M-Audio AIR 192|14 USB Audio Interface Reviews

I've been using this with Protools on a Macbook Pro (Late 2013). The feature set is perfect for small recording sessions. I've been recording live vocalists recently with extremely strong pipes and it deals with the input signal effortlessly. There's a You Tube review I found that compares it to other interfaces. The AIR 192 does very well in the review.

When I was shopping around, the focusrite came up as the first solid all around interface to buy but then I came across the 192. The 4 preamps are definitely
very clean and as long as you have equipment to match, you are not going to hear the noise or need to turn the gain way up as others have reported. If you have dynamic mics like a sm57 that a first time buyer might inevitably buy, then you will need something like a cloudlifter to help this interface out. Condensers that don't need this sound fantastic on this interface so far and only need about 40-50% gain. The overall form is also very well thought out in terms of inputs in the back / headphones in the front with level LEDs for each. It is extremely intuitive to use and works seamlessly with protools. Heavy duty construction and looks great!

The interface is solidly built and it's super easy to get set up for simultaneous multi-track recording! Excited to log some hours on this thing

First it's a good idea to clear up the confusion about 8x4. It isn't really that, especially since almost no one will use this entirely in analog. It's 8 analog ins with 8 digital Outs over USB—each analog In has a corresponding Out. 1, 3, 5, 7 are hard L while 2, 4, 6, 8 are hard R if going into stereo channels in your DAW. With mono tracks, it doesn't matter since you select among any of the the 8 Outs (your DAW sees them as Inputs of course). The Analog Ins are 4 mic/line CombiJacks + 2 dedicated Instrument DIs, each with a trim/level pot + 2 Line Inputs without trim pots. Sweet!

This is the only 8 (digital) Out that I've found with an Input/Output blend control — they call it Monitor Mix. No switching DAW channel outs from send to mute—near zero RTL (Round Trip Latency) is so low that it sound like everything is in real time—a 50/50 setting on the Monitor Mix will cause some phase cancellation while recording and not muting the output track but any other blend is fine. Now that I've used this feature, I will never buy an interface without it. The Direct Monitor switch lets you hear the analog ins as mono (Up) or hard L/R (Down) — the digital ins from your DAW are not affected—mine stays in the Up position.

So you do have 4 Analog outs + 2 stereo headphone outs selectable as 1/2 or 3/4. Can you use the 'phone outs as additional Analog sends? Of course you can but I don't know that many will. Those have a hotter level than the Line Outputs plus a Trim pot—just sayin'.

Digital Ins over USB are 1/2 + 3/4 but those can't be combined. Don't worry, it's not an issue as 3/4 can be used for loop-back and a few other special functions. There are toggle switches to chose between 1/2 and 3/4 for each of the 'phone outs.

The input Trim has a weird curve as has been noted elsewhere. I've had mine for over a year and I've gotten used to it. It handles low level mics like my SM7b and ribbons without an additional preamp or level booster but you're almost at 10 so I might use my CloudLifter CLZ to give myself a bit more headroom.

The documentation from M-Audio tells us almost none of this—had it done so, I would have bought this first and saved myself (and Sweetwater) some time and returns while I zero'd in on the best interface for my needs. Likewise, their Support Dept. is a bit hit and miss with these, especially with Windows users and the clown car that can be Win audio driver conflicts. The Air uses Core Audio on a Mac — no drivers to install. Earlier M-Audio interfaces had a reputation for being able to handle an SM7B and this is no exception but Support didn't know that either. On the plus side, my first unit from Sweetwater had a cosmetic defect and M-Audio Support handled the RMA exchange quickly.

The metal box is sturdy but the top panel is plastic and will scratch if you use a microfiber cloth to clean it so don't do that. A little glass cleaner on a soft, lint free cloth keeps it looking new.

I haven't used any of the bundled software so I can't comment about that.

Ignore the reviews below that try to suggest this is an 8x8 interface... it is not. It's an 8x4, just like M-Audio says it is. Those people seem to be confusing the numbers.

