M-AUDIO PROFIRE 2626
Eight Pres and 26 I/Os for Under a Grand?
by Jeff Anderson Not even five years ago, I would have laughed had you told me that I could get eight pres and 26 x 26 I/Os for less than a grand. and Im still skeptical about the kind of audio quality possible at a prosumer price point. But old-school preconceptions shouldnt inhibit my playing with new-school products, so I tried to keep my prejudices at bay as I started working with M-Audios new ProFire 2626 interface. OVERVIEW The 1U ProFire 2626 is a Mac/PCcompatible FireWire interface, featuring eight mic pres with M-Audios Octane technology. As a standalone unit, it can function as an analog eight-channel mic/line preamp (the user can choose whether the analog ins, including mic pres, are routed to both analog and digital outs or just the optical outs, which allows the optical ins to be routed to the analog outs), or as an eight-channel 24bit/96kHz converter (four channels at 176.4/192kHz). Additionally, the unit provides 26 x 26 I/O through multiple simultaneously-available connections. Utilizing an onboard DSP mixer and router, the ProFire 2626 lets you select from 52 streams of audio, then send them to each of the units 26 outputs via stereo pairs. You can configure the units 26 audio inputs as desired to have up to 18 input channels simultaneously. Use the internal clock, or slave to an external clock. The rear panel has eight XLR ins for the pres and eight TRS 1/4" line ins that bypass the mic pres, eight 1/4" TRS balanced outs, and two complete sets of optical I/O. These 1let you chain extra pres with ADAT light pipe outputs to your system. There are also sets of coaxial S/PDIF, MIDI I/O, and a BNC word clock I/O, all accessible via a breakout cable. 48V phantom power is selectable by groups of four (i.e., channels 14. 58). Each of the preamps offers

M-Audios ProFire 2626.

55dB of gain and has a 20dB pad. Furthermore, the ProFire 2626s front panel sports a user-assignable master volume knob, two 1/4" unbalanced TRS ins, and two 1/4" balanced TRS headphone outs, each with their own volume knob. IN USE The ProFire 2626 sounded too good to be true, especially in regards to Pro Tools M-Powered compatibility. Sure, the ProFire 2626 is compatible with nearly every major DAW, but Im sure many of you wondered what I did: Is there now a way to utilize over 18 I/Os with Pro Tools that doesnt require taking out a second mortgage for an HD rig? Sorry, but no. As is clearly noted on their website, 96kHz and 18 x 18 I/O maximum with Pro Tools M-Powered. Cant say Im surprised, though. Nonetheless, I definitely enjoyed working with the ProFire 2626. The pres sound goodnot much color, fairly transparent. As a one-stop solution, this unit is a great deal, but just used as a standalone outboard box, I found the pres clear enough to warrant running drums, guitar, and vocals through it on a rock session without even hooking it up to my computer. and I have many, many boutique pres in my collection from which I can choose. Using the ProFire 2626 with a wide variety of DAW software on both a MacBook Pro, and a Windows machine running XP, I became quite fond of the DSP mixer application; it allows adjusting all your routing within just a few simple windows. The ability to route your signals any way
you desire is incredibly cool, and once youve adjusted the settings, you can save everything, make presets c u sto m i zed for your studio, and re c a l l on demand. The implications of this on your workflow should be pretty apparentit saves a lot of time and headaches. CONCLUSIONS The ProFire 2626s functionality and versatility kinda scares me. As a studio owner whos spent a lot on pres, A/D converters, etc., units like this make me feel like Ive wasted a lot of money. I mean, whats next? Large format consoles for $5,000? Its not that far of a stretch when you consider that you can get 26 ins and outs for under a grand and eight pres that sound pretty damn accurate. While the ProFire 2626 is not entirely without limitations, this is definitely one of the best deals for small studio owners Ive found yet. PRODUCT TYPE: FireWire inte r face with eight preamps and 26 x 26 I/O capabilities. TARGET MARKET: Small st u d i o s seeking a one-stop interface solution with multiple pres and lots of I/O. ST R E N GTHS: G re at value. Lots of I/Os. Good-sounding pres. Can slave to ex ternal clock. User-friendly DSP mixer. Bundled with Ableton Live Lite 6. LIMITATIONS: Full I/O capabilities not utilized with Pro Tools M-Powered. 48V phantom power is set in groups of 4. LIST PRICE: $899 CONTACT: www.m-audio.com

