All Fired Up

Nov 1, 2003 12:00 PM, BY BRIAN SMITHERS

FireWire (more formally known as IEEE-1394) was once considered the future of audio interfaces, but it's not anymore. It's the present. FireWire's high-speed serial communications protocol offers plug-and-play installation, hot-swap capability, and enough bandwidth for high-resolution multichannel digital audio. Understandably, many musicians have watched with eager anticipation as the burgeoning FireWire marketplace has moved to center stage. You can now equip your studio with any of several high-quality digital interfaces that boast cross-platform compatibility, tons of I/O, and easy portability.

I spent my summer vacation getting up close and personal with an array of FireWire interfaces, checking them out on Windows XP and Mac OS 9 and OS X. The contenders include Digidesign's Digi 002, M-Audio's FireWire 410, Metric Halo's Mobile I/O 2882 and ULN-2, MOTU's 828mkII and 896, PreSonus's Fire Station, and Tascam's FW-1884. I found a lot to like in each of these devices, and it was a joy not to have to take my computers apart every time I swapped interfaces.

WHERE'S THE FIRE?

Industry pundits like to gush over FireWire's 400 Mbps bandwidth, but to most electronic musicians the protocol's appeal is simple: it connects to the computer externally. Traditionally, audio interfaces have been based on PCI cards with a bunch of connectors squeezed onto the back of the card or with a separate breakout box for the audio connections. That means you have to open your computer, press a card firmly into an available slot (while handling the card only by the edges), and worry that if your flesh should accidentally contact the wrong component you could fry the card, your computer, or both with a sudden burst of static electricity.

Of course, with a bit of care the process isn't really that treacherous, but a good number of musicians and engineers who are used to handling delicate instruments and microphones are nevertheless filled with trepidation at the prospect of reaching into the guts of a computer. Plugging a FireWire cable into a port on the back of a PC or Mac is a lot less intimidating and indisputably more convenient.

Moreover, FireWire offers new possibilities when it comes to portability. Moving a PCI-based interface from one computer to another is a pain, but with FireWire, moving your interfaces around is a snap. And speaking of portability, if you want to use your PCI interface on the road with a notebook computer, you're out of luck. With a FireWire-equipped laptop, however, or with a CardBus-to-FireWire adapter, portable high-quality audio production is very much a reality.

FireWire interfaces don't much care whether they're connected to a desktop or a notebook system. Likewise, most FireWire interfaces don't care whether they're attached to a Mac or a PC, though there are some exceptions. For example, Metric Halo has Windows drivers under development, but it hasn't yet committed to a release date for them. Frustratingly, I was never able to get my Windows notebook fully functional with any of the interfaces that I tested, although I've concluded that the fault lies with my notebook (see the sidebar “Best-Laid Plans”).

FEATURE PRESENTATION

For the most part, the devices that I examined aren't in direct competition with one another. Each has its own approach to solving the audio-interface needs of musicians, and I can see choosing any one of them over the others in a given situation. On the other hand, none of the units is quite so revolutionary that I'm compelled to rush out and replace my existing CardBus-based interface. That isn't intended as a slight to any of the FireWire interfaces; it merely illustrates how important it is to match an interface's features to your specific needs.

Those features can be divided roughly into four categories: inputs and outputs, compatibility and drivers, ergonomics, and extras. Of course, input and output configuration is a primary consideration for an audio interface, and compatibility with your platform and applications is an absolute prerequisite. Depending on the nature of your work, ergonomics can range from a nice detail such as a front-panel headphone jack to a make-or-break issue such as whether an interface is rackmountable. The variety of “extras” these devices offer is impressive, including standalone mixer functions, bundled software, and virtual control surfaces.

COMING AND GOING

Because an audio interface, FireWire or otherwise, is literally your DAW's connection to the outside world, most of us start by looking at a device's input and output options. How many analog inputs does it have? Are they line level or do they have mic preamps? Do they use ¼-inch or XLR jacks? How many outputs are provided? How many digital ins and outs does it include? What digital formats does it support? What sampling rates and resolutions does it support? Once these specs have been sorted out, you're left with the more subjective question of whether you like the sound of the converters and mic preamps.

