New iMac, Why "Audio Input" is missing?

Replying To:

OneMoreAnimal

From the tech specs (http://www.apple.com/imac/specs/), they have definitely removed the audio input capability. This is disappointing, but I guess they assume most users use digital audio instead of analog audio these days.

True, but my 2008 Macbook has optical digital input as well as analog, which has always worked very well. But it's gone so no choice but to return to usb interface. I used a usb device made by Roland-ED for digital audio-in, way back on an early iMac (transparent body, etc) as that iMac had only analog input. It wasn't so great but I know the interfaces are far better now, and many more choices, as have been suggested in this discussion. I'm about to buy a new iMac & immediately noticed this change so I appreciate all the info posted here.

I'm about to buy a new iMac so was glad to find this discussion, as the subject of an audio input (and/or lack of one) is of concern to me as well. I've been using Macs for quite a few years and used a usb device made by Roland-ED for digital audio-in, way back on an early iMac (transparent body, etc). It wasn't so great (fortunately the usb interfaces available now are clearly much better) so I was happy when I found the Macbook I got in 2008 had an optical digital input, as well as analog.

I mostly do stereo mixes from digital multi-track machines, or transfers of old DAT stereo mixes from DAT machine to computer, so the optical digital input on my Macbook is nice, since all my digital source machines have optical digital out. I also do a lot of analog signals (from cassette, LP, etc) to computer and the analog input has performed very well. I understand what some have said about the A to D converters included in models like my 2008 Macbook: that due to lack of proper shielding, etc, there is noise produced. I don't question their experience, but I never noticed any noise from the analog input, and with the optical digital input the audio remains in the digital domain so this shouldn't be a concern, and I've found it to be totally noiseless. But I know there are many variables in this process and I imagine that different set-ups, components, source audio, etc (perhaps even individual Macs) could cause more or less noise. I just haven't found any noticeable flaws, even with fairly quiet passages (of course my ears could be less sensitive than others').

Now with very high-end recording and monitoring, etc, I'm sure there are noticeable flaws, but then I doubt these models of Macs would be used for projects on that level anyway. But for my purposes the onboard audio inputs on my Macbook, both analog & digital, have worked beautifully, so I'm quite sorry to see them go. However, it isn't enough reason to cause me to leave Mac. I really appreciate the info posted here about available audio I/O interfaces, as it's vital for me. I'm definitely going to get one of the new iMacs and I'm sure it will come with Yosemite, so I hope the units available, mentioned here & elsewhere, will be compatible with Y. Thanks again.

RC-R wrote:

For $50 you can get a Lexicon Alpha, an old design but one still respected by many audio pros for its clean 24 bit converters & pro quality balanced inputs & outputs.

Thanks. Do you know if the Lexicon Alpha will work with Yosemite? I'm about to buy a new iMac 21.5 running Yosemite and a major concern is audio-in, for which I'll now need an interface.

Just my two-cents...but the beauty of earlier Macs WITH an audio input was the simplicity: just jack in your guitar, open GarageBand and create.

So now we have to buy even MORE stuff just to get the same results?

No thank you, Tim Cook (or is that "Crook"?).

I'm keeping my older Macs until they die (God, I hope I won't be forced to go PC!!!!).

Thanks for everyone's input.

I bought a new iMac the other week and have spent hours with support - and exploring Google to find an answer. A lot of people just guess and waste so much time. Many suggested to get a USB Microphone. That was not a solution as I have many expensive recording microphones. I just want to get that sound into the new iMac.

Apple support were equally uninformed. The last rep suggested I inquire at a high end music shop - that was the best advice so far. I did.

I was using a Pre-Amp - TUBE ULTRAGAIN MIC 200 with XLR - I have now bought a Line 6 UX1 POD Studio Audio Interface with USB. I just hope it works.

Upon reading this thread I discovered some reasons why the LINE IN was removed by Apple. I am happy to go along with this as I want the very best in sound quality. But I can understand why others are upset.

Yes the new iMac came out some time ago but not everyone upgrades straight away! And this will continue for years to come. Many lost in a sea of mis information that could have been solved easily.

Surely Apple Support could have a spiel that offers a reason why the LINE IN was removed. And offer some solutions on how to bring audio into the iMac. It's not difficult.

It's called Customer Service. And Apple have failed here.

Go to a high end music store for their wisdom.

I want to record an online radio station (Mega 97.1) on my new iMac27 and there is (to my surprise) no LINE input.

I have the $50 version of the Pro Tools recording Studio by M-Audio, and I am wondering if that can be configured to give me a LINE input?

Any suggestions?

I've just started trying to rip some of my vinyl records so that I can listen to the albums in the car.

I bought a Behringer U Control UCA-202 USB input, but it has no output level control and it seems there is no way to control input level in Mac OS X (El Capitan). The output level from my phono preamp is too high, so this is a non-starter.

Next up I connected my phono preamp to the line in of my wife's ageing MacBook Pro. Success! So, I decided to do it this way using my late 2012 iMac only to find it doesn't have a line in. ****!