JULY 2008

w w w. e q m a g. c o m

Connection Diagram and Example Scenarios. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Example Scenario #1: Recording a Duo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Hardware Input and Output Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring the Mixer, Router, and Settings tabs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Setting up the DSP Mixer:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Routing the DSP Mixer outputs:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 Configure the Master Volume Knob to Control Your Studio Monitors:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Disabling unused input ports:. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Using the DSP Mixer to create Cue Mixes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42 Example Scenario #2: Mixing in Surround. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Hardware Input and Output Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43 Configuring the Mixer, Router, and Settings tabs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Configuring and Using your DAW to create a Surround Mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Warranty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Warranty Terms. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Warranty Registration. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Introduction

Congratulations on your purchase of the ProFire 2626 audio interface. ProFire 2626 is part of M-Audios award winning series of FireWire-based digital recording solutions and features solid hardware design, robust driver technology, and a powerful Control Panel applicationall designed to deliver professional connectivity, exceptional fidelity, and nextgeneration performance. Even if you are experienced with digital recording, please take a moment to read through this guide. It provides detailed information about the ProFire 2626 interface and will help you get the most out of your new purchase. You may also want to refer to your audio softwares documentation to better understand how ProFire 2626 can be integrated with the application. Your experience with the interface will be greatly enhanced by a good working knowledge of your equipment.

Architecture of ProFire 2626
ProFire 2626 is much more than a simple audio input and output device. Its high quality signal path, DSP mixer, and flexible router allow the interface to become the central nervous system of your studio. The block diagram below illustrates audio signal flow within ProFire 2626 and demonstrates the relationship between various components within the interface (each of the blocks in the diagram are described in detail further below):
44.1/48kHz Operation (Mac & PC)

Mac /PC

Audio Application

Hardware Inputs

Analog ADAT A ADAT B S/ PDI F 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2

18x16 DSP Mixer

Software Returns
1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26
(Select source for each hardware output)

Router

1|2|3|4|5|6|7|8 Analog

1|2|3|4|5|6|7|8 ADAT A

1|2|3|4|5|6|7|8 ADAT B

1|2 S/ PDI F

Hardware Outputs
Hardware Inputs These are the physical audio inputs on ProFire 2626 including the eight analog combo jacks, two instrument inputs, two ADAT ports, and the S/PDIF connector. All signals that enter the interface through the hardware inputs can be sent to the Mac/PC, DSP Mixer, and Router (all described below). Mac/PC This block represents your computer and its DAW software. All signals received at the hardware inputs can be sent to your computer and made available for recording and mixing within the audio application.
Software Returns This block represents the audio outputs of your audio application. Software returns can be routed to the DSP Mixer and the Router (both described below). DSP Mixer This is the 18 input, 16 output DSP mixer contained within the ProFire 2626 interface. The block features a dashed line because the DSP mixer can be completely bypassed by the user if desired. As shown in the illustration above, the mixers 18 input channels accept signals from any of the hardware inputs or software returns. See the Mixer section of the Control Panel Application chapter to learn how to configure and use the DSP mixer. In cases where the computer is unable to run with sufficiently small buffer size settings (i.e., the software monitoring latency is too high), the DSP Mixer can be used instead to achieve near-zero latency monitoring of your input signals. Router The Router is a device that lets you select the source of each hardware output on ProFire 2626. These sources include any pair of hardware inputs, the main output of the DSP mixer or any of its seven auxiliary sends, and any available software return pair. The router is an extremely useful tool since it allows you to reconfigure how audio streams flow out of the interface without having to physically re-patch the cables connected to the back of the interface. Hardware Outputs These are the physical outputs of ProFire 2626 including the eight 1/4 analog jacks, two ADAT ports, and the S/PDIF connector. The Router (see above) lets you select the source of each hardware output pair. About Software Returns:

The term Return has its roots in analog recording, where input sources (Microphones, Instruments, etc.) are connected to large format mixing consoles, routed to multi-track reel-to-reel tape machines for recording and then returned to the mixing desk. This allows the recording engineer to hear the recorded signal from tape while the recording is still in process. This way, problems with the recording (e.g. tape imperfections, or distorting signals) can be detected in real-time. While recording systems have evolved greatly over the years and DAW applications have become more popular for recording and playback, the concept of returning signals from your recording device has not changed. In the case of the ProFire 2626, the output of your audio software (the recording device) is returned to the ProFire 2626 Router section hence the term software returns. Signals returning from your software to ProFire 2626 can then be sent to the DSP mixer and/or any hardware output of your choosing.
Why use the DSP Mixer? Most audio applications include mixing and monitoring functionality and you may be wondering why you would want to use the ProFire 2626 DSP Mixer for monitoring instead of the DAW application. The main reason for using the DSP Mixer is that software-based audio applications suffer from a phenomenon known as latency. Latency is the amount of time it takes your audio signals to pass through the computer (and its DAW software) and become available at the hardware outputs. This delay is usually quite small and is measured in milliseconds, but it may be large enough to distract a performer who wishes to record while monitoring through software. The amount of latency varies depending on many factors including your computers performance and buffer size settings. Powerful computers with fast processors may allow you to run your sessions with very small buffer size settings, providing virtually imperceptible latency. In this case, you can use your applications software monitoring features and bypass the ProFire 2626 DSP Mixer.
ProFire 2626 Operation at High Sample Rates
ProFire 2626 can operate at high sample rates including 88.2/96 kHz and 176.4/192 kHz. However, the number of available inputs and outputs is reduced when operating at these rates and certain input and output ports are disabled as a result (see the About S/MUX II and S/MUX IV modes section for additional information). Furthermore, at high sample rates, the number of software returns is automatically reduced to match the number of available hardware outputs and to preserve system resources. This section describes how channels are affected at high sample rates. Note that since Windows and OS X operating systems handle audio differently, each operating system is described separately.

About S/MUX II and S/MUX IV modes:
An ADAT port is designed to transfer eight channels of audio at sample rates up to 48 kHz. When operating at higher sample rates, the port must operate in S/MUX II (up to 96 kHz) or S/MUX IV (up to 192 kHz) mode. S/MUX II mode combines pairs of ADAT channels (i.e. channels 1/21, 3/42, 5/63, 7/84) to create four high bandwidth channels capable of transferring high resolution audio up to 96 kHz. S/MUX IV mode combines groups of four ADAT channels (i.e., 1-41, 5-82) to create two high bandwidth channels capable of transferring high resolution audio up to 192 kHz.
Sample Rate 44.1-48 kHz 88.2-96 kHz 176.4-192 kHz
Number of Channels (per ADAT port) (S/MUX II) 2 (S/MUX IV)
MAC OS X: 88.2/96 kHz Operation 88.2/96 kHz Operation (Mac)
ADAT A (S/MUX II) ADAT B (S/MUX II) S / P D I F Analog 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2

1|2|3|4|5|6|7|8|

ADAT A (S/ M U X I I)

ADAT B (S/ M U X I I)

At sample rates of 88.2 or 96 kHz, the ADAT ports operate in S/MUX II mode. As a result, the number of available ADAT channels is reduced to four channels per port (i.e., channels 5-8 are disabled on all ADAT I/O ports) and software return channels 19-26 are disabled.
Tip: Users who regularly work at different sample rates may wish to use the Control Panels save and load functions to store and recall preferred routing assignments for each sample rate. This will allow them to quickly shift between various sample rates without having to reconfigure routing assignments each time.
MAC OS X: 176.4/192 kHz Operation 176.4/192 kHz Operation (Mac)
S/ PDI F Analog (S/ M U X IV) (S/ M U X IV) 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2

ADAT A ADAT B

ADAT A (S/ M U X IV)

ADAT B (S/ M U X IV)

At sample rates of 176.4 or 192 kHz, the ADAT ports operate in S/MUX IV mode. As a result, the number of available ADAT channels is reduced to two channels per port (i.e., channels 3-8 are disabled on all ADAT I/O ports), and software return channels 15-26 are disabled.
Windows XP/Vista: 88.2/96 kHz Operation (PC) 88.2/96 kHz Operation
At sample rates of 88.2 or 96 kHz, the ADAT ports operate in S/MUX II mode. As a result, the number of available ADAT channels is reduced to four channels per port (i.e., channels 5-8 are disabled on all ADAT I/O ports) and software return channels 13-16 and 21-24 are disabled.