With the exception of the Mobile I/O ULN-2 and the FireWire 410, all of the interfaces offer at least eight analog inputs. Most use TRS connectors, but every unit has XLR connectors with built-in mic preamps for at least the first two inputs. The 896, FW-1884, and Mobile I/O 2882 have mic preamps on all eight channels. All of the various mic preamps provide phantom power that is selectable on each channel except on the Digi 002, where one switch serves two channels (two pairs are provided), and on the FW-1884, where two switches handle the eight inputs in groups of four.

Except for the Mobile I/O ULN-2, all of the interfaces have at least eight analog outputs, and all use TRS jacks except for the 896, which uses XLRs, and the FireWire 410, which uses TS jacks. Other than the FireWire 410, the Mobile I/O 2882, and the FW-1884, all the units have a spare pair of analog outputs called Main or Monitor; they offer an independent connection to your monitoring system. Every device offers a headphone output, and the FireWire 410 even provides two headphone jacks with independent volume controls.

Except for the FireStation — which maxes out at 48 kHz — all of the units have A/D/A converters that support sampling rates up to 96 kHz. The FireWire 410 even supports 192 kHz audio on outputs 1 and 2. Except for the Mobile I/O ULN-2 and FireWire 410, the interfaces all provide ADAT Optical (Lightpipe) ports for eight channels of digital I/O. However, only the 828mkII, FW-1884, and Mobile I/O 2882 support sampling rates higher than 48 kHz via Lightpipe. The S/MUX extension to the Lightpipe standard, providing four channels at 88.2 or 96 kHz, has been around long enough that you might assume — as I did — that any 96 kHz-capable interface would support that sampling rate through its Lightpipe ports. Unfortunately, that's not the case.

Additional digital I/O includes S/PDIF, AES/EBU, or both on everything but the FireStation. All of the units that support sampling rates above 48 kHz also support the higher sampling rates on their stereo digital I/O. The FireStation is an mLAN device, meaning it is also capable of direct peer-to-peer digital connections with mLAN-compatible digital mixers, keyboards, and other devices.

GETTING ALONG

All of the interfaces in this survey are ready for Mac OS X 10.2, and they also still work under OS 9.2. Only the Metric Halo units are not cross-platform. (They're currently for Mac only.) Everything else works under Windows XP; the MOTU units even go all the way back to Windows 98.

In fact, the MOTU interfaces, along with the FW-1884, are at the top of the compatibility heap with support that covers everything from ASIO to GSIF and WDM, including CoreAudio, Sound Manager, and MME. The MOTU interfaces also support the company's native MAS format, and the FireStation is unique in its support for Yamaha's mLAN protocol.

The Metric Halo interfaces use ASIO under OS 9 and CoreAudio under OS X. The Digi 002 trails the pack with support for only its own software or for applications that support Digidesign's DirectI/O standard. A beta version of an ASIO driver is available for Windows XP, but not for Mac operating systems.

Besides the Digi 002 and FW-1884, you can connect multiples of any of these interfaces to your computer; you can even mix and match same-brand siblings. For example, you could have a couple of 896s and an 828mkII running at once, or you could have a combination of Mobile I/O 2882s and ULN-2s.

BEING PRACTICAL

So you've narrowed the field to those interfaces that have the I/O you need and support your hardware and software, but how are you going to like working with them? Are you planning to move your interface around a lot, or will it stay put? Do you need to rackmount it? Do you prefer real knobs and switches, or are software controls more your style?

The smallest of the interfaces is the FireWire 410 and the largest are the Digi 002 and the FW-1884. In between, the Metric Halo units are 1U high but deeper than the 2U 896. All but the Digi 002, FW-1884, and FireWire 410 have rack ears; you can remove the ears from the 828mkII and the two Mobile I/Os. (Digidesign also offers a 2U rackmountable version of the Digi 002 called, appropriately, the Digi 002 Rack. It's essentially the same as the Digi 002 without the control surface.)

