M-audio fast track c600.M-Audio Fast Track C600 – audio interface Specs
M-audio fast track c600.M-Audio Fast Track C600 Audio Interface Review
Related Articles.M-Audio Fast Track C – audio interface Specs – CNET
We would like to show you a description here but the site won’t allow more. Feb 24, · Fast Track C is a driver specially designed for USB audio series. DriverReplacer could cause a “restart needed” message to be posted, or a “confirm driver install” message on XP, when attaching the device after the first successful replacement. This behavior has been fixed/5(3). M-Audio Fast Track C – audio interface overview and full product specs on CNET.
M-audio fast track c600.M-AUDIO FAST TRACK C USER MANUAL Pdf Download | ManualsLib
Fast Track C is a 6-input, 8-output audio in- terface that connects to your computer through USB The interface features high-quality an- alog and digital connectivity, MIDI ports, so- phisticated monitoring and control functional- ity, and pristine audio quality at sample rates up to bit/96 kHz. Fast Track C . Welcome To Fast Track C • Up to a total of eight channels of output, us- Fast Track C is a 6-input, 8-output audio in- ing analog and digital outputs simultaneously terface that connects to your computer through USB Page 6: System Requirements And Compatibility Fast Track C The Fast Track C audio interface redefines the standard for quality and ease of use originally established by the best-selling M-Audio Fast Track recording interfaces. Now it’s simpler and easier than ever to transform your creative ideas into professional-quality music/5(22).
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Update your browser to view this website correctly. Update my browser now. The C includes a software mixer for routing inputs and software returns to outputs and headphones. No longer do we see the stackable unit with a narrow front control panel.
The new design takes a note from desktop interfaces like the Apogee Duet, with a large volume control and a generous spread between knobs and buttons across the large top surface. Ergonomically, this is a refreshing alternative. All of these new bells and whistles are built upon a solid foundation mirroring the impressive feature set of the Fast Track Ultra.
One of the most impressive Ultra features, however, was the software mixer for routing inputs and software returns to outputs and headphone mixes.
The ability to mix zero-latency inputs with playback tracks and effects powered by DSP from the hardware was professionally executed. The C improves upon this with stylish new graphics and even more options. Alternatively, the first two inputs can be fed by front panel instrument jacks.
Recording vocals, I noticed the same tight low and low-mid frequency range with plenty of substance, without being over-emphasized. The top end is smooth and balanced, without an abundance of additional harmonics seeming to be added.
By contrast, plugging an electric guitar into the instrument input on the front panel was slightly disappointing. That said, with the Avid brand name shared by M-Audio, I had hoped that a lower-cost yet comparable design might have trickled down to the C The Omni felt like plugging into an actual guitar amp.
I plugged in, never really had to adjust a gain control on the device, and a hot, meaty signal lit up an Amplitube Fender Twin. With the C, I had to keep backing off level, padding the input and scaling back gain further and further to avoid clipping. The unit also offers two headphone jacks on the front panel, each having their own level control on the top.
What is fed to each of these analog connections is controlled by the software mixer in the C Preference pane in the Mac OS System Preferences. It can be a bit confusing at first, but only because it is so packed with features. By default, all eight software returns are routed to the corresponding physical connections, but you can easily modify this.
Each of the inputs and software returns feature an aux send that can feed signal to the onboard effects processor. The way that this software mixer integrates with the hardware monitor section is where the C really raises the bar. The idea is that, for one, during a mixing situation each pair of outputs is connected to a different set of monitors, each output pair is being fed an identical mix and the volume control adjusts the output level as the mix is evaluated on each monitor pair.
You can switch between monitor pairs by turning on and off the corresponding buttons. Most exciting, in my opinion, is that 5. With all of these flexible routing options within the software mixer, a great variety of professional workflows can be managed in very comfortable ways. The software control panel for the C also handles the transport feature. The five transport buttons are a tad small and stiff for my taste, but I could see why some would find them useful. With that in mind, you can program each of the buttons to play a keyboard shortcut recognized by the desired application as a specific command.
An additional Multi button can be programmed to perform any shortcut, or even an eight-step series of commands. Clearly, there are a lot of positive things happening with the Fast Track C I do have some minor complaints. I have always liked the Fast Track Ultra, and was excited to see this new product that adds to all of my favorite Ultra features. The C does not offer hardware inserts, which were useful on the Ultra, and the C has two fewer line inputs.
Otherwise, the C only improves upon its predecessor. One thing I had hoped to see resolved on the C was the issue of hot-swappability. Both units are made to perform in a way that they can operate using exclusively USB power but only offering two ins and reduced outputs. Usually for the unit to be recognized in this mode, a reboot is required. One or two times, the C exhibited some sort of clocking issue where the sound crackled until power was recycled, leading to a necessary reboot, all during a session.
It would be really annoying if that happened consistently. A new fleet of M-Audio USB interfaces has been long anticipated, but it seems that the company has taken its time and gotten it right. The slick new layout is much more appropriate for the kind of desktop use where it will most likely be popular.
The powerful software mixer gets even better in this new generation. Playing the features-per-price game is always a balance of tradeoffs, and it seems like M-Audio is at it again, finding the perfect recipe of bang for the buck.
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