The first number is INPUTS... it has 8 INPUTS
The second number is OUTPUTS... it has 4 OUTPUTS not 8 (you can't count the headphone outs separately)

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The routing on this unit is great. Each headphone output can be assigned separately to outputs 1/2 or 3/4 which allows separate mixes to each headphone. Direct monitoring is available on all 8 inputs, but only to outputs 1/2 including any headphone that are assigned to 1/2. Direct monitoring can be applied in stereo, or mono at the push of a button. When in stereo... odd number inputs route to the left, and even number inputs route to the right.

I agree with all others here... the gain structure is odd, but workable. For most mics you will need to run the input gains between 80% & 100% (full) which is very different from most interfaces or mixers. However.... don't let those high values worry you, it is very clean and works well in that range.

The balance knob between "direct" and "USB" works as well as any other interface.... although I would much prefer separate levels for each. That's just nit picking.

I find the headphone output adequate for my needs, but they are a little quieter than other interfaces I've tried. If headphone volume is important to you, you might require a separate headphone amp/mixer.

The build quality is exceptional with every control and switch feeling very solid. Even though M-Audio decided to go with non-standard MIDI I/O, they do include the adapters in the box... to which I am very thankful.

FWIW... I am using Windows 10 and it works flawlessly. The unit did not like the initial USB port I was using but as always.... moving to a different port solved the problem. That's the nature of USB, not the fault of the interface.

I have a small home studio (converted bedroom) modest by most standards. I am a singer and keyboardist. I had been using an m-audio 2 channel interface and would supplement it with my mixer's usb (2 channel) input to give me four tracks (2 stereo) of simulaneous recording, but it was clunky and occupied more cpu/memory than was necessary.

The M-Audio Air 192/14 gives me the flexibility as a multi keyboardist/vocalist, to record two keyboards (stereo) on separate tracks with a vocal track so I can edit, mix and overdub each individually do this at an affordable price. While this all of this could be tracked individually, the performance of all three together makes for a more seamless and natural integration of the parts. The M-Audio sound, latency and routing features produce high quality tracks, and the flexibility of playback through two sets of studio monitors and headphone all from one device are features that add valuable function to my modest set-up. It's interface is intuitive and simple to use and set up was a piece of cake. I'm excited about this addition to my studio and look forward to using this new found capability to invite additional musicians for live tracking with me.

First off, M-Audio's marketing department doesn't have a clue. There's no such thing as "USB-C Protocol" USB-C is a port only. Use a USB-C to USB-A USB 2 cable to plug into most workstations. Works over USB-A cable into the CCK for using with a Lightening iPad. This is one of the new generation of "Fast USB 2" interfaces introduced since October 2019. Next, as mentioned in another review, this is 8x8 over USB, not 8x4. If not for that other review, I woudm't have bought it.

The gain structure of the 4 mic pres is bizarre. All the adjustment happens between 8–10. That said, all of my mics work including my SM7B(!) — ok, I need to turn the Gain up to 9.7 before it comes to life—but it does. The 4-segment meters are not quite useless but they do let you know when you have a usable signal. That's ok, you'll be monitoring in your DAW anyway.

Inputs 5–6 are an excellent stereo DI. Nice!

7–8 are Line only with no Gain pot. Plan on using a DI for most keyboards etc. to get a usable signal.

There are two headphone amps that are woefully underpowered. There's no excuse for this and why I cannot give it 5 stars. Fortunately, inexpensive headphone amps exist that make this inconvenient only and I already own one.

The manual is a joke. The digital capabilities and not mentioned anywhere. Are they kidding? Fortunately, most users will not need it. Each Input has a direct output over USB. Your DAW sees it in pairs: 1–2, 3–4, 5–6, 7–8. The Air 192/14 looks like a mixer but you cannot "mix" anything over USB — this is done in your DAW (like most inexpensive interfaces, no surprise)

It supports CoreAudio on the Mac. Drivers are needed for Windows. The Air Effects are not built into the hardware—they are installed onto your computer. Most users will not bother and monitor through their DAW's effects. MIDI is on dongles and requires the drivers to be installed.

Ok, now you can throw the manual away.

The footprint is ideal for your desktop with top mounted controls. Nice!

Now that I'm used to this, the Air 192/14 has become an essential part of my workflow. Highly recommended.

