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  • Quote Originally Posted by Anderton
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    I'm not sure I understand - outputs 3-8 are mono outputs. What are are you trying to feed them with?




    I'm trying to use them for multiple monitor set ups. My understanding is that output 3 and 4 together, for example, can act as a stereo monitor mix, as can the other matched outputs. These should be controllable through the patch bay using the A-D mixes. My problem is that when I try to use them in this way I have no control through the output control panel. Neither pan or level has any effect on them, only the input control seems to effect the mix. Also, when trying to combine the two mono outputs into a stereo mix I'm only getting sound on the right side.



    Am I missing something, or is my unit not functioning correctly?

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    • Quote Originally Posted by zzzxtreme
      View Post

      hersh, make sure you set your DAW track input correctly. I believe u have to set Mono input, not stereo




      All my inputs in my DAW are mono. How does the relationship between the DAW and the outputs on the Octa-capture work exactly? Maybe that's what I'm not getting.

      Comment








      • Quote Originally Posted by hersh
        View Post

        All my inputs in my DAW are mono. How does the relationship between the DAW and the outputs on the Octa-capture work exactly? Maybe that's what I'm not getting.




        Yes, I think that's the problem, not the unit. Check out the following:







        This shows Sonar with a master out that goes to outs 1+2 and a monitor bus that's being assigned to 3+4. This required enabling the drivers for 3+4 within Sonar's preferences so they'd be available to the program.



        The bus is stereo, and it sees the output as two channels - 3 on the eft, and 4 on the right. So if you pan a signal to this bus full left, it will appear at the 3 output. If you pan it full right, it will appear at the 4 output.



        You can pretty much ignore the Direct Mix mixer applet, as once you've assigned the ins and outs to your DAW, you'll control the signal flow within the DAW itself.



        Does that help?
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        • Quote Originally Posted by Rwubu
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          Another question: I had planned to buy a Goldmike MKII as pre-amp for the same purpose (home-studio), and to use it on the Interface, of course. This to help recording as well voices as acoustic instruments or line instruments. But I'm doubting. Are the current interfaces (namely the OC) sufficiently well-equiped in terms of pre-amps to save the money of such an external pre-amp? (It is the opinion of about half the forum advices here in Europe, but the other half, of course, thinks the opposite). So how to build an opinion? What are your thoughts on this? Would a Goldmike (or another one) fit in for such a job, or wouldn't I even hear the difference?

          Thanks.

          Miguel




          I basically agree with zzzxtreme, but here are some additional comments.



          Is the mic good enough to where the preamp is the limiting factor? In most smaller studios, the mic will be the weak link, not the preamp.



          As to forum opinions, unless they know what mic you're using, have plugged it into a particular preamp and compared it to being plugged into a different preamp, they don't know what they're talking about. The only way you'll know for sure is to try it. Different mics react differently with different inputs, particularly a dynamic mic...whereas a condenser has less variables due to its active output.



          The bottom line is that unless you have a really top-of-the-line condenser mic, you probably won't hear too much difference. Writing a really good chorus will make up for any difference



          Honestly, no radio station ever called me and said "We were going to play your record, but you used a solid-state preamp instead of a tube one. Therefore, we cannot play it."
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          • Ha ha! Fair enough! Now the answer: I use a Neumann KMS 105...

            What say you? Worth a good preamp?

            (I'll try the preamp of the OC and evaluate the result, don't worry! But what about the KMS? Is it good enough to appreciate such an external pre-amp?)

            Thks

            Comment


            • I don't have the gear you're talking about aside from the Octa-Capture, so I don't have an answer. However, some general advice...I think the two most important elements to spend money on in a studio are the monitor speakers and the acoustics. Even inexpensive mics and interfaces are quite good these days, but where I see real problems in studios are acoustics. Without proper acoustics and monitors, you can't create accurate mixes. A bad mix will have a much more negative impact on your music than whether a mic preamp has 0.001& or 0.002% distortion.



              Of course there's nothing wrong with getting a really top of the line preamp if you have the money, but make sure it makes a difference first. That money might be better spent elsewhere.
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              • Quote Originally Posted by Anderton
                View Post

                Yes, I think that's the problem, not the unit. Check out the following:





                This shows Sonar with a master out that goes to outs 1+2 and a monitor bus that's being assigned to 3+4. This required enabling the drivers for 3+4 within Sonar's preferences so they'd be available to the program.



                The bus is stereo, and it sees the output as two channels - 3 on the eft, and 4 on the right. So if you pan a signal to this bus full left, it will appear at the 3 output. If you pan it full right, it will appear at the 4 output.



                You can pretty much ignore the Direct Mix mixer applet, as once you've assigned the ins and outs to your DAW, you'll control the signal flow within the DAW itself.