TIP: Users who regularly work at different sample rates may wish to use the Control Panels save and load functions to store and recall preferred routing assignments for each sample rate. This will allow them to quickly shift between various sample rates without having to reconfigure routing assignments each time.
Windows XP/Vista Users: Please note that certain input and output ports become unavailable at high resolutions (such as ADAT 5-8 in S/MUX II mode). While the ports will become disabled as the sample rate is increased, your DAW applications audio inputs and outputs may still be routed to unavailable ports. In this case, the disabled inputs and outputs will not stream audio. To avoid this, configure your DAW applications inputs to receive audio from active ports and make sure that the application is sending audio to active software returns. Next, you may need to reconfigure the Router to ensure that the software returns from your DAW application are routed to active hardware output ports. To help you quickly identify disabled hardware inputs and software returns, the Control Panel application grays-out and italicizes any inputs, outputs, or software returns that are disabled. The DSP Mixer displays an exclamation point ( ) if the input source stream has become disabled.
Windows XP/Vista: 176.4/192 kHz Operation 176.4/192 kHz Operation (PC)
S/ P D I F A nalog (S/ M U X IV) (S/ M U X IV) 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2|3|4|5|6|7|8 1|2
1|2|3|4|5|6|7|8 Ana l o g

1|2|3|4|5|6|7|8

1|2 S/ P D I F
At sample rates of 176.4 or 192 kHz, the ADAT ports operate in S/MUX IV mode. As a result, the number of available ADAT channels is reduced to two channels per port (i.e., channels 3-8 are disabled on all ADAT I/O ports), and software return channels 11-16 and 19-24 are disabled.
Control Panel Application
ProFire 2626 provides adjustable parameters for many of its features. Some of them can be accessed directly from the ProFire 2626 front panel, such as input gain, phantom power, and output levels. However, there are additional parameters that cannot be accessed from the front panelthese will be available to you using the included Control Panel software. In Windows, open the ProFire 2626 control panel by double-clicking on the M-Audio icon in the system tray, or from Start > Control Panel (Classic View). In Mac OS X, click the M-Audio ProFire 2626 icon in the system preferences window. The Control Panel features four tabs across the top of the screen (shown below). Each tab focuses on a specific component or feature set of ProFire 2626 and is described below.

Settings

The Settings tab contains several parameters that govern the operation of ProFire 2626. These options are grouped in the following categories:
Windows only: Buffer Size drop-down menu.
Hosted Mode The parameters in this section of the Control Panel govern the operation of the interface when it is connected to a computer using a FireWire cable (i.e., Hosted Mode). Sync Source This drop-down menu determines the clock source to which ProFire 2626 is synchronized. If you are using ProFire 2626 by itself (i.e., without other digital devices or an external clock), this parameter must be set to Internal for the interface to work properly. you have connected a S/PDIF, ADAT, or Word Clock device to your ProFire 2626 and would like to use that If devices clock as the master clock source, select ADAT A, ADAT B, Coax S/PDIF, or Word Clock from this drop down menu. This will make ProFire 2626 lock to the external devices clock.
About Clock: If you are using ProFire 2626 in conjunction with other digital devices in your studio, you will need to designate one device in your studio as the clock master. All other digital devices must be set to lock (or slave) to the master devices clock. For example, if you have connected your ProFire 2626 and a DAT recorder using a pair of S/PDIF cables (i.e., the S/PDIF output of ProFire 2626 has been connected to the S/PDIF input of the DAT recorder; the S/PDIF output of the DAT has been connected to the S/PDIF input on ProFire 2626), you must configure either ProFire 2626 or the DAT recorder to act as the clock master, while the other device must be set to external or slave mode. If your devices are not configured in this way, you may hear clicks, pops, and other unwanted glitches in your audio. If you wish to set ProFire 2626 as the master, set the Sync Source parameter in the Control Panel to Internal. If you would like ProFire 2626 to lock to another device connected using ADAT, S/PDIF, or Word Clock, select ADAT A, ADAT B, Coax S/PDIF, or Word Clock from the drop-down menu. In this scenario, youll need to ensure that the external device is set as the clock master. Refer to the Digital Clocking section of this guide to learn more about clocking and to learn how to digitally synchronize multiple digital devices to one clock.