In considering size and weight, be sure to take mic preamps into consideration. The 896 may require one more rackspace than the 828mkII, for example, but it includes six more preamps. You would need to add something like the Focusrite OctoPre or the PreSonus DigiMax LT (which provide eight preamps in one rackspace) to the 828mkII to roughly level the playing field in terms of inputs and luggability. Meanwhile, the Mobile I/O 2882 trumps the other interfaces by providing eight channels of mic preamps (four XLR plus four TRS) in a single rackspace.

The FireStation, the FireWire 410, the Mobile I/O ULN-2, the 896, and the 828mkII use Neutrik combo connectors for their mic inputs, facilitating the use of either XLR or phone plugs. (Unlike the other units, the FireWire 410 only supports unbalanced TS plugs; the FW-1884 provides separate sets of XLR and phone jacks.) That's a great convenience for anyone who needs to reconfigure connections frequently. The FireStation, FireWire 410, and 828mkII place their mic/instrument inputs on the front panel, which is great for plugging and unplugging various cables — but you'll always have cables hanging down the front of your rack.

The front-panel headphone jacks are accompanied by a volume knob except on the Mobile I/O 2882, which offers Mute and Dim switches instead; the FW-1884 has its headphone jack on the back panel. Each device offers a mixer application incorporating routing functions, digital-format selection, and monitor mixing; some incorporate the mic-preamp controls. The Mobile I/O 2882 offers only software control of the mic preamps, whereas the other units provide real knobs and switches.

If you're into knobs, you'll appreciate the sturdy feel of the FireStation's dual-concentric metal knobs and the solid plastic knobs on the Mobile I/O ULN-2. The Digi 002, 828mkII, and 896 have the sort of serviceable but lightweight knobs that should last a long time with careful use. The Mobile I/O 2882 has no knobs whatsoever, while the Digi 002 and FW-1884 offer lots of knobs in addition to their touch-sensitive faders.

Another real-versus-virtual dilemma concerns metering. The Digi 002 and FireWire 410 offer only signal-present LEDs, forcing you to look to software meters, whereas the 896, 828mkII, and both Mobile I/Os have ladder-style LEDs on the boxes themselves. The FireStation has three LEDs indicating -32, -16, and -3 dBFS, and the FW-1884 offers a single 11-segment stereo meter.

The FireWire 410 and the two Mobile I/Os are the only interfaces that can be powered solely via the FireWire bus, a feature which under ideal circumstances would be extraordinarily convenient for field recording. According to Metric Halo, most FireWire ports provide enough power, although it's wise to check your hardware before counting on it. The Mobile I/Os can also run on battery power or their lump-in-the-line power bricks. The FireWire 410 can run on its 9V wall-wart adapter. The other units have standard detachable IEC power cords.

AND ANOTHER THING

Top dogs in the “extra goodies” category are, of course, the Digi 002 and FW-1884 (the most expensive interfaces in consideration here). The Digi 002 is really much more than an interface, incorporating a control surface and the host-based version of a program that is to digital audio workstations what Kleenex is to facial tissue. The Digi 002 ships with Pro Tools LE, the popular 32-track audio application that also includes an array of plug-ins from various developers, offering more power and flexibility than ever before.

The Digi 002's integrated control surface is a big plus with its motorized touch-sensitive faders, continuous rotary encoders, LCD scribble strips, transport controls, and numerous dedicated buttons. It naturally falls short of the company's Control|24 or ProControl, but it offers the most important advantage: you can move two or more faders simultaneously and independently.

To many aspiring engineers, knowing that the software you use with your own rig is essentially the same as the software you'll encounter in many commercial facilities is a deal clincher. To others, the lack of compatibility with other DAWs is a deal breaker. Fortunately, those people can turn to Tascam's FW-1884 for a control-surface/interface that is designed to work with a wide range of audio programs.

