#Sampletank 3.0 and pro tools 12 plus#

SampleTank 3 not only corrects those two problems, it has many new features and a vastly upgraded factory sound library. It was 32-bit only and was widely reported to be unstable with 64-bit bridging software. The earlier version was serviceable but had several significant deficiencies: the user interface was far too tiny for modern high-resolution screens. SampleTank 3 (hereafter ST3) is a top-to-bottom rewrite of its predecessor, SampleTank 2 (2.5 to be more precise). I could understand the level of frustration but not the degree of outright vitriol in evidence (although the owners of IK might be forgiven for being steamed about how much the slip in availability was costing them in real money).īut it’s finally here. They were angry about the fact that IK had been devoting a lot of energy releasing products for mobile platforms. People were angry about the significant delay. Not only were numerous comments negative toward IK, many were downright spiteful. Things were not so rosy when it came to SampleTank 3. Chatter like “Ooh, I’m going get the White … which one are you going to pick?” was common. The excitement was evident in the Cakewalk forum that I frequent.

The launch was accompanied by a group buy that got you both for the price of one if a certain subscription level was reached (and it was reached). Not all that long ago, IKM brought two new compressors to the market: the White 2A Leveling Amplifier and the Black 76 Limiting Amplifier. The public seems to have a love/hate attitude toward IK Multimedia. IK Multimedia originally announced its availability for the latter part of 2013, but that date continually slipped, occasioning a lot of very negative commentary in the music forums. We will look at SampleTank 3 from IK Multimedia in this review. Was it worth the wait? We take a close look at the instrument in this review. 1248: 32x34 I/O with 4 mic in, 8x12 TRSĤ8-ch mixing, and AVB networking.The much-delayed SampleTank 3 has finally arrived.

Each unit provides comprehensive metering for all inputs and outputs on a large, backlit 324x24 pixel LCD. Analog I/O latency is very low, with round trip performance of only 32 samples (0.66 ms) at 48 kHz.

For example, the balanced TRS analog outputs provide a measured dynamic range of 123 dB (A-weighted, 20 Hz to 20 kHz). All three units provide two banks of optical digital I/O, word clock I/O and computer connectivity through either audio class compliant USB 2.0 or Thunderbolt (1 and 2 compatible).Įquipped with the latest-generation ESS Sabre32 Ultra converters, analog performance has been engineered for even the most demanding listening situations. The 16A is packed with 32 balanced TRS analog connections (16 inputs and 16 outputs).

#Sampletank 3.0 and pro tools 12 plus#

The 8M provides eight balanced TRS analog outputs, plus eight mic/line/instrument 'combo' style inputs individually equipped with digitally controlled preamps, 48V phantom power, pad and MOTU's hardware-based V-Limit overload protection. As the most versatile of the three, the flagship 1248 offers 8 x 12 balanced TRS analog I/O, four mic inputs with digitally-controlled individual preamps, two front-panel hi-Z guitar inputs, two independent phone outs and stereo RCA S/PDIF digital I/O. MOTU Launches 3 new Thunderbolt Interfaces.īased on a new, shared technology platform, the 1248, 8M and 16A differ only in their analog I/O configurations.