Sample Rate

This drop-down menu sets the sample rate of ProFire 2626. Note that when using the interface with an ASIO or CoreAudio application, the sample rate can also be determined by your audio application. This parameter may not be editable from within the ProFire 2626 Control Panel if your audio application is running. In this case, any changes to the sample rate must be made through the audio application itself. If the application does not provide a way to set the sample rate, quit the application, then change the sample rate through the ProFire 2626 Control Panel.

In B Optical Out B

MIDI Out MIDI In

MIDI Out

MIDI In

MIDI Keyboard

Sound Module
1. Make sure the breakout cable is connected to the back of ProFire 2626. 2. Connect the controller keyboards MIDI output to the ProFire 2626 MIDI input. 3. Connect the ProFire 2626s MIDI output to the MIDI input of the sound module. Once the hardware connections have been made, you may need to configure your music software to make use of the ProFire 2626 MIDI input and output ports. This configuration process varies from program to program; Please see your audio applications user guide to learn how to do this.
Connection Diagram and Example Scenarios
ProFire 2626 is a flexible interface with a variety of inputs and outputs. This flexibility allows ProFire 2626 to be used in a many different applications ranging from studio multi-tracking and on-location recording to multi-channel surround mixing. This guide cannot cover every conceivable use of ProFire 2626, but the diagram below illustrates the various kinds of equipment that can be connected to the interface. The remainder of this chapter illustrates two real-world scenarios in which ProFire 2626 can be used.

Word Clock

EQ, Mixer Computer Mixing Desk Amplifier Powered Monitors

FireWire

Mic, Keyboard, CD Player

Power Supply

Clip Clip

Headphones

Headphones Master Volume Power

Inst Pull -20dB Inst

Pull -20dB

Pull -20dB Phantom Power

Mic/Line Inst

Mic Gain

Guitar /Bass Headphones
onnect the ProFire 2626 interface to an available FireWire port on your C computer. ttach the in-line power supply to the Power Supply Connector (11) and turn on the A interface using the Power Button (9). onnect line outputs 1/2 to your studios mixing desk, amplifier, or powered C monitors.
TIP: Any time cables are connected (or disconnected) from a mixing desk, amplifier, or powered monitors, you may hear a loud pop from the speakers. It is recommended that you turn down your monitors to prevent this.
f you are recording the direct output of any electric guitars or basses, connect these instruments to Analog Inputs 1 I and 2 (1) on the front panel. Be sure the Mic/Inst Button (2) is in the in position for each channel that is using the front panel inputs. If any 1/4 line-level devices have been connected to the corresponding rear-panel inputs, make sure that these devices are not outputting any audio. Attach up to two pairs of headphones to the Headphone jacks (7). onnect line outputs 3-8 to any devices with analog inputs that you wish to use during recording or mixing. Such C devices can include compressors, EQs, signal processors, mixers, or additional speakers if you are mixing in surround. se analog inputs 3-8 to connect microphones or any line-level devices (keyboards, samplers, CD players, etc.) U that you wish to record. If you have attached analog outputs 3-8 to external audio processing devices (such as compressors, EQs, etc.), you can use these inputs to bring the outputs of those devices back into your audio application. f you wish to use any devices with ADAT* inputs and outputs (digital mixers, A/D and D/A converters, other computers I equipped with ADAT ports), connect these devices to the optical connectors (13) on the rear panel of ProFire 2626. By combining the signals from both ADAT optical ports, ProFire 2626 can send/receive 16 channels of audio while operating at 44.1/48 kHz, eight channels at 88.2/96 kHz (in S/MUX II mode), and four channels at 176.2/192 kHz (in S/MUX IV mode). o use the S/PDIF*, Word Clock*, or MIDI, inputs and outputs, connect the supplied breakout cable to the Breakout T Cable connector (14) on the rear panel of the interface. S/PDIF is a common format found on many consumer and professional devices (A/D and D/A Microphone Preamps converters, CD players, keyboards and samplers, etc.) that is used to digitally transfer stereo signals. Word Clock is a synchronization format often found on professional digital audio devices (digital mixers, A/D and D/A converters). It is used to synchronize two or more digital audio devices to the same master clock. MIDI is a communication protocol supported by nearly all modern keyboard and synthesizer products as well as most DAW applications. This protocol is commonly used to connect MIDI-capable devices to each other, or to connect these devices to the recording application running on your computer. The MIDI section of this guide covers this protocol in greater detail. * Whenever audio devices are digitally interconnected (i.e., through ADAT, S/PDIF, or Word Clock), you must set up proper clocking among all of the devices to ensure error free transfer of audio. The Digital Clocking section of this guide covers this topic in detail.

