Alesis Multimix 16 Usb 20 Driver
The Alesis MultiMix 16 USB 2.0 mixer provides USB 2.0 technology for ultra–fast, low–latency, 24–bit/44.1–96kHz (with high–end A/D and D/A conversion) multi–channel audio recording straight to your computer.
Under the hood of this affordable new Alesis compact mixer lurks an 18-in/two-out audio interface. Is it too good to be true? For the last few years, mixer manufacturers have been waking up to the fact that more and more recording musicians are working with computer-based studio systems, and have sought to simplify the interfacing between mixer and recorder to claim a share of this market — so USB- and Firewire-equipped mixers have been popping up like daisies. Alesis have already been responsible for a small posy on their own, starting with their original MultiMix USB range (offering stereo I/O) and expanding into their MultiMix Firewire range (with direct inputs to the computer from every mixer channel).
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The USB 2.0 range provides similar 24-bit multi-channel audio interfacing as on the Firewire models, but adds 88.1kHz and 96kHz sampling rates to their 44.1kHz and 48kHz rates. The requisite drivers are provided for both Mac OS 10.4 and Windows XP SP2 (WDM and ASIO). Two frame sizes are available in the range, of which the MultiMix 16 USB 2.0 under review here is the larger, offering 16 channels, eight mic preamps, built-in digital multi-effects, and 18-in/two-out interfacing. The smaller MultiMix 8 gives roughly half the horsepower: eight channels, four preamps, and 10-in/two-out audio interfacing. Both models come with bundled Steinberg Cubase LE4 installers for Mac OS X and Windows XP. This compact mixer's 14 60mm faders control eight mono mic/line channels, four stereo line-only channels, and two stereo output busses. The mic/line channels differ from the stereo line channels only in the input section, the former providing an XLR connector for mics, a balanced TRS jack socket for line signals, a preamp with up to 60dB gain, and an 18dB/octave, 75Hz high-pass filter.
Phantom power is switched globally from the rear panel, so if you're planning to use dynamic or ribbon mics alongside your condensers, you'll need to check that their design allows them to be subjected to phantom power without being damaged. It's a bit of a shame that there are no insert points on these channels, as this means that there's no easy way to compress mic signals before they reach your recorder.
And before you say 'most people will use plug-ins for that', let me ask you why Alesis have then bothered including EQ. I also felt that Alesis might have considered including a high-impedance input on one of the channels for DI'ing electric guitars, which would have saved the home studio owner the expense of a separate DI box. The stereo channels offer a simple pair of TRS jacks, without any gain control, and if you plug into just the left input the channel simply operates in mono.