I had been eying the UltraLite-mk3 Hybrid for quite a while for more I/O with my MBP. But the smaller foot print of the Track 16 really grabbed my attention as soon as it's impending release was announced.
Here are a couple of images taken soon after removal from the box.
The sleek design of the unit sparked immediate visual appeal while I found the clear layout of the knob, buttons, and connectors easy to operate. Labeling on the unit is easy to read.
The initial test was via hook up with the supplied beefy FW cable. The manual is well written with frequent mention of important aspects of set up and operation, which I found helpful. Viewing the excellent B&H video that FL posted above was also a quick jump starter.
The breakout cable and USB connections also worked flawlessly!
The big Knob does not control DAW functions but adjusts on-screen Cue Mix FX parameters as labeled on the unit itself:
- Input Trim for mic, guitar, analog and digital inputs inputs
- Outputs: main, phone, and line.
The glide of the knob is very smooth while the responsive push buttons provide a comfortable tactile contact.
A MIDI guitar controller was connected to the MIDI In cable, with the Out connected to a hardware sound module. No surprise, it worked perfectly.
All mic, guitar, and line inputs were transparent and quiet.
Main and phone outputs were also robust and quiet.
Heat was initially much less than what's generated by my MBP, but it increases the longer the unit is on.
So how does it sound?
I recorded 3 (out of 5) pick up positions on the fabulous Godin LGX-SA: pos. 1 Neck p.u. (SD SH II jazz humbucker), pos. 3 Combined humbucker and single coils, and pos. 5 Bridge p.u. (SD Custom lll humbucker).
A slow strum on an open E was a quick way to hear low to high notes while the resonant notes sustained to fade.
For comparison, this minimalist piece
was DI recorded via Hi Z inputs into the Track 16, an 828 mill with Black Lion modification, Apogee One and Ensemble.
Next up, an unmodified Octava MC 012 recorded the same open E chord played on a hand-built Yari-Alvarez into the mic inputs of the above interfaces. Mic was pointed at the top of the body around the 17th fret (midway between the sound hole and where the neck begins to cross over the body).
Slight fader adjustments were made for a more even playback listening level. I don't have golden ears, but, listening through the Blue Sky MediaDesk MKll 2.1 monitors and AKG 701 headphones, I found the differences to be very subtle between the interfaces for both direct input and miked sounds.
If there's interest, I can load the labeled .aiff files to Drop Box so that you can decide for yourself. (Folder size is just over 28 MB).
Gripes: The stick-on rubber feet were easy enough to applied by the user. They also keep the unit steady on the surface to counteract the heft of the breakout cable. However. when I would push the unit aside, the sticky feet would slide out of place. This means I have to remember to pick it up to move. The other issue is the labeling on the cables. I'm a few months shy of the the big six O and have the vision to prove it!!! In my case, I need good illumination and my glasses in order to read the labels. Color-coding with various hues of electrical tape is gonna be a necessity. Hopefully MOTU will have the breakout box ready sooner than later.
Based on my short time with the Track 16, my impression is that it's a winner in both form and function. Miked and DI recorded guitars have depth and clarity. while the output for monitors and headphones is transparent and robust.
At this price point, the UltraLite-mk3 is a viable option. But in my case I wanted the smaller foot print while still having access to a wide range of I/O options.
Bottom Line:
Audio files as referenced above:
http://dl.dropbox.com/u/20203707/Audio/ ... Bounce.zip
Magic Dave said he was gonna use one of these open E chords in his next CD. Seriously
That's what he said.