NRV10 Update - You CAN dasiy-chain the NRV10 with the Firewire 410!!!

I LOVE Firewire!

I updated the driver on my desktop to play with the NRV10. Apparently there is now only one "family" driver for M-Audio firewire products.

I didn't feel like disconnecting my FW410 to plug in the NRV10, so I used the spare port on the FW410. Upon rebooting, my computer ran it's updates, and could see both the FW410 and the NRV10.

I fired up Acid, and set up a couple audio tracks. Acid not only saw both devices, but let me run inputs from different devices at the same time.

Now this might not seem like a huge deal. You've always been able to daisy-chain firewire devices, but usually that means hooking up an external hard drive to your external soundcard. As far as I knew, very few sound cards could be daisy-chained to show up as a single multi-input device. Those devices usually had to match as well, as they would have to use the same driver. M-Audio's firewire "family" driver marks the first time, that I know of, where two different devices can be linked and used as one big interface. This is something that can ONLY be done over Firewire, as USB can't share resources like this.

MAudio NRV10 Analog Mixer and Firewire Audio Interface

What do you even call that? Asymmetrical audio interface daisy chaining?

I don't know, but between the FW410 and the NRV10 I now have 12 routable inputs (10 analog 2 stereo mix down), 2 digital inputs, 10 analog outs (18 software routable outs), and 2 digital outs all in a fairly compact set up.

I'm stoked!

M-Audio FireWire 410 4-In / 10-Out FireWire Mobile Recording Interface

And if you want to see more shots of the NRV10, you can click here for my un-boxing post!

MONSTER POST - AudioGuy got an NRV10 - Lots of Pictures!

MAudio NRV10 Analog Mixer and Firewire Audio Interface

WARNING: LOTS OF PICTURES FOLLOWING.

LOAD TIMES MAY VARY.
YOU HAVE BEEN WARNED.

So I just wanted to say thanks for all the comments and emails regarding my call for help. I needed a new mixer, and I was trying to decide between the NRV10 and the Zed-14. I ultimately decided against the Zed-14 when I found out the USB port only carried buses not individual inputs. That clinched it. I put in my order for the NRV10, and it just showed up today.

WOOT!

I took a bunch of pictures of the unboxing and first setup, so prepare for geek-pr0n!

Biggelow helped inspect the packing:










Huh? A box, within a box, within a box...










There. That's better:










Biggs momentarily gets bored and re-inspects packing:










He then realizes there's more to sniff:










The outer box:









Biggs checks out the innards:









Finally the NRV10!









And profile:









"Hmmmm smells good"









Behold the NRV10!







The NRV10 by my old Behringer (I never throw anything away):







Back Panel:










Plugging in some mics!










Soundforge is ready:









That's a lot of audio!









Biggs tuckered out from all the excitement:


OK, so first impressions.

I love this thing!

Setup has been the easiest I've ever had with any M-Audio kit. M-Audio drivers are "IN"-famous for being a little twitchy. I went and downloaded the newest from the web (not even bothering with the CD), and my laptop recognized the mixer without a hitch. Soundforge and Audition instantly knew what to do with the machine, and so far the only program giving me grief is Pro Tools, which refuses to see more than 4 channels. That's really obnoxious, as PT compatibility was a main buying point for me. Watchagunnado, a day without a Pro Tools annoyance...

Firewire is a perfect data transfer protocol. My laptop is OLD (1.8GHz P4, 768MB RAM), but it had no issues simultaneously recording 5 mono tracks and a Stereo Main mix-down @ 24/96. I can't wait to seriously light this thing up.

Build quality feels solid. Metal casing, the faders feel tight (really tight), but the knobs are all a little too loose for my taste. If you're really working a mix, a careless gesture could flip a couple knobs around (especially as placement is really close, it is a portable mixer).



The only thing I really don't like about the mixer's layout is how it vents. Rather than have any airflow come out the back of the mixer (see above for the back panel shot), heat comes out the bottom of the mixer. The bottom. What the mixer rests on. There are some stubby feet, but they wont guarantee a lot of clearance. Heat kills electronics, so if you aren't going to mount this puppy, you might want to throw a book under the back feet to aid in cooling.