MOTU includes its own pro-level Mac-only AudioDesk DAW application (for OS 9 and OS X) with its interfaces. It supports multichannel recording and mixing, waveform editing, and MAS and Premiere plug-ins. The MOTU interfaces also work well with many audio applications.

All of the interfaces are touted for their mixing capabilities, but the FireStation, 828mkII, FW-1884, and Digi 002 are in a different league from the others. While all the interfaces offer a good deal of direct-monitoring flexibility and the ability to recall settings for various situations, the FireStation, 828mkII, FW-1884, and Digi 002 provide enough actual knobs to do some real-time mixing even without a computer. If this sort of thing lets you spend money on a microphone or guitar instead of a separate mixer, it could tip the scales for you.

PreSonus, Metric Halo, and MOTU point out that their interfaces can be used as analog-to-Lightpipe front-ends for ADAT-compatible digital mixers or for another audio interface. I doubt that I would buy one for that purpose alone, but certainly there's potential in using one as an interface in a portable rig, for example, and then using it to add eight extra analog channels in a studio setup.

In addition to their audio I/O, the FireStation, FireWire 410, FW-1884, 828mkII, and the Digi 002 include MIDI ports, limiting or in some cases eliminating the need for a separate MIDI interface. The 1-In/2-Out Digi 002 and the 1-In/1-Out 828mkII and FireWire 410 provide the connections on their back panels, whereas the 1-In/1-Out FireStation provides the ports on the same small breakout cluster as its S/PDIF coaxial connectors. The FW-1884 takes the cake in this category with its 4-In/4-Out back-panel configuration that provides merging and routing capabilities. The FireStation, 828mkII, 896, FW-1884, and Digi 002 also include footswitch jacks for hands-free punch-in recording if your software supports such things.

WHICH WAY TO JUMP?

Now that I've surveyed the various features that distinguish these interfaces, I will take a brief look at each unit individually. The observations that follow are intended to elucidate the sort of applications for which each device is best suited. However, because some of the distinctions are necessarily subjective, you should assess the different products based on your particular needs and studio setup.

Digidesign Digi 002

FIG. 1: Digidesign's Digi 002 is notable for its well-designed control surface and its integration with Pro Tools LE, which comes with the interface.

Although it's the most expensive interface in the roundup, the Digi 002 (see Fig. 1) also includes the most extras. Buying a program equivalent to the bundled Pro Tools LE to use with any of the other interfaces would add several hundred dollars, and buying an equivalent control surface would cost a grand or more, so all things considered, it's really on par with the others.

As with the 896, the Digi 002's lack of S/MUX support makes it either a 10-channel 96 kHz interface or an 18-channel 48 kHz interface. If you can live with either the lower track count or the lower sampling rate, you'll have a wonderfully integrated system to work with. The control surface is seductive — it's difficult to do without once you get used to it. The 100 mm touch-sensitive faders are a pleasure to work with, and the Digi 002 includes some nice touches like the bright yellow LCD channel/parameter labels.

Because the control surface and interface comprise a single unit, this is one of the least portable of the bunch. Still, it's pretty light and reasonably compact for all its functionality. Digidesign even offers a special 2U carrying bag, the DigiPack ($125), that fits the Digi 002 or the 002 Rack perfectly. If what you really want is Pro Tools, the Digi 002 (or 002 Rack) is a good way to go, and it's currently the only FireWire option in the Pro Tools product line. Add a MIDI controller keyboard and some RTAS soft synths and you have the core of a great home studio.

M-Audio FireWire 410

FIG. 2: M-Audio's FireWire 410 is the smallest and least expensive interface in the group.