So now I'm looking for an inexpensive USB device with volume control that works with El Capitan. Is the Lexicon Alpha what I'm looking for? All I want to do is connect my phono amp to it and connect by USB to my iMac for volume controlled audio input.

Generally speaking, phono preamps should output standard line level signals, which will not overload the inputs of even the least expensive converters like the Behringer 202. (I think you meant it lacks not output level controls but input ones, which is what you would need for a "hot" preamp signal like you apparently have.)

The Lexicon Alpha does have input level controls, so it can handle even very hot input signals, but I'm not sure it is a good choice anymore because, while it works fine with El Capitan once you get it stabilized, there is some quirk in how it & the USB 1.1 protocol in El Cap communicate that causes it to stop responding or distort if it is plugged in while the Mac sleeps & then wakes. It is easy enough to correct that by just unplugging & replugging it in after the Mac wakes, but that is enough of a hassle that I can no longer recommend it.

Since you already have the Behringer, I suggest you check your preamp settings (if there are any) to make sure you are using the appropriate ones for your phono cartridge, that you are using its line level outputs, & that you are indeed using a phono cartridge that needs pre-amplification.

Yes, I did mean input controls. Unfortunately my preamp doesn't have any variable settings and it is indeed correct for my cartridge. https://www.hifisystemcomponents.com/phono-preamps/reflex-m-mm-phono-preamp.html

I've tried 10dB inline attenuators, but they damp the signal down an awful lot. I think I'll have to replace the Behringer with something, but I was hoping not to have to spend too much.

Ifor Phillips wrote:

I've tried 10dB inline attenuators, but they damp the signal down an awful lot. I think I'll have to replace the Behringer with something, but I was hoping not to have to spend too much.

From the specs, the Reflex M is capable of outputting up to 5.2 V rms, considerably higher than standard consumer line level (roughly 1.23 V rms for an arbitrary music waveform). That high a signal level will cause severe digital clipping when fed to a consumer grade converter like the Behringer. Assuming your 10 dB attenuators are designed for use with the output impedance of the Reflex M (meaning they present it with a load impedance of > 10k Ohms), they should reduce the signal to about 1/3, which should be just about a perfect match for the Behringer.

Why it is a good match is a little technical, but here is my best attempt at explaining it as simply as I can: A theoretically perfect implementation of a 16 bit converter like the Behringer will have about 90 dB of usable dynamic range. In the real world, it will be somewhat less because the converter's noise floor will obscure the quietest sounds. However, even a pristine vinyl record won't deliver more than 75 dB or so, so you can afford to throw away 10 dB with the attenuators without that audibly affecting anything very much.

Of course, there are other factors that affect the quality of the conversion, & more expensive converters will handle them better, but unless you are willing to spend at least three or four times the price of the Behringer your best bet probably is to use it with the attenuators you already have.

I'll trying recording with the attenuators and the Behringer and see how it goes. Thanks.

I made a recording with the attenuators in place and I wasn't happy. The levels were far too low. It seems I'll have to invest in either a USB input device with gain controls or a phone preamp with volume output control.

Ifor Phillips wrote:

I made a recording with the attenuators in place and I wasn't happy. The levels were far too low. It seems I'll have to invest in either a USB input device with gain controls or a phone preamp with volume output control.

If your attenuators are actually 10 dB ones designed for use with >10K ohm loads, the levels coming out of your preamp should be right for the Behringer. Any higher input levels to the Behringer than consumer line level will result in digital clipping. If the volume is too low on playback, increase the playback volume.

I just bought my iMac in March 2016 and was shocked to discover this lack of functionality too. I am sure the Griffin solution works well, but I have found a cheaper one. I found on Amazon a silver aluminum usb audio adapter allowing for a line using 3.5mm. It's just $8. http://www.amazon.com/Sabrent-Aluminum-External-Adapter-AU-EMAC/dp/B00OJ5AV8I/re f=sr_1_3?ie=UTF8&qid=1458413443&sr=8-3&k…. Then you'll want to jump over to the website from the Rogue Amoeba folks. They have a free tool called "Line In." https://www.rogueamoeba.com/freebies/. They have other great stuff too including a a tool called Airfoil that allows you send audio from your Mac to all Apple TV's on your network.

I feel somewhat vindicated here. When I first started recording with a DAW (Logic) I instantly used the audio input w/out any significant latency issues. I would try to use USB interfaces but latency was a real problem with every one I tried. Other DAW users laughed at my "primitive" setup, but it's served me very well. I record professionally and sell my original work as well as provide guitar tracks to a number of steady clients, sometimes working in conjunction with relatively well-known individuals on both sides of the mixing desk.

Before I discovered Mac and was still trying to get work done on a PC, the audio inputs were almost always non-functional. I did some research and it seemed, after doing some digging, that the PCs' audio inputs were intentionally rendered un-usuable for nefarious market reasons. It goes without saying that there is big money to be made in audio peripherals like interfaces, but saying that opens me up to even more ridicule for being a member of the "tin-foil hat" club. Sorry, but I am very cynical of Corporations and their motives. There really is nothing they won't do to make another buck thru kick-backs or by direct profit.

Never underestimate greed.