                Does that help?




                Yes, I think that helps. Thanks!

                Comment


                • Thanks.

                  Neumann KMS 105 is a condenser microphone conceived for the stage, but giving apparently good results for the studio.

                  Anyway, thanks for the tips and the review.

                  Comment








                  • Quote Originally Posted by MADMANDEN
                    View Post

                    Great review. This is my first post, I got only one question. I would like to know if this box ( Roland Octa-Capture )

                    is on the same level as the Mbox 3 PRO as far as recording quality (MIC PRE and A/D). Thanks in advance.




                    Did you missed my question?

                    Comment


                    • There is a pro review of the Mbox 3 Pro here as well. Read them both, compare the specs, and decide for yourself. They both have similarities and differences, starting with one being FireWire, and one being USB... only you know whether you need 4 mic pres or 8, whether inserts are important to you, whether being able to cascade units for more mic pres matters, whether you need individual phantom power on each input, etc.



                      To summarize the Mbox Pro 3 has slightly better specs, most noticeably for intermodulation distortion; but realistically, as one example the difference in A-weighted noise level is everything's below -110dB on the OC, and below -120dB on the Mbox. Either one is very quiet.



                      I'm seeing the Octa-Capture for around $600 street, and the Mbox Pro 3 for $750. The OC has more features (more pres, onboard compression, auto-sense, more compact size, really easy to use as a stand-alone mixer, etc.); the extra bucks you pay for the Mbox give you fewer features but somewhat better specs, although there are also some compromises like not being able to enable +48 individually for each channel, and having MIDI on a breakout cable instead of having physical connectors.



                      I just report on what I find...you have to draw your own conclusions as to which is better-suited for your needs. They're both quality units that give you your money's worth.
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                      • The Octa-Capture is a very interesting unit for my applications and this has been a very nice review. I am considering the RME Fireface UC as well as I would prefer USB2 to Firewire. Are the frequency response and distortion graphs you posted from the mic inputs including mic pres or from line inputs?

                        Comment








                        • Quote Originally Posted by Jorge7
                          View Post

                          The Octa-Capture is a very interesting unit for my applications and this has been a very nice review. I am considering the RME Fireface UC as well as I would prefer USB2 to Firewire. Are the frequency response and distortion graphs you posted from the mic inputs including mic pres or from line inputs?




                          I generally do worst-case specs, including converters and mic pres. I also try to make sure that the mic pres have gain and aren't just set to unity gain. Typically the gain is around 20-30dB or so, but for consistency I should probably work out a standardized value for future tests.
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                          • Thanks, Craig.

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                            • Thanks you for your reply and i am not trying to rude but you did not answer my question. All i wanted to know was dose the Mbox 3 pro sound better than Octa-Capture, not the specs. The reason i saying this is sometimes box A spec out better but not sound better than box B. All i am trying to find out about is the sound quality not how many in puts and out, 48V, USB or firewire. Thanks, remember i am not trying be rude.

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                              • Quote Originally Posted by MADMANDEN
                                View Post

                                Thanks you for your reply and i am not trying to rude but you did not answer my question. All i wanted to know was dose the Mbox 3 pro sound better than Octa-Capture, not the specs. The reason i saying this is sometimes box A spec out better but not sound better than box B. All i am trying to find out about is the sound quality not how many in puts and out, 48V, USB or firewire. Thanks, remember i am not trying be rude.




                                Understood you're not trying to be rude, but you are asking a question that cannot be answered by anyone other than you. For example, I reviewed the PreSonus ADL600 and it sounded really good, but it's because there's some coloration that's pleasing. This supports what you say about specs and sound not always correlating. But, how people define "good sound" varies. For example, a lot of people have commented that they like the character of the Octa-Capture preamps, which have more second harmonic distortion than the MBox (although admittedly, it's very little). Second harmonic distortion is something that a lot of people think adds a pleasing quality, to the point where some plug-ins let you dial in some second-harmonic distortion so you can get "that" sound. So, your voice might sound better when going through an Octa-Capture, but a harpsichord might sound better going through an MBox.



                                For this reason, I would say that if you want as accurate a mic preamp as possible, I haven't tested anything yet that's more accurate than the preamp in the MBox. But, accuracy might not be what you consider as sounding "good." That's why I really can't answer your question.



                                The reason why I mention the features is because all things being equal, either interface will give excellent results when recording. However, if for example you record an acoustic ensemble, you'll be better off with the Octa-Capture's eight mic pres and ability to cascade units for more inputs than you would with the MBox Pro's four preamps. If sonic accuracy is most important to you because you figure you can always add processing to add coloration, and you won't need more than four mic ins, then the MBox Pro could be a better choice.
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