Example Scenario #1: Recording a Duo
This example demonstrates how ProFire 2626 can be used to record a duo consisting of a guitarist/vocalist and a percussion player. In this scenario, the guitarist/vocalist is playing an electric guitar while singing into a microphone. The percussionist is performing on a variety of hand drums (recorded using four microphones) as well as playing a drum machine with a stereo output.
Hardware Input and Output Connections

Drum Machine Microphones

XLR Connector
1/4" TS or TRS Connector 1/4" TS or TRS Connector
standard 1/4 TS instrument cable

Set to Inst

Guitar

Microphone

Input Connections: The electric guitar is recorded direct by connecting it to the first channels front-panel Instrument Input (1) with a standard 1/4 TS instrument cable. When using a front panel input, make sure that the Mic/Inst button (2) for that channel is in the in position. If a 1/4 line-level device is connected to the first channels combo connector (on the rear of the interface), make sure that the device is not outputting any audio. The vocalists microphone as well as the four percussion microphones can be plugged into channels 2-6 on the rear of the interface using XLR cables. Engage the Phantom Power buttons (5) if your microphones require power. Remember that certain vintage microphones may be damaged if phantom power is sent to themread your microphones manual if you are not sure if it requires power.
TIP: The XLR inputs of the combo connectors on the rear of the interface feed into the mic preamps while the 1/4 rear panel inputs bypass the preamps. If you are recording line-level signals, it is recommended that you use the 1/4 inputs to bypass the preamplifiers circuitry (since the preamp is not necessary in this case).
Finally, the drum machines line-level outputs are plugged into channels 7/8 using 1/4 cables.
Hardware Input Analog 1 (front panel 1/4) Analog 2 (rear combo/XLR) Analog 3 (rear combo/XLR) Analog 4 (rear combo/XLR) Analog 5 (rear combo/XLR) Analog 6 (rear combo/XLR) Analog 7 (rear combo/1/4) Analog 8 (rear combo/1/4) Instrument Guitar (direct) Vocalist Microphone Percussion Microphone 1 Percussion Microphone 2 Percussion Microphone 3 Percussion Microphone 4 Drum Machine line-output (left) Drum Machine line-output (right)
Output Connections: The two headphone outputs of ProFire 2626 can be used to create a customized cue mix for each performer. The guitarist/vocalist receives a set of headphones connected to Headphone Output 1 while the percussionist receives a set connected to Headphone Output 2. The recording engineers studio monitors are connected to analog outputs 5/6.

Tip: If the recording engineer wishes to hear the output of the audio application instead of the DSP Mixer, Analog Out 5/6 can be changed from Mixer Out to SW Return 1/2. In this scenario, your audio applications mixincluding all of its plug-in effectsis heard. This may be the desired monitoring method if the engineer does not require the extremely low latency of the DSP Mixer.
Configure the Master Volume Knob to Control Your Studio Monitors:
Since the studio monitors are connected to analog outputs 5/6, make sure that the Analog Out 5/6 box is checked under the Master Volume Knob section of the Settings tab. Make sure that the Analog Out 1/2 and Analog Out 3/4 boxes are unchecked in this menu. This will ensure that the Master Volume knob (8) on the front panel can be used to control the levels of your studio monitors but will not affect the output levels of headphones 1 and 2.
Disabling unused input ports:
Since the optical and coaxial (S/PDIF) inputs are not being used in this scenario, these inputs should be disabled from the Router tab of the Control Panel. Doing so will minimize the amount of FireWire bandwidth and system resources used by ProFire 2626.
Using the DSP Mixer to create Cue Mixes
Once the Mixer, Router, and Settings tabs are configured as described above, you can use the DSP Mixer to create cue mixes for the guitarist/vocalist, percussionist, and the control room monitors: T he faders along the bottom are used to create the mix heard on the studio monitors in the control room. T he Aux 1 knobs create the mix heard by the guitarist/vocalist listening to Headphone Output 1. T he Aux 2 knobs create the mix heard by the percussionist listening to Headphone Output 2. TIP: Double-clicking a fader or aux send knob will set it to unity gain. This is the gain level at which signals pass through the mixer without being amplified or attenuated.
I f your performers are doing overdub recording (i.e., playing along to previously recorded tracks in your DAW software), the outputs of your software will appear on input channels 17/18 in the DSP Mixer as this is the default configuration. T he Headphone Level knobs (6) and Master Volume knob (8) on the front panel of ProFire 2626 can be used to adjust the overall level of the headphones and studio monitors, respectively.

