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iRig Pro I/O Now Shipping
Pocket-sized mobile studio for all platforms offers high-definition audio I/O, professional quality preamp, MIDI input/output, device charging and a huge software bundle
June 29, 2017 – IK Multimedia is proud to announce iRig Pro I/O, the pocket-sized mobile audio/MIDI interface for iPhone®, iPad®, Mac®, PC and Android™ devices is now shipping worldwide.
iRig Pro I/O, the successor to IK’s highly popular iRig Pro I/O, raises the bar for personal mobile interfaces, with a new set of features and included software and apps that are unmatched in the category. iRig Pro I/O is an ultra-compact, plug-and-play, truly portable interface that lets musicians hook up all their gear – guitars, basses, studio mics, vocal mics, keyboards and more – to their mobile devices or computers and record 24-bit/96kHz pro-quality audio and MIDI tracks anywhere. iRig Pro I/O I/O features a high quality 1/8″ headphone/line out with level control for use with the latest Apple devices like the iPhone 7 to connect to headphones, mixers or powered monitor speakers in an ultra-compact enclosure that fits in a pocket and can be taken anywhere. Additionally, iRig Pro I/O is the first interface of its kind that includes built-in device charging for extended playing sessions, using an optional power supply.
24-bit, 96kHz professional audio
At its core, iRig Pro I/O is a truly professional audio interface, giving players the ability to record 24-bit audio at sample rates of up to 96kHz and rivals traditional desktop interfaces by providing stunning audio quality anywhere. The integrated Class-A preamp features a precision input gain control to handle a wide array of input signals giving it a tremendous amount of flexibility in a super-compact design. iRig Pro I/O features a multi-color LED indicator for visually optimizing the input gain level and monitoring the input signal to prevent clipping.
MIDI In/Out
iRig Pro I/O includes MIDI input and output ports offering connectivity with MIDI keyboards, controllers and synths to record MIDI tracks, control virtual instruments, use control surfaces, pedalboards and connect outboard sound modules and more. The multi-color LEDs on iRig Pro I/O provide visual feedback of MIDI in/out activity.
Pristine audio quality and real-time monitoring
For real-time monitoring on the go with the latest iPhones, iPads and computers, iRig Pro I/O features a high quality 1/8″ headphone/line output with level control. Users can plug in their headphones, connect to a mixer, or hook up a set of powered monitors like iLoud Micro Monitor. With any connection, the headphone/line output delivers pristine, crystal-clear audio for ultra-accurate representation of the audio program, with a quality far better than the host devices’ built-in audio output.
Combo XLR/¼” Input
iRig Pro I/O features a Neutrik® XLR/¼” combo input that lets users plug in all their gear – from dynamic, condenser or ribbon microphones to unbalanced Hi-Z or line level instruments like guitars, basses and more. iRig Pro I/O features a 48V phantom power switch for powering condenser or active ribbon microphones. With the adjustable, numeric input gain control, users can easily recall the gain settings for their recordings.
Battery, USB or DC Power with device charging function
iRig Pro I/O can operate on 2 x AA batteries (included) when connected to an iPhone/iPad, or on USB power when used with a Mac or PC. iRig Pro I/O also features a new DC in port that, when used with its dedicated power supply unit, charges a connected iPhone or iPad while in use for unlimited playing or recording time, on stage and in the studio. iRig Pro I/O comes with Mini-DIN to USB and Mini-DIN to Lightning cables along with two 5-pin MIDI to 2.5mm cables for connection to standard MIDI gear.
Over $/€500 worth of software and apps
iRig Pro I/O comes with more than $/€500 worth of included IK software. Users get full versions of IK’s award-winning titles like AmpliTube 4, AmpliTube for iPhone and iPad, SampleTank 3 SE and T-RackS Deluxe with Mic Room.
Pricing and availability
iRig Pro I/O is now available from the IK Multimedia online store and from IK authorized dealers worldwide for only $/€149.99*.
*Prices exclude taxes.
For more information, please visit: www.irigpro.io
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Photo: Self-portrait by Melissa Auf Der Maur
Melissa Auf Der Maur is a Canadian bassist who played with Tinker, Hole, and The Smashing Pumpkins. She released her own work and is a photographer with photos published in Nylon, Bust, and National Geographic. She released her ‘90s Rock Memoir “Even The Good Girls Will Cry” on 17 March 2026.
