ADAT‑equipped audio interfaces are a blessing if you need more channels, but the choice can be overwhelming. We round up some of the best eight‑channel offerings.
Choosing the right audio interface is one of the most crucial decisions for any studio, and the amount of options that are available mean it can be an overwhelming task. Deciding how many inputs you require is an important step, and many people recommend opting for slightly more than you think you need! Studios tend to grow over the years, and you may find yourself needing to record larger ensembles, add some line‑level connections for synths and drum machines, or have some additional preamp ‘flavours’ ready for action without any patching in. Thankfully, most interfaces now include digital I/O options that make it simple to add additional inputs as your needs increase, and by far the most common is the humble ADAT format.
Originally introduced by Alesis to carry digital audio into their multitrack tape recorders, the protocol has long outlived the machines it was designed for and remains a common fixture in the pro‑audio world. A key consideration is the sample rate at which you want to work — a single ADAT connection is capable of transferring eight channels at 44.1/48 kHz, four channels at 88.2/96 kHz and two channels at 176.4/192 kHz. Many devices support the S/MUX protocol, which allows multiple ADAT ports to be combined to maintain the channel count at higher sample rates. If you only ever want to work at 44.1/48 kHz, then you’ll always have eight channels available via ADAT; if you need to run at 96kHz, you’ll need two ADAT ports per eight channels rather than one, and running at 192kHz without sacrificing any channels would require four connections. A common starting point for many setups is an eight‑channel interface, so in this month’s Spotlight, we’ll take a look at devices that come loaded with eight of their own preamps, and support an additional eight or 16 channels via ADAT.
Antelope Audio Discrete 8 Oryx
Antelope Audio Discrete 8 Oryx
Antelope Audio’s Discrete 8 Oryx supports 26 inputs and 38 outputs, and features eight built‑in mic preamps that offer up to 75dB of gain — all eight will accept line‑level sources too, and instruments can be connected to the first two via front‑panel TS sockets. As for local outputs, dedicated monitor and re‑amp outputs are provided alongside eight analogue line‑level outputs (they’re DC‑coupled, and so can be used to control modular synth gear) and four independent headphone mixes that offer adjustable crossfeed. Antelope are renowned for their clocking expertise, and they’ve equipped the Discrete 8 Oryx with three word clock outputs that can be used to sync other digital gear. The interface includes onboard DSP that hosts Antelope’s range of analogue‑modelling effects, and comes with companion software that provides control over routing, low‑latency monitoring and the DSP plug‑ins. In terms of expansion, there are two ADAT inputs and outputs, meaning the unit will accept up to another 16 channels of I/O at base sample rates.
$1495
£1030 including VAT.
en.antelopeaudio.com/products/discrete-8-oryx-synergy-core/
Audient EVO 16/iD48
Audient EVO 16
Designed to make recording as quick and simple as possible, Audient’s EVO range introduced a new Smartgain system that automatically sets preamp gain based on the incoming signal level. It’s available simultaneously across all inputs, and promises to get users up and running in less than 20 seconds. The eight onboard preamps offer 58dB of gain, and will happily accept line‑level signals too — the first two are also equipped with JFET instrument inputs. Eight line‑level outputs are provided on rear‑panel TRS sockets while front‑panel TRS sockets offer two independent headphone outputs, and the unit also includes a word clock output. Helpfully, the EVO 16 offers some built‑in monitoring control, including speaker switching, mono summing and talkback, all of which can be controlled directly from the front panel. Two sets of ADAT I/O allow users to add up to 16 additional channels in both directions, and Audient have some potential companions in their own range: the ASP 880 and 800 each deliver eight preamps based on the company’s console circuitry, while the EVO SP8 houses another eight Smartgain‑capable preamps.
Audient iD48
There’s also the flagship model of the iD range, the iD48, which is built around eight of Audient’s praised console preamps. It too offers 16 additional channels via ADAT, and one of its headline features is the inclusion of per‑channel switchable insert points that can be used to easily integrate outboard gear during both tracking and mixing.
EVO 16 $674.99, iD48 $1299.99.
EVO 16 £399, iD48 £749. Prices include VAT.
www.soundonsound.com/reviews/audient-evo-16
www.soundonsound.com/reviews/audient-id48
audient.com/products/audio-interfaces/evo-16/overview/
audient.com/products/audio-interfaces/id48/overview/
Avid Pro Tools Carbon
Avid Pro Tools Carbon
Described by Avid as “the closest thing to zero latency”, the Pro Tools Carbon aims to bring the performance of the company’s flagship systems to project and home‑studio users. It’s based on the same technology as HDX systems, and employs a Hybrid Engine architecture that makes it possible to switch Pro Tools tracks over to DSP Mode, where their signal path is transferred to the Carbon’s DSP and can be monitored with just 1ms of latency — plug‑ins that are available as both AAX DSP and AAX Native will be moved seamlessly between the Carbon and Pro Tools’ own audio engine. Along with its eight mic preamps, the unit features eight line inputs that bypass the preamps, and offers four independent headphone outputs along with a dedicated stereo monitor output. The first two input channels will also accept instrument signals. Four Toslink sockets then provide 16 channels of additional inputs and outputs over ADAT.
$4199
£3399 including VAT.
www.soundonsound.com/reviews/avid-pro-tools-carbon
www.avid.com/products/pro-tools-carbon
Fender Quantum HD 8
Fender Quantum HD 8
Recently rebranded from PreSonus to Fender, the Quantum HD 8 has been designed to provide users with a convenient solution for full‑band recording sessions. Its eight built‑in mic pres are kitted out with an automatic gain function, deliver 75dB of gain and will also accept line‑level signals, while a set of 10 line‑level outputs include a dedicated main monitor path — those working with CV‑equipped gear will be pleased to know that the outputs are DC‑coupled, and in an increasingly rare move, the unit’s audio connectivity is complemented by MIDI I/O. Around on the front panel you’ll find a pair of instrument inputs, each of