M-Audio's compact and affordable FireWire 410 packs a lot of 24/96 connectivity into a package that is (unfortunately) just a bit wider than half a rackspace (see Fig. 2). Its front panel features two Neutrik combo connectors for mic and high-impedance inputs, and the back has separate ¼-inch unbalanced line inputs that substitute for the ones on the front. The FireWire 410's mic preamps feature individual pads and a single phantom-power switch. Eight analog outputs are available on unbalanced ¼-inch connectors on the back panel, and the S/PDIF I/O (in both coaxial and optical formats) brings the total I/O count to four inputs and ten outputs, as the unit's name suggests.

The two front-panel headphone jacks with independent volume controls are a nice touch. The S/PDIF outputs support AC-3 and DTS streams. Drivers are available for Windows 2000 and XP and Mac OS 9 and OS X. For simplicity and portability, it doesn't get much better than this, and the price is by far the lowest of the group.

Metric Halo Mobile I/O 2882

FIG. 3: Metric Halo's Mobile I/O 2882 packs eight mic inputs along with S/PDIF, AES/EBU, and ADAT I/O into a single rackspace.

The Mobile I/O 2882 (see Fig. 3) joins the 828mkII and the FW-1884 as the only ADAT-equipped interfaces that are fully operational at 96 kHz. Unfortunately, both Mobile I/O models lack Windows drivers. Moreover, the Mac installation procedure is remarkably uncharacteristic of Macs, requiring that you manually copy drivers to specific folders. Perhaps Metric Halo was too busy working on the excellent 100-page manual to write an installer.

The Mobile I/O 2882 has no bells or whistles. It's just the essentials, done well and packed into a single rackspace. Other than a headphone jack and Mute and Dim buttons, the front panel is entirely devoted to 16 channels of 10-stage meters. You'll need XLR-to-TRS adapters to use microphones in inputs 5 through 8, but that's all spelled out in the aforementioned manual.

The Mobile I/O 2882 fits perfectly under a laptop, a real plus for anyone trying to squeeze a remote rig into tight spaces. Add bus- or battery-powered operation, and you have a strong contender for the title of Ultimate Remote Rig.

Metric Halo Mobile I/O ULN-2

FIG. 4: Metric Halo's 2-channel Mobile I/O ULN-2 boasts two high-quality mic preamps and (like the Mobile I/O 2882) you can power it from the FireWire bus or from batteries.

ULN stands for “ultra low noise,” a reference to the mic preamps in this unit (see Fig. 4); they're a step up from the ones in the Mobile I/O 2882. Each channel has a send and return for inserting dynamics or EQ in the signal path. The main ¼-inch inputs are high-impedance instrument inputs, but you can use the returns as line-level inputs, thereby covering all the bases.

Compared with the Mobile I/O 2882, the ULN-2 trades channel count for preamp quality and flexibility. If you're doing stereo location recording, that might be an excellent trade-off.

MOTU 828mkII

FIG. 5: MOTU's next-generation 828mkII offers a full array of I/O options, including MIDI and built-in SMPTE sync. Its front-panel meters are more elaborate than its predecessor's, and the rotary encoder knobs and detailed LCD allow standalone mixing.

The original 828 won EM's 2002 Editor's Choice award in part because it was the first of this new breed of multichannel FireWire interfaces. The second generation 828mkII (see Fig. 5) adds significant functionality along with an impressive feature set that MOTU has managed to pack into a single-rackspace unit for the same price as the old 828.

Unlike the 828, the 828mkII has its Neutrik combo mic/instrument jacks mounted on the front with separate phantom-power switches and individual TRS send/return jacks for each channel. The front-panel metering displays are also much more elaborate and more detailed. In addition to the multisegment LED meters, a separate backlit LCD section with six accompanying push-button/rotary encoders lets you view and edit parameter settings and provides hands-on access to the built-in 8-bus mixer (with four separate monitor mixes).

The combination of the multifunction LCD and the array of editing knobs makes this unit an effective standalone mixer-interface as well as a sophisticated DAW front-end. And speaking of DAWs, the 828mkII comes bundled with MOTU's latest version of AudioDesk, which now supports OS X. Although it doesn't offer MIDI sequencing, Audio Desk is a full-featured multitrack audio-recording and -editing application that is comparable to Pro Tools LE. Too bad it isn't available for Windows.

