major fail to me.

I've since got a RME fireface 800 which has solved problems 2 and 3 for me. I still have the profire connected by adat to the FF800. I am pleased with the converter quality. I think the d/a easily stands up to the fireface 800, but falls short when compared to the aurora. Very good interface for the money.
Old 21st November 2011 | Show parent
  #7
im saving for a ufx .. my 3rd oo2 died
Old 21st November 2011
  #8
Quote:
Originally Posted by mattjew24 View Post

On another note, people have been mentioning an annoying Pro Tools issue with this interface. The DSP Mixer makes it impossible to do Punch Ins the way they are meant to be done. I recognize and accept this quirk...A true musician should know his/her song well enough to compensate for this on a punch in.

Its definitely worth it to give them Zero-Latency mixes from this interface's own power source!

Thanks, and goodbye!
go to TriTone Digital and get Mute Tone

as they say

MuteTone is a FREEWARE UTILITY PLUGIN designed to workaround the inability to shut off input monitoring in PROTOOLS. It has no sound on its own. It just cut the input signal whenever protools is recording, allowing you to use your external console, or soundcard mixer for live monitoring.

and just remember to take the plug in off the channel after you have recorded.. When bouncing it mutes the tracks is on..

cheers!
Old 21st November 2011 | Show parent
  #9
Lives for gear
 
espasonico's Avatar
 

Quote:
Originally Posted by mattjew24 View Post
"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 2626'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 2000, 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 2626's cue mixer. It's about time M-Powered users got something like the Low Latency Monitoring functionality that's available for 002, 003 and M Box 2 Pro users in Pro Tools LE."

Soundonsound, Sep 2008
Sam Inglis
M-Audio Profire 2626
Somebody has found a solution for this ( only for Mac at the moment )

MuteTone: Pro Tools 9 - Software Monitoring On/Off.

I have a question:


With the 2626, can you use the DSP mixer to monitor without latency the digital inputs ?

I have some outboard pres and converters and it would be great to be able to monitor the ADAT and S/PDIF inpunts using the DSP mixer !

Thanks
Old 22nd November 2011
  #10
Lives for gear
 
mattjew24's Avatar
 

Quote:
Originally Posted by espasonico View Post
Somebody has found a solution for this ( only for Mac at the moment )

MuteTone: Pro Tools 9 - Software Monitoring On/Off.

I have a question:


With the 2626, can you use the DSP mixer to monitor without latency the digital inputs ?

I have some outboard pres and converters and it would be great to be able to monitor the ADAT and S/PDIF inpunts using the DSP mixer !

Thanks
Yes..you can route any inputs or returns to the DSP mixer, including optical ins
Old 22nd November 2011
  #11
Here for the gear
 

Quote:
I am considering modding it to bypass the preamps on the line input.
to the best of my knowledge the pres are bypassed when using the line input
Old 22nd November 2011
  #12
Lives for gear
 
DR Music's Avatar
Quote:
Originally Posted by czarthp View Post
my two biggest gripes with the profire 2626

1.) the internal clock was causing clicks and pops in my recordings, have not had this problem since clocking it to a lynx aurora.

2.) opening pro tools sessions while the profire was clocked to my lynx aurora gave me an message "the plaback device does not support 48k" or whatever sample rate I had. I would have to clock the profire internally, then open the session, then clock back to the Aurora. Very annoying.

3.) the control software lets you save configurations, thats great, but it doesn't show you what configuration your in. You can save A, B, and C setting and nowhere will it tell you you have A, B, or C loaded. minor gripe but major fail to me.

I've since got a RME fireface 800 which has solved problems 2 and 3 for me. I still have the profire connected by adat to the FF800. I am pleased with the converter quality. I think the d/a easily stands up to the fireface 800, but falls short when compared to the aurora. Very good interface for the money.
Modify it at BLA.. And be amazed!!!
Old 22nd November 2011
  #13
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DR Music's Avatar
Quote:
Originally Posted by weyhjordan View Post
to the best of my knowledge the pres are bypassed when using the line input
He's talking about the ADA8000..
Old 23rd November 2011
  #14
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mattjew24's Avatar
 

