Lastly, if you’re doing any kind of ADR/VO work, in order to route the audio to your talent you must have the ability to digitally route the audio without going through the computer so there is no latency. It’s critical to be able to do this, because once you have your speakers tuned, you don’t want to have to turn six different knobs/sliders to change the volume – and it’s a REAL drag if something happens where you get an accidental feedback loop and you can’t turn your speakers down with a quick twist. If you’re mixing in surround (which every media creative should be – check this article to see why), then you MUST have an interface which not only has enough outputs, but also has a physical volume knob which allows you control all of the output channels at once. And while you may not notice it (because you’re listening on cheap speakers), by the time you’ve processed your audio and compressed it and then uploaded to your streaming server/client (which compresses again) it makes a BIG difference. If you’re recording, then you’re ABSOLUTELY not getting good fidelity. Podcaster, if you’re relying on the bozo audio card (or worse – the 3.5mm jack on you mac) you’re not getting a good representation of what you’re putting out. Doesn’t matter if you’re an editor who never does audio beyond the timeline or a MOTU Ultralite Mk3 Hybrid Why review it this late in the game? Let’s discover why this venerable audio interface is still a MAJOR contender for great sounding audio for media creators and why MOTU still offers it. The MOTU Ultralite MK-3 Hybrid interface has been around a long time.
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