Pros

-Tons of useful features
-Great value for the price
-Sturdy, beautiful design
-Sounds pretty great
-Dedicated power button + power source

Cons

-Signal to noise ratio is not great
-Driver is a little iffy on Windows
-The level indicators aren't really useful since they barely light up
-Mic gain knobs are scaled kinda weird

I bought the m-audio AIR 192/14 interface because I needed more microphone inputs than my Presonus 24 interface had. I needed 4 microphone inputs so when my wife and I sing together I can add a guitar track and she can play her mandolin. I add other tracks in my DAW but I like the spontaneous aspect that the interface allows. I haven't had a chance to record voices yet but the other reviews like the pre-amps so I'll edit this review later.I do like the overall layout of the buttons and the big knob makes it easy to change volumes on the fly. I think the unit is well worth the price and it's very sturdy.

One of the features of this new crop of "Fast USB 2" small interfaces is the InputOutput Monitor Mix control. They all do the same thing: Control the balance between the audio out and the USBB audio in. Latency is so low that this allows near-zero monitoring without setting anything up in your DAW or using an additional app such as CueMix. If the balance isn't right, twist a knob till it is.

It is now an essential part of my workflow. Problem is that very few interfaces have enough Ins/Outs and the Blend control—almost none of those send more than 2 channels over USB. For example, the Scarlett 3rd Gen has the blend control on the small units only. The Mackie ProFxv3 has only two channels out — even the 30 input version.

The MOTU M4 is one of very few with 4 out over USB but a max of 4 simultaneous in while the Line Ins aren't hot enough to handle any of my keyboards without a DI — and then I have to unplug to use my iPad… Ok, I can make it work but if I need 4 identical Ins, I'm out of luck and that's a lot of cable swapping…

Which brings me to the... M-Audio 192/14. The descriptors say 8 in / 4 out but don't ever state anything else. The manual goes on and on about its analog functionality (actually 8 in x 6 out) and don't mention what happens over USB — not once. I couldn't tell that it was actually 4 out. I emailed M-Audio pre-sales support and spoke with my Sweetwater rep. Both referred me to the software packages but I'm using it with Digital Performer. Finally, I told Sweetwater to send one and, if it was only 2 out, I'd be calling for an RMA. Here's what I found:

The Good

It is not 8x4 over USB. It's 8 x 8! Over Core Audio on a Mac — no audio drivers to install.

Let that sink in: The most useful feature isn't mentioned anywhere in the advertising or documentation.

Each input has its own out in 4 pairs. Outs 1,3,5,7 are hard panned L while 2,4,6,8 are panned R. DP handles this easily, of course and on a Mono track, it's not an issue as long as you select the correct input. A stereo source will come in as in the source. Monitoring is done either Mono or Stereo by pushing a button.

2 headphone amps. Either can be switched to monitor 1/2 or 3/4.

Inputs 5 & 6 are high quality DIs with gain pots that can handle any of my keyboards or iPad — at last!

The Line ins in the 4 Combi-Jacks are controlled by the input gain knobs. At max, they're about as hot as the Line Ins on most others after being boosted by a DI. Good enough but not ideal.
MIDI

Direct Monitor Mono/Stereo switch feeds the Monitor Mix (Blend) control. Has a nice LED bar to tell you which mode. (Uh… Mackie?)

All controls on top of unit for easy access. Designed for the desktop and can't be rack mounted.

M-Audio has phone support.

Less than half the desk space of my Mackie ProFx10v3


The Neutral:

MIDI is a pair of 5-pin to TRS dongles. Keeps the unit small. I have yet to test it and whatever drivers may be required.

Inputs 5 & 6 plus the headphone jacks and controls are awkwardly placed below a lip on the front of the unit. If I had to unplug and plug often, this would be annoying.

Big knob for control room does not feel as solid as you'd want.

Tiny finish flaws in both units I received (I'll get to that)



The Not So Good:

They advertise effects but they're not built-in like the Mackie. That's a separate Air package that you install. No thanks, these low-latency interfaces let you enable many effects in your DAW while tracking. I expect most Mac users will never install any of the associated software—not needed.

The owners manual is pretty much useless, making no mention of useful specs and digital routing.

When I talked to M-Audio Support, I already knew more about these in 15 minutes than they did. Same with Sweetwater.