Quote:
Originally Posted by weyhjordan View Post
to the best of my knowledge the pres are bypassed when using the line input
Yes as DR Music said, I meant the Behringer. I don't think the black lion mod touches the preamps... So what the heck? Run pristine sound through a crappy preamp then out nice improved converters and opamps?
Old 23rd November 2011
  #15
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DR Music's Avatar
Quote:
Originally Posted by mattjew24 View Post
Yes as DR Music said, I meant the Behringer. I don't think the black lion mod touches the preamps... So what the heck? Run pristine sound through a crappy preamp then out nice improved converters and opamps?
O they do!!!
On both the PF2626 and the ada8000!!!
The PF2626 pre's are very useable!
But I normally my other pre's...
I use the moded PF2626's line ins.
My good friend has the ADA8000 premium mod on the ADA8000 takes it to a whole new level.
Have you seen the Aurora Lynx VS ADA8000 shootout here!, on that shoot out the ada8000 is stock and it's hard to tell.
BLA mods are very good, top notch!
That's it I'm out!
Old 23rd November 2011 | Show parent
  #16
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Slikjmuzik's Avatar
 

Never ran into any of those issues with my Aurora clocking everything and using Cubase with the entire system. I monitor with absolutely zero latency. Never even use the monitoring button in Cubase, all in the Profire's interface. If someone wants reverb while tracking, I setup a little A&H zed for them in the tracking room. It has a ****ty built in reverb that they deal with while tracking and then they love the verb I choose when mixdown comes.
Old 23rd November 2011
  #17
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mattjew24's Avatar
 

Quote:
Originally Posted by DR Music View Post
O they do!!!
On both the PF2626 and the ada8000!!!
The PF2626 pre's are very useable!
But I normally my other pre's...
I use the moded PF2626's line ins.
My good friend has the ADA8000 premium mod on the ADA8000 takes it to a whole new level.
Have you seen the Aurora Lynx VS ADA8000 shootout here!, on that shoot out the ada8000 is stock and it's hard to tell.
BLA mods are very good, top notch!
That's it I'm out!
Um...its not on their list of things they do?

I bet they just reroute the line input straight out
Old 23rd November 2011
  #18
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DR Music's Avatar
Quote:
Originally Posted by mattjew24 View Post
Um...its not on their list of things they do?

I bet they just reroute the line input straight out
They replace the opamps on the pre's!!
On the PF2626 mod there is a big difference..
Once again..
Most hi-end I/O are only A/D D/A and most will use outboard pre, like me I use my api512, la610mkll, grace, or the vinnys.
I use my interface bypassing the pre's.
Thats just ne
Old 23rd November 2011
  #19
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mattjew24's Avatar
 

Quote:
Originally Posted by DR Music View Post
They replace the opamps on the pre's!!
On the PF2626 mod there is a big difference..
Once again..
Most hi-end I/O are only A/D D/A and most will use outboard pre, like me I use my api512, la610mkll, grace, or the vinnys.
I use my interface bypassing the pre's.
Thats just ne
Oh. Sorry...I don't know what an opamp is. I didn't know it had anything to do with preamps...

Well I wonder how the pres sound then
Old 23rd November 2011
  #20
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thepilgrimsdream's Avatar
 

Black lion does wonders. I upgraded to the fireface 800 from my profire 2626 and the sound opened up a lot. I wonder if the micro clock really can bring the profire up to par with it
Old 23rd November 2011
  #21
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DR Music's Avatar
Quote:
Originally Posted by thepilgrimsdream View Post
Black lion does wonders. I upgraded to the fireface 800 from my profire 2626 and the sound opened up a lot. I wonder if the micro clock really can bring the profire up to par with it
Is your fireface 800 modded? They do mod these units!! (It started after i sold my RMEFF800) Because I went from a Ensemble to a FF 800 to the PF2626 BLA mod with the clock, and I sold my FireFace800 to get another PF2626 mod unit! It is better, fuller detail in the mid and hi frequency range, low end improved quite a bit. I myself didn't want to believe but in a shoot out with my FF800 VS the PF2626 in my engineers friends and my opinion the BLA PF2626 had the better A/D and D/A. The sound is what counts. Trust me I rather have RME gear in my rack but sound wins at the end.
The micro clock is the secret weapon in all their mods.
Check out their website/FB and what they say about the PF2626 mod...
Old 23rd November 2011 | Show parent
  #22
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thepilgrimsdream's Avatar
 