Other noteworthy features include MIDI I/O, S/MUX support for the ADAT port, word clock I/O, and direct SMPTE time-code sync. With its removable rack ears, the 828mkII nicely accommodates tabletop use, and it's easily small enough and light enough to throw into a backpack with your notebook for remote gigs.

MOTU 896

FIG. 6: MOTU's 896 is the only 2U rackmount model in this group. In addition to ADAT I/O, its larger size accomodates a full complement of analog and digital (AES/EBU) I/O with XLR connectors. Its front panel also offers more extensive metering than the other interfaces.

When I first saw the 896, the only 2U device in the bunch, my minimalist nature recoiled at such a “big” interface (see Fig. 6). Upon further reflection, I realized that bringing the 828mkII or FireStation up to eight mic inputs would require a second rackspace anyway. Only the Mobile I/O 2882 provides as many mic inputs in less rack space.

The reason the 896 is two spaces high is because it has an all-XLR back panel, arguably its most attractive feature. Its front-panel real-knob-and-switch controls and its extensive and flexible hardware metering (with 20 10-segment meters spread across the front) are a real convenience. In addition to word clock I/O, MOTU has always made a point of including ADAT sync in its interfaces, which for some users is important enough to steer their choice by itself. (The 828mkII also offers this feature.)

If you're not too put off by the lack of S/MUX support, you could easily rack up a couple of 896s and a couple of 8-channel preamps and have 32 channels of mic inputs in six rackspaces for a compact and powerful 24-bit, 48 kHz rig at home or on the road.

PreSonus FireStation

FIG. 7: The two mic preamps on the Presonus FireStation offer tube drive that you can dial in or switch off entirely. The FireStation is also noteworthy for being the only mLAN-compatible unit in the group.

I found the FireStation pretty appealing, and it's not just because of its pretty blue knobs (see Fig. 7). Although it trails most of the pack in both sampling rate and I/O count, its two mic preamps offer tube drive that can be dialed in or switched off entirely. Like the Mobile I/O ULN-2 and the 828mkII, it also has a send and return on each of the two channels, so you can massage the signal before it hits the converters. The top of the unit features adjustments for calibrating the line inputs to the A/D converters, something not usually seen in this price range.

I'm not sold on PreSonus's choice of mLAN for this unit, however. If I owned a bunch of other mLAN devices I might see things differently, but for many users it only represents another layer of complexity in installation and configuration.

Tascam FW-1884

FIG. 8: Tascam's new FW-1884 is currently the largest of the FireWire interfaces. It sports a full-featured control surface with a 4-port MIDI interface. The FW-1884 is designed to support a number of DAW applications.

Codeveloped with Frontier Design Group, Tascam's FW-1884 (see Fig. 8) is the answer for desktop musicians who like the Digi 002 design concept but don't want to switch to a new DAW.

Incorporating an 18 I/O interface (or 14 I/O at 96 kHz) with a control surface that's compatible with a variety of different programs, the FW-1884 covers a lot of ground. Being the largest of the interfaces under scrutiny, it's probably most at home in a studio, but remote recording is not out of the question.

All eight mic/line inputs have inserts, and the eighth input can be switched to high-impedance guitar operation. Phantom power is switchable in groups for inputs 1 through 4 and 5 through 8. A headphone output is also provided on the back panel. Digital I/O comes in coaxial S/PDIF and optical connectors that can serve up either S/PDIF or ADAT Lightpipe; word clock I/O is provided on standard BNC connectors.

The control surface features nine 100 mm motorized touch-sensitive faders, transport controls, a jog/shuttle wheel, eight channels of rotary encoders, a dedicated set of knobs for controlling EQ, and more buttons than you can shake a stick at. Compatibility with host applications is provided either by a control surface plug-in or by emulating the behavior of a Mackie Control or HUI. Tascam did a pretty good job with its earlier US-428 USB interface, and with the FW-1884 it has not only raised the bar, it has answered all of the major limitations of the US-428. Tascam even plans to offer an eight-fader expansion unit (due out by the end of the year), called the FE-8, for more channels of control.

