#Avid pro tools mbox 3 install#
#Avid pro tools mbox 3 software#
#Avid pro tools mbox 3 professional#

You can even route a software return or an input directly to an output by simply selecting the source below the output name. These six output pairs are fully independent so that you can assign them different mixes. The audio interface has six stereo hardware outs: three line-level analog outs, one digital S/PDIF out and two phones outs. Finally, on the right bottom corner is the stereo return of the FX bus. In the master section, you can adjust the stereo width from mono to stereo, you can mute the left or right channels and invert them: very practical. Each effect has two parameters: duration and feedback. The latter provides you with not less than six reverb algorithms (three rooms, two halls and one plate), a delay and an echo. Apart form that, you can also adjust the send level to the FX bus. On each channel, you have a level meter, a pan control, mute and solo buttons, a virtual fader and a link button to create stereo channels.

The design is quite standard: on the left side you’ll find all eight hardware inputs, on the right side all eight software returns (of your sequencer) all of them can be renamed. These allow you to order the faders horizontally or vertically, or even to hide them so that only the meters are displayed. First of all, notice that there are several layouts provided.

#Avid pro tools mbox 3 install#

Once you install the driver, you’ll access a clear and easily readable GUI. We won’t beat around the bush: the software impressed us a lot due to its a well-designed and convenient virtual mixer. Sweet! On the right corner you’ll find a big volume control as well as three keys assigned to the master out: a Dim/Mute switch that allows you to cut or decrease the volume of the main output, a Mono switch, and a Speaker button to toggle between three pairs of monitor speakers connected to the analog outs on the rear panel. You also get two fully independent headphones outputs: they are assigned to different channels and have their own volume control. Nice! Next to the meters, there are two buttons: the first one can be assigned to different Pro Tools functions (we already mentioned that the link between the house’s own hardware and software is still strong!) while the other one allows you to turn the 48V phantom power on/off. In the middle of the front panel, you’ll find four meters with eight-LEDs each. Also notice that all four gain controls are push/pull pots allowing you to activate –20dB pads. They all have two switches: the first one to switch between the front inputs 1/2 (mic and instrument) and the two rear line inputs, and the second one to activate the soft limiter (which is a very rare feature on interfaces in this price range). The front panel is also very comprehensive: a pair of XLR/TRS combos for mic inputs 1 and 2 and the two instrument inputs. The only regret of the connections is the lack of an ADAT connector! A 1/4' footswitch jack will allow you to punch in and out while recording or start playing back audio - very practical! Finally, a D-Sub port provides you with a MIDI in/out on 5-pin DIN connectors, a coaxial S/PDIF connector and a BNC to feed it a wordclock signal using the provided breakout cable. Notice that the interface must be connected to its external PSU because it cannot be powered via the FireWire bus of the computer. On the right corner there are two mic inputs (3 and 4) on XLR connectors, while on the left corner you have a pair of FireWire ports. You also get a stereo Aux input on RCAs or minijack. The effect send and return are in the same TRS jack (tip=send, ring=return, sleeve=ground). The inserts are placed between the preamp and the A/D converter in the signal path. You also get four inserts on 1/4' TRS jacks. On the well-equipped rear panel you have six analog outs and four analog ins on 1/4' TRS jacks with switchable +4dBu/-10dBV sensitivity. Now, let’s have a look at the front and rear panels… However, it’s important to point out that the three interfaces don’t have the same specs (S/N ratio, dynamic range, etc.), so the differences between the three models are not limited to the number of connections. In that case we recommend the Mbox and Mbox Mini, which are lighter and ought to be enough if you don’t need many ins/outs.

However, mobile sound freaks will find that the weight and bulky dimensions of the Mbox Pro are no advantage. AVID did a very nice job compared to former versions. The look of the new Mbox generation is pretty convincing. The knobs are made out of plastic but seem quite rugged. With such a weight, you can be sure it wont slip down from your desk! The dimensions are also generous: 13.7' × 7.6' × 2.3'. It looks quite sturdy due to the fact that it has a metal housing and not less due to its heaviness (6.2 lb!).

#Avid pro tools mbox 3 professional#

The design is very appealing, professional but not austere. Inside the nice black box with the AVID logo is the interface itself, which makes a good impression at first sight.