Quote:
Originally Posted by DR Music View Post
Is your fireface 800 modded? They do mod these units!! (It started after i sold my RMEFF800) Because I went from a Ensemble to a FF 800 to the PF2626 BLA mod with the clock, and I sold my FireFace800 to get another PF2626 mod unit! It is better, fuller detail in the mid and hi frequency range, low end improved quite a bit. I myself didn't want to believe but in a shoot out with my FF800 VS the PF2626 in my engineers friends and my opinion the BLA PF2626 had the better A/D and D/A. The sound is what counts. Trust me I rather have RME gear in my rack but sound wins at the end.
The micro clock is the secret weapon in all their mods.
Check out their website/FB and what they say about the PF2626 mod...
I'm thinking I might just clock my fireface to the micro clock mk2 and see what happens(need to buy one first). I value total mix until i can get an outboard console. I wouldn't mind it being modded, but its still under warranty, and the biggest improvement is in the mods i think is the clock, so im gonna try it outboard first. I'm sure they really do make everything better though
Old 23rd November 2011
  #23
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mattjew24's Avatar
 

Quote:
Originally Posted by thepilgrimsdream View Post
Black lion does wonders. I upgraded to the fireface 800 from my profire 2626 and the sound opened up a lot. I wonder if the micro clock really can bring the profire up to par with it
I wanted that interface....but I chose to save and keep M Powered.

Wonder if I chose right?

I love it anyway
Old 23rd November 2011
  #24
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DR Music's Avatar
Quote:
Originally Posted by mattjew24 View Post
I wanted that interface....but I chose to save and keep M Powered.

Wonder if I chose right?

I love it anyway
You did my man! Clock that bad boy!!! PF2626 rocks!
Old 23rd November 2011
  #25
Gear Maniac
Love my PF2626 as well!
Not to expensive, but more than enough for my home studio.
Old 23rd November 2011
  #26
Gear Maniac
Ok, I have a PF2626 and I'm lost... Can someone please help me out here ? :D

What is better, to get a RME UFX or to mod my PF2626 ? (Not talking about price)

What are the difference between the normal PF2626 and the moded one ? I don't know what a opamp is
Old 23rd November 2011
  #27
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DR Music's Avatar
Quote:
Originally Posted by Salivan View Post
Ok, I have a PF2626 and I'm lost... Can someone please help me out here ? :D

What is better, to get a RME UFX or to mod my PF2626 ? (Not talking about price)

What are the difference between the normal PF2626 and the moded one ? I don't know what a opamp is
Call BlackLionAudio
blacklionaudio.com
They are converter experts!

But if your not worried about converters..
Just stay with the profire 2626!
If your talented songwriter/musician/engineer just make music!!!
Gear Lust sucks!!
Old 23rd November 2011 | Show parent
  #28
Gear Maniac
Quote:
Originally Posted by DR Music View Post
Call BlackLionAudio
blacklionaudio.com
They are converter experts!

But if your not worried about converters..
Just stay with the profire 2626!
If your talented songwriter/musician/engineer just make music!!!
Gear Lust sucks!!
Well, I actually I use 12 channels with my PF2626, to get the extra 4 I use the ADAT in, do you think I should mod it then ? Or get the UFX ?
Old 24th November 2011
  #29
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DR Music's Avatar
Quote:
Originally Posted by Salivan View Post
Well, I actually I use 12 channels with my PF2626, to get the extra 4 I use the ADAT in, do you think I should mod it then ? Or get the UFX ?
Since I've own both I'd say mod it!! But it's $575 and $315 for the microclock mkll and it a must!! But you can also use the microclockmkll on the other A/D! What the other unit?
Old 24th November 2011 | Show parent
  #30
Gear Maniac
Quote:
Originally Posted by DR Music View Post
Since I've own both I'd say mod it!! But it's $575 and $315 for the microclock mkll and it a must!! But you can also use the microclockmkll on the other A/D! What the other unit?
Er.. Sorry, I think I got a little lost now... So, the mod will actually cost me $890 ?

Actually, what is micro clock ? (Sorry for being so noob)
And what is an opamp ?

The other unit is the UA 4-710d

Thanks a lot for the help man!
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