However, you can bolt it to any universal rackmounting kit using two holes provided on the bottom of the case, and the appropriate screws are thoughtfully provided. I suspect this is because M‑Audio sell the Firewire 1814 as part of their mobile interface range and want to keep it compact. Some musicians might question why M‑Audio didn't adopt a full-width rack case, especially since six of the digital sockets emerge from a rear-panel breakout cable rather than fitting on the panel itself. It's the same height (1U) and depth (160mm), but slightly wider at 168mm. In appearance the Firewire 1814 could easily be mistaken for the 410. This is largely because eight of those ins and outs are devoted to ADAT I/O, although you still get eight analogue inputs, four analogue outputs and co-axial S/PDIF in and out, plus word clock and MIDI I/O. With its 18 inputs and 14 outputs, you might expect their rather more ambitious Firewire 1814 to be substantially more expensive, but it's still a very reasonable £449. This again provides two analogue inputs, but this time without the mic/instrument preamps, plus four analogue outputs, co-axial S/PDIF and MIDI In and Out. They made the point even more forcibly with their £229 Firewire Audiophile, which was reviewed by Mike Watkinson just two issues later in SOS May 2004. This features two analogue inputs with mic/instrument/line level options, eight analogue outputs, plus both co-axial and optical S/PDIF and MIDI in and out, and has proved very popular. M‑Audio proved that Firewire audio interfaces don't have to be expensive with their £349 Firewire 410, which I reviewed in SOS March 2004. M‑Audio's half-rack interface provides a comprehensive selection of analogue and digital I/O at a competitive price.
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