The headphone amps need to cranked to be useful. Not used to this with Sony 7506s. A less sensitive set of cans may find this inadequate. I use this $40 Mackie HM-4 headphone amp so it's not an issue for me.


The Unpleasant—might be a deal breaker:

These 4 Mic Preamps have an unusual input gain structure. My Neumann and clone mics don't seem to wake up before you turn the gain to 8 or so (3 or so on the Mackie or M4). My AKG C 535 EBs don't really register till cranked closer to 9. Turning to 10 overloads the gain as it should, however. Huh?!?!

I was on the horn to M-Audio Support. We went through some of my mics and he said my dynamics would probably need a Cloudlifter or hi-gain preamp but the response to my condensers was not right and issued me a prepaid RMA label. The "expedited" return took two weeks to get here.

I plugged the new unit in and the input gain taper was the same — so I played with it.

It's as if the entire gain stage is between 8 and 10. As I was at oh, 9.5, my SM57 & 58 became useable, even with a gizmo (resister wired in parallel to drop the input impedance drops the level around 2dB) ???? Supposedly, a 57 is unusable— ok, moving on…

Older M-Audio interfaces had a reputation for being able to handle a Shure SM7B without a Cloutlifter or additional mic pre. Per both support techs, don't even try it… You know what I did next, right? The input knob was at 9.5 and my SM7B was dull and lifeless but at 9.7, it woke right up. Ok, that's weird— I gotta take this all the way.

Out come 3 of my ribbon mics. My sE Voodoo 1 (passive) came alive around 9.7 and sounded pretty good up close. My Beyer M500 had acceptable level with a little more gain. Even my Shure 315 was acceptable when the input was cracked to 10. Ok, all 3 were on my voice up close. I'd never use them without a Cloudlifter VLZ to shape the low end by playing with the impedance and gain but that they worked at all was totally unexpected.

If you owned certain amps in the '70s–'80s, you'd try them out in the store and, at 1.5 or so on the input knob, it would be quite loud. Then you're in band rehearsal and discover that, between 4–10, the amp didn't have much more to give. The input knob taper was meant to fool you into thinking these were more powerful than they were. The object being to get you to take them home. Well, these are the opposite and it doesn't really make sense.

Bottom line: I'm keeping this. Takes a little getting used to but I will.

First the good.

- Lots of clean inputs, nicely designed layout, attractive styling. Bang for the buck.

Not so good.

_ Mic levels insufficient.
- Lacks XLR monitor output

I really like this interface. It does have lots of great features. Controls are easy to see and well marked. I think if you're using it for a garage band it would be a great setup. The problems I have with it can all be solved with work arounds. The input levels for the mics are too low and the pots seem to work in a non-linear way. I am using many different brands and types of mics with this unit, from Shure to Behringer to Sennheiser. All the mic inputs exhibit the same characteristics. The input indicators don't really show mic level until the last 15% of their rotation. Part of the problem may be the limited 3-segment displays for each input but the level indicators on the software seem to confirm this problem. Nevertheless, once set you can get a good recording.

The other problem is with the software. The box comes with the light version of Avid ProTools as well as Ableton Live Lite. The Ableton Lite works very well. The ProTools not so much. (I am using it on a smoking fast Windows 10 computer). I cannot seem to get the Protools to recognize the M-Audio no matter what Windows settings I try. I ended up uninstalling the program since I also have Mixcraft 9 installed on the machine and that works very well(except for the already mentioned level problem.) With all of the hoops and licensing restrictions on the ProTools installation, I was at least hoping it would recognize the box it came with. I would recommend either using the Abelton Live or try the free download of Mixcraft (30 day trial).

Wonderful sound quality at a reasonable price. I Love the construction along with all the available inputs. Very professional look & feel. & It's Totally easy to set up the drivers & connect to my computer.The free software downloads are just ok. You'll probably have your own favorite plugins already. Can't wait to record a full live session with my combo. I Love this interface.

Not compatible with FL studio or Pro tools. Only the protools it comes with I guess. Better yet it doesn't work with Windows 10 period!

My mic input level meters are not working on my M-Audio Air 192|14. In order to see any level input on the LEDS you have to turn the gain up to the max which at that point causes major clipping and feedback. I can hear the microphone input, I just don't see a representation of that input on my LED level meter. This happens on all 4 mic inputs.