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For better or for worse however, every box seems to have its own ghost in the machine at full input gain, an unexplainable chemistry of harmonic coloration, compression, and mojo create a distinct resonance, and the E-MU certainly had its charms in this department. To be honest, I was underwhelmed at first by what I construed as the flat, “non-vivid” sound quality of the preamps in comparison to the sound of the E-MU 1616m’s “hotwired” preamps, which I had grown so accustomed to.
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And if infinitely-rotating, push-to-click knobs aren’t your thing, you can use the well-designed software panel/mixer/patchbay, which I’ll get into later.Īs an initial test, I plugged in my trusted AKG C 3000 mic and started tracking a variety of sources. Usually simplification through multi-function tends to actually complicate things, but I was pleasantly surprised at how intuitive and clear it was to access to all the functions. Coupled with the large and very useful backlit LCD display, each of the minimal controls therefore ends up doing a lot. (Setting the sampling rate to 192 kHz limits the simultaneous channel count to four in and four out.) For this amount of connectivity, one of the most striking features is the low knob count. It can handle up to 10 channels of I/O simultaneously. It also has eight TRS outputs, stereo S/PDIF digital I/O, and MIDI I/O. The Octa-Capture packs an amazing eight mic preamps, all with XLR/TRS Combo jacks and phantom-power capability.
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If you have other ASIO drivers on your machine, Octa-Capture’s will initially “step out of the way”.
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One thing to note is that the ASIO driver is very “polite”. I already use the Producer edition, so I skipped this part of the install. Just to mention, it came bundled with the LE edition of Cakewalk SONAR. Installation of the driver from the CD was easy and fast on my Windows 7 64-bit laptop, so much so that I can’t even remember the steps - which is a good thing. Right out of the box, it looks better than advertised its durable metal casing, crisp detailing, and compact form-factor are all meticulously refined into a really attractive piece of gear. For its price, I would venture to say that it is in a class by itself.
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Not only does the Octa-Capture stack up spec-wise to the best of the portable FireWire bunch, as a USB interface, it sets new standards. Setup time, baroque driver installs, esoteric Mac versus PC FireWire dilemmas, and outdated PCMCIA cards are all our enemies because we just need a system that supports the inspired moment - so we can get down and Us N-uts are also plug-and-play plebeians and therefore good ol’ USB 2.0 is our dear friend and security blanket.
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Although I’m beyond picky with my portable (and only) setup, the Octa-Capture is my new audio interface of choice, and I can see this box being a near-perfect extension of N-ut recording for years to come.įirst let me give some background for why all the other boxes were dethroned.
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Well, the Roland Octa-Capture takes compactness, quality, and features to a new level. and in a blink of an eye, that fleeting moment might be gone! At the time, the E-MU 1616M (Tape Op #52) was my provisional panacea its portability and quality allowed me to capture sonics in unlikely locations when inspiration hit. Several years ago, I wrote about being a Nomadic-Utopist - a true “N-ut” being someone that believes that utopia is not fixed in space and time, but can occur anywhere, anytime, and anyplace.