In all, I'm very happy with this mixer, and am looking forward to really putting it through its paces. Maybe some Shakespeare? Hmmmm...

Thanks again to everyone that helped me make up my mind through comments and emails!

MAudio NRV10 Analog Mixer and Firewire Audio Interface

Call for Help! - Mixers: NRV10 vs Zed-14?

All right!
I NEED HELP!

I'm kinda stuck, and some opinions from my faithful readers would be very helpful.

I need a new mixer.

More specifically I'd like to replace both my mixer and my sound card in one fell swoop, so I'm looking at Firewire and USB mixers. I've gone through Alesis, and Mackies, and Phonics, and I think I've got it narrowed down to 2 units in my price range. I'm completely torn, so on to the comparison.

The two I'm stuck on are the M-Audio NRV10 and the Allen & Heath Zed-14. I need four or more phantom powered XLR ports, and individual channels sent to computer. Both units do that, so what's bothering me?

The Allen & Heath (typically about $450) is, well, an Allen & Heath. That already makes it desirable. Six mono inputs, 4 buses, USB interface, and 100mm faders round out an impressive feature set. I've always enjoyed the build quality of A&H, and those extra buses are awesomely flexible.


Next up, the NRV10 (Usually around $700) comes from a company I'm VERY familiar with, having used M-A soundcards for YEARS now. I think I like Firewire better than USB (especially when I have to use my dog tired laptop). The NRV10 has fewer inputs, no alt buses (so less routing flexibility), but each channel has individual send selectors, giving it some good (but not great) channel flexibility. Lastly, while the mixer itself isn't quite as flexible as the A&H, it comes with one powerful advantage for me. It will play with the copy of Pro Tools M-Powered I picked up for my FW410.

So there's the question. Do I go with the more expensive less flexible mixer because it uses PT, or do I go with the more flexible less expensive mixer and use another program (I like Sound Forge and Audition, but I do need PT from time to time)? PLEASE leave me some comments with your thoughts!

I need some help guys!

so...

HELP!

LOL

***EDIT 03/24/08***

I GOT THE NRV10!
You can check out some unboxing pics, and my first impressions here!

Really REALLY Tiny Audio Workstation

Gizmodo has the scoop on an ultra tiny audio "workstation" from the Trinity Audio Group.

It uses a custom touch screen version of Linux called Transmission, and the stats are a little weak (500MHz proc, 256MB RAM, 40GB hard drive), but when you're focused on ONLY audio, something like this could come in handy.
Anywho, it also comes with wifi, USB, XLR, and 1/4" inputs, nicely done there.

These were the kinds of devices I was hoping to see when UMPC's started coming out. Rather than try and compete against laptops as jack-of-all trades devices, why not go niche? If the pricing isn't insane, I might have found a decent reason to leave the Thinkpad at home...



Here's the Gizmodo story.

someaudioguy some audio guy recording voice over vo voiceover animation acting anime digital microphones daw

Not a big fan of his films, but damned if his toys don't rule

There are only a few organizations I would kill to work for (Google! Start using Sound!), and Skywalker Sound is most certainly one of them.

My gear lust has risen to an all new height though, when I saw that they've nabbed themselves a DFC Gemini.

"The Academy Award-winning DFC Gemini was the first full-scale multi-operator Digital Film Console. It has rapidly established itself as the premier choice in Hollywood, often with the vast majority of the top-grossing films of the year internationally being mixed on it. Some filmmakers are so impressed with the console's performance that they give it an end credit in the movie. From the outset, the DFC Gemini was designed for optimum mix performance. At the heart of the DFC Gemini is the world's most powerful DSP mix engine, capable of delivering the legendary Neve sound across 1,000 audio signal paths at 96 kHz/24-bit in a single, high-resolution DFC signal-processing tower. No other digital film console can offer the sheer power required to handle the demands of tomorrow's blockbusters. The DFC Gemini is laden with features that take film sound to a new level. They include TFT Channel display, the Encore Plus automation system, Neve EQ, Dynamics and Bass Enhancement plug-ins with linked dynamics, expanded 12 Stem Mixing, and complete integrated machine control."


1000 AUDIO SIGNALS!!! Really?!?! WHY?!?!

I WANT THAT!