This is provided mainly as a quick check that signal is getting into the interface, as any detailed input level metering would normally be done within the host DAW. A further small LED next to the input gain control lights green when a nominal signal level is being received and turns red when the gain is so high that clipping occurs. Both have switchable phantom power and rear-panel stereo outputs on balanced quarter-inch jacks that may also be used unbalanced.ĭiscrete status LEDs are fitted for all the key functions a green LED shows when power is being received over USB, and the switches for phantom power and instrument input also light up green when active. The Producer 2.2 also sports a separate Mix control to balance the direct monitoring level with the DAW return. There are two key differences between the two models: the Artist 1.2 has one dedicated XLR mic input and one switchable line/high-impedance instrument input on a balanced/unbalanced jack, while the Producer 2.2 has two ‘combi’ inputs, either of which can accept mic, line or instrument sources, plus it has twin five-pin DIN sockets for MIDI I/O. A USB cable is included.īoth include zero-latency direct-source monitoring, a large monitor volume knob and a quarter-inch TRS headphone outlet with its own level control. These interfaces are USB2 bus-powered, so there are no extra PSUs to worry about, and they offer full compatibility with Apple’s Core Audio and Windows ASIO. ![]() Rubber feet on the bases keep the units from sliding off the desk, and the knobs have a rubbery feel making them easy to grip. The shells have a black anodisied finish with the familiar Mackie running man logo on top, and their overall weight is around half a kilogram each. Featuresīuilt in China to keep them affordable, both models feature stylish, tough metal enclosures housing 24-bit converters that can run at sample rates of up to 192kHz. They also offer a practical mobile solution when paired with a laptop. The two models we’re looking at here, the Artist 1.2 and the Producer 2.2, are both well-suited to the desktop musician who wants to record only one or two tracks at a time. In these two Mackie interfaces, the mic amp circuitry follows the design created for their respected Onyx mixers. After all, if the converters are as good as you can get at a certain price, it is the analogue circuitry that will most strongly differentiate one model from another. ![]() There’s no shortage of small USB audio interfaces on the market but, like Focusrite, who already have a strong foothold right across the audio interface range, Mackie are making the most of the reputation of their analogue preamplifiers. Mackie offer a straightforward and affordable approach to audio interfacing with two new Onyx units.
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