I MPORTANT: Whenever you are using the ProFire 2626 DSP Mixer for input monitoring, make sure that you are not simultaneously using your DAW applications input monitoring capabilities. If both monitoring methods are activated at the same time, doublemonitoring may take place, which can result in various problems including phasing and distracting slap-back delays.
NOTE: Remember that the DSP Mixer does not affect the signals that are sent to your audio application. DSP Mixer input channels can be set to any level preferred by the cue mix listener without affecting what is recorded into your music software.
Example Scenario #2: Mixing in Surround
This example demonstrates how ProFire 2626 can be used to create a six-channel surround mix. In this scenario, your audio application must have provisions for multi-channel surround mixing (such as surround panners and a 6-channel master output). Many DAW applications now include these features.

Subwoofer

Line Output 3

Center

Front Left

Line Output 1

Front Right
Line Output 2 Line Output 4

Surround Left

Surround Right

Line Output 5

Line Output 6
Input Connections: Since we are simply mixing for this scenario and are not recording anything, we do not have to use any inputs. Since the optical and coaxial (S/PDIF) inputs are not being used in this scenario, these inputs should be disabled from the Router tab of the Control Panel. Doing so will minimize the amount of FireWire bandwidth and system resources used by ProFire 2626. Output Connections:
Note: At least one group of inputs must remain active at all times, therefore, the final group of inputs (analog inputs, in this case) must remain active.
The analog outputs of ProFire 2626 must be connected to the six speakers (five satellites, 1 subwoofer) in your studio.
Hardware Output Analog Outputs 1/2 Analog Outputs 3/4 Analog Outputs 5/6
Destination Speaker Left / Right Center / Subwoofer Surround Left / Surround Right
Setting up the DSP Mixer: Unlike the first example scenario, the DSP Mixer of the interface is not necessary and should not be routed to any of the hardware outputs in the Router. For this example, only the surround mixing capabilities of your DAW application are used to create the mix. Software returns: Since your audio software will be outputting a mix consisting of six channels of audio, the interface must have a minimum of six active software return streams. To do this, go to the Router tab of the Control Panel: Windows users: Software returns can be activated/deactivated in banks. Check the Software Return 1-8 box to activate its corresponding software returns and uncheck the remaining boxes to deactivate unnecessary software returns (this will preserve system resources). Mac users: The Control Panel for Mac OS X has a drop-down menu showing the maximum amount of software return streams. Use this menu to select six software returns on your system.