KB: Did you always want to be a singer-musician growing up?
I’ve played music my whole life. In school, I played trumpet and sang in a children’s choir, so music was always within me. My mother was the first female disc jockey on the Montreal airwaves; her record collection played a huge role in my inspiration and love of music.
KB: When did you start playing bass, and why this instrument?
When I was 19, the early 90s music explosion began to percolate in tiny clubs around the world. I was lucky to be a ticket girl at Montreal’s underground music club. In one year, I saw Hole, Sonic Youth, Smashing Pumpkins, White Zombie, and The Breeders – all had female bass players. That’s when the seed was planted. By the age of 22, I was the bass player of Hole.
KB: Which brands of basses have you used in your career, and which one are you using now?
The first bass that I learned on was a vintage Squier Precision. Hole was sponsored by Fender guitars, so I upgraded to Fender Custom Shop Precisions. That is all I play, but I have a cool vintage 8-string Greco that I use on recordings to thicken up guitar parts.
KB: What equipment do you use or have you used with your basses?
Ampeg SVT amps and cabinets, a couple of Sans-Amp pedals, and that is it.
KB: How did you become a member of Hole, and what is your fondest memory of that time?
Billy Corgan of the Smashing Pumpkins was helping scout a replacement for (RIP) Kristen Pfaff, Hole’s bass player. My band, Tinker, opened for them on the Siamese Dream tour, so Billy had seen me play and could vouch for me. Courtney trusted her talented friend, and that was it. I initially said “no thank you” due to my commitment to my photographic studies and the drama and chaos surrounding the band during the “Live Through This” album release. Courtney took it as a good sign that I said no, so convinced me to reconsider, and soon after, I accepted their invitation, in the name of helping put females in the male-dominated landscape of rock music. My fondest memory is every show we played as a mostly female band, symbolizing what a woman could do in a rock band. Every show had a purpose: get more women to play music.
KB: You are a photographer as well. What makes a great picture? Do you shoot in color or b/w?
I started shooting photographs at age 15. Initially only shot black & white and worked in the art school darkroom. In university, I took a color photography course, and shifted mostly and forever to that, because it was easier to process film on the road when I joined a rock band. I experimented with many cameras, point and shoots, manual, polaroids, medium format, and vintage finds. The trick to a good photograph is to shoot many and all the time – the magic is in the edit and selection process.
KB: Are there artists you would love to collaborate with or wish you had?
??I’ve been lucky to collaborate with some of my favorite musicians in my career. I would still love to collaborate with a new generation heavy electronic artist on an analog bass, heavy electronic drums, and synths collaboration project. Take me out of my usual zone, merging the past and future: my love of 80s dark new wave and new artists exploring that genre. It was very futuristic back then, and we are now, after all, living in the future. I am in the mood to play bass to heavy beats I want to dance to.
KB: What are your 7 favorite bass lines in music across all genres? And why these 7?
“Mountain Song” – Jane’s Addiction (love a rambling, rolling bass line – feels like the ocean waves)
“Black Top – Helmet” (was the first bass line I taught myself)
“Gold Dust Woman” – Hole from “The Crow 2” Soundtrack (it was my first bass line contribution to the band)
“Get Ready” – The Temptations (Motown just feels so good, because of the bass)
“Lucretia My Reflection” – Sisters of Mercy (makes me want to hit the dance floor and play bass simultaneously)
“Be My Druidess” – Type O Negative (full chord bass playing at its best by iconic, demonic, Peter Steele, RIP)
“Romantic Rights” – Death from Above (1979 – unique distorted overdriven tone, combined dance rhythm and melodic intelligence, all in one shot – also! Shout out to a bass & drum only band, which is awesome, and we should have more of, but the bass player needs to be a killer to fill that role.
KB: What are you currently up to?
Releasing my ‘90s Rock Memoir “EVEN THE GOOD GIRLS WILL CRY”. Visceral healing process, it was to get it out of me and write it, but I suspect the real magic will begin by putting it into the world and reflecting with others on what the magic of the ‘90s was all about. Powerful music decade that carried us into what is now a brave new world of digital corporate weirdness – may the past shed a light on our future. That’s my hope for this book release and tour.
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