Not too long ago, hooking an audio card or device up to our computer was complicated, not to mention expensive. A few years back, all we could find were PCI devices that were generally aimed at very narrow consumer niches. Little by little, in step with the growth of the “home studio,” a great many devices have appeared.
First for USB connections and later in FIREWIRE format. These interfaces keep getting more developed, improving data transfer speed (over this FireWire port) and covering functions that the first PCI audio cards couldn't deliver by any stretch.
What Should an Audio/MIDI Interface Offer Us?
Originally, the basic functions of these devices were to give us a stereo analog output, a stereo analog input and MIDI In and Out. Today's interfaces go a bit further and are built to cover all the basics. These are:
1. Inputs. The more inputs the device has, the more instruments we can record at the same time. If we generally play alone, a stereo input will be more than enough, since recording track by track means there will be no spare inputs. In any case, having enough inputs is always good. You never know what needs you may have at a given moment.
2. Connection versatility. Ideally you should have both MIC inputs and instrument inputs. XLR (generally for mics) and ¼" TRS for instruments.
3. Mic preamps. Knobs that control the gain of the input lines. That way you can match the signal strength to what you need.
4. Phantom power. As you know, condenser mics need 48 V power (phantom power). Without it they don't work. Until recently you had to buy external boxes to supply mics with power (I'm talking about small/home studios). Nowadays almost all small devices—interfaces, mixers, control surfaces, etc.—solve this problem or need.
5. Outputs. Indeed, with a stereo analog output we can get started. Even so, having digital outputs and several analog outputs is no small thing. We'll use the outputs for various applications. For example, using different pairs of monitors and sending to outputs 1/2 or 3/4 depending on which monitors we want to hear the mix on. We can also use the multiple outputs for recording in 5.1 systems (obviously if we have all the necessary outputs). In short, the more outputs, the more possibilities.
6. Headphone output. Preferably with volume control, so that we can regulate the signal level. It sounds like a joke, but there are devices that include a headphone output without a volume knob.
7. Zero latency. Obviously this is essential.
8. Software compatibility. It's worth making sure the device will be properly recognized by our software.
FIREBOX on the Test Bench
These past few days we've had three Presonus devices on the bench. They cover three price points and three types of product for different requirements. The Firebox is the middle ground among the three we tested: Inspire 1394, Firebox and Firepod.
Middle ground because it has a few more features than its little brother, but doesn't reach the versatility and power of the biggest one. In price, too, we're in the middle.
It's a tiny device. Similar in size to the Inspire. A square of about 15 x 15 cm and roughly 4 cm tall. It's convenient and can be placed anywhere in the studio, although personally I would have preferred it to be rack-mountable. I suppose Presonus (like other manufacturers) leaves rack mounting for slightly higher-end models. For example the Firepod. It bugs me a little that the device slides around and the cabling hangs out there. Clearly this happens with every interface that doesn't mount in a rack (and that's many).
Installing
The package comes with several CDs, including the drivers, a CD of plug-ins and samples, plus Cubase LE. A very complete pack to get you up and running right away.
The device installs quickly and, better yet, in an especially simple way. You don't have to do anything more than follow the process shown and plug it in. In a few minutes everything is working. The Firebox was recognized perfectly by our test computer. The software also noticed the presence of the new guest. We opened several programs (different versions of Cubase, standard Windows applications, etc.). All the applications took good note of the new interface. It worked perfectly in all of them.
As the drivers install, two new guests join our desktop: the Firebox mixer and the Firebox control panel. With the former we control input/output levels, select the active signals, the outputs, etc. It's a virtual mixer that controls the device.
The control panel, for its part, lets us adjust the parameters:
Sample Rate: 44.1 kHz to 96.0 kHz
Clock Source: Internal / SPDIF
Latency: 1.5 ms to 25 ms
Input gain: +12 dB on inputs 1, 2, 3 and 4
Conclusions
This device goes a little beyond the conventional or the minimum. There's plenty on the market that takes care of the basics. The Presonus Firebox passes those tests with flying colors and gives us more options. More solutions through the quality of its preamps, the versatility of its connections and its number of inputs/outputs, which is a little more generous than strictly necessary. By that I mean you'll be able to do a few more things, such as configuring various outputs, etc.
In short, I think it's a compact solution at a reasonable price that stands out from its “little sisters.” There are more professional product offerings, such as the Firepod, also from Presonus, although it may exceed your needs in resources and your home studio may not require that much. The interface that best suits your needs, in price and solutions, is for you to choose. Here is an appealing option that we could consider as halfway between basic and professional.