Routing your DAW application outputs:
this scenario, your audio application will output a mix consisting of six channels. The ProFire 2626 Router In must be correctly configured so that these channels leave the interface through the correct analog outputs. To make sure all of your outputs are correctly routed, go to the Router tab in the Control Panel: 1. Open the drop-down menu under Analog Out 1/2 and select SW Return 1/2. 2. Open the drop-down menu under Analog Out 3/4 and select SW Return 3/4. 3. Open the drop-down menu under Analog Out 5/6 and select SW Return 5/6.
Configure the Master Volume Knob to Control Your Studio Monitors: Since your studio monitors are connected to analog outputs 1-6, make sure that the Analog Out 1/2, Analog Out 3/4, and Analog Out 5/6 boxes are checked under the Master Volume Knob section of the Settings tab. This will ensure that the Master Volume knob (8) on the front panel can be used to simultaneously raise or lower the levels of all six speakers.
Configuring and Using your DAW to create a Surround Mix
Your audio hardware is now set up for surround mixing. Your surround mix channels are routed correctly through the interface and the Master Volume knob can be used to control all six speakers simultaneously. You may need to configure your audio software further before you can begin mixing. For example, you will need to ensure that your audio applications left and right channels are being sent to SW Return 1/2, the surround left and surround right channels are sent to SW Return 3/4, and the center and subwoofer channels are being routed to SW Return 5/6. This configuration varies from application to application, but it is usually done through your programs Settings or Control Panel menu. Finally, if your DAW offers additional features relating to surround mixing (i.e., video synchronization and/or playback, bass management, etc.), you may need to set up these features as well. Please refer to your applications user guide to learn how to do this.

Troubleshooting

Problem: No sound. P ossible Cause 1: Power supply not connected. Verify that the ProFire 2626 power supply is properly attached to the interface and plugged into a working AC outlet. Next, make sure the interface is powered on using the Power Button (9). P ossible Cause 2: Improper connection to external devices. Verify that the analog outputs of ProFire 2626 are properly connected to the inputs of an appropriate device (such as a mixer, amplifier, or powered monitors) using good cables. If you are connecting digitally to a digital device such as a DAT recorder or digital mixer, make sure you are using proper digital cables and that the device is configured to receive signals from ProFire 2626. Finally, verify that the interface is properly connected to your computer using the supplied FireWire cable. P ossible Cause 3: The ProFire 2626 device drivers are not properly installed. See the installation instructions in the printed ProFire 2626 Quick Start Guide for further information.

Problem: Clicks, pops, and other glitches in audio streams. P ossible Cause 1: Input levels are too loud and are resulting in clipping or distortion. Lower the sources output level and/or the channel input gain on ProFire 2626 to avoid overloading the interface. Use the Signal/Clip LED indicators on the front panel to ensure you are not distorting. P ossible Cause 2: The ProFire 2626 audio buffer size is set too low and must be increased. Each audio application handles buffer settings differently, but the options for changing buffer sizes are usually found under the programs setup or audio preferences menus. Refer to your audio applications documentation to learn how to increase buffer size. P ossible Cause 3: Windows Users: Some accelerated graphics cards use excessive amounts of system bandwidth, preventing the recording buffer of an audio interface from keeping up with demand. This can cause clicks in the audio streams. Reducing or turning off the graphics cards graphics acceleration feature often resolves this problem. In Windows XP, go to Start > Settings > Control Panel > System > Advanced > Performance > Graphics and select Adjust for best performance. NOTE: Some Windows applications require you to run a soundcard calibration routine (sometimes called profiling) the first time you use the software with a new audio interface. This routine attempts to determine the optimum settings for the new interfaces WDM driver. While ProFire 2626 does include a WDM driver, it is recommended that the ASIO driver is used instead to ensure best performance. If this profiling prompt appears, go to your applications control panel and make sure that the M-Audio ProFire ASIO driver is selected as the audio device driver.
P ossible cause 4: Improper digital clocking. If you are using ProFire 2626 without an external clock master, be sure that the Sync Source parameter to Internal. If you are using external digital devices, please see the Digital Clocking section of this guide to learn how to properly configure digitally interconnected equipment in your studio.
Problem: Windows users experience high latency and limited performance when using Steinberg Nuendo or Cubase SX. P ossible Cause: Cubase SX and Nuendo may be using the default ASIO Multimedia Driver. While this driver will allow you to use ProFire 2626, it does not provide the best possible performance with the interface. In the Cubase SX/Nuendo Control Panel, make sure that M-Audio ProFire ASIO is selected as your audio device driver.
Problem: Some parameters within the control panel are grayed out and inaccessible Possible Cause: The computer is streaming audio which prevents certain settings from being changed until audio streaming is stopped. In many cases stopping audio playback within any open applications will allow these settings to be changed. In some cases however, applications have to be quit for audio streaming to stop. If you have quit all applications and parameters are still grayed out and inaccessible, make sure there is nothing running in the background or in the system tray which could also be streaming audio.