CHOICE FEATURES

The current batch of interfaces represents an impressive array of choices, and more options are on the horizon. Because the bandwidth of a FireWire connection is ample, manufacturers are able to focus on distinguishing their feature sets rather than battling over track count.

Being able to buy one interface and use it with either your notebook or your desktop, or with either your Mac or your PC, is a great convenience and cost saver. With FireWire's power and flexibility and with the range of interface options that are currently available, you really can start to think (and create) outside the box.

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Brian Smithers is Course Director of Audio Workstations at Full Sail Real World Education in Winter Park, Florida.

BEST-LAID PLANS

At the risk of feeding Steve Jobs' superiority complex, I have to point out that I was never able to get any of the Windows-compatible FireWire interfaces running properly on my Windows XP laptop. Even more frustrating is the fact that I can't exactly pin down the source of the problem. The one thing I can conclude with confidence is that my laptop is the source of the problem, not the interfaces. I deduce this from the following facts: all of the Windows-compatible interfaces had problems; none of the suggestions of the various manufacturers' tech support folks resolved the issues; I faced the same issues with two different programs; I did not face these issues on my desktop; and I had the same problems with two different CardBus FireWire cards known to be compatible with FireWire audio interfaces.

The challenge with Windows compatibility is, of course, the sheer number of different manufacturers and models, presenting a near-infinite combination of design variables. In notebook design, additional compromises have to be made to fit everything into a small and lightweight box, inviting further deviations from “standard” configurations. Given the fact that you can't usually open a computer in a store and check which components it uses, as well as the fact that you can't custom-build a notebook, choosing a notebook for use with a FireWire interface is a bit of a challenge.

Because many people consider a portable notebook-based recording rig to be the “killer app” for FireWire interfaces, I asked the various manufacturers for some guidance on what to look for in a notebook. Here's what I learned:

• Newer machines generally present fewer problems. (My notebook is a 1 GHz Celeron that I've had for about three years. When I purchased it, FireWire wasn't in widespread use on PCs.)

• CardBus FireWire adapters are often better than built-in FireWire ports, especially on older machines.

• The newest versions of software, drivers, and Windows should provide the best compatibility.

• Quality cables of the shortest useful length provide the best performance; don't forget that cables can go bad.

• If you're using a FireWire drive, you should connect the drive to the computer and the interface to the drive, so the interface is last in the chain. Better yet, put them on separate ports.

• Tech support can be quite helpful. Keep detailed notes about any issues and error messages so you can provide the necessary information when asked.

• Manufacturer's Web sites often provide compatibility information, tech notes, and user reports about compatibility issues.

In an ideal world, manufacturers would all build according to a carefully designed set of standards, and the job of making devices compatible with all computers would be greatly simplified. I'm confident we'll get there, probably just after we achieve world peace. In the meantime, consider the advice I got when I asked one manufacturer's product rep what he looked for in his recent purchase of a Windows notebook for his portable demo rig. He simply replied, “A 30-day return policy.”

Click to see PDF chart of Audio Interface Features

CONTACT INFO

Digidesign
tel. (650) 731-6300; e-mail prodinfo@digidesign.com; Web www.digidesign.com

M-Audio
tel. (626) 445-2842; e-mail sales@m-audio.com; Web www.m-audio.com

Metric Halo
tel. (845) 831-8600; e-mail in-foo@mhlabs.com; Web www.mhlabs.com

MOTU
tel. (617) 576-2760; e-mail info@motu.com; Web www.motu.com

PreSonus Audio Electronics
tel. (800) 750-0323; e-mail presonus@presonus.com; Web www.presonus.com

Tascam
tel. (323) 726-0303; e-mail tascamweb@tascam.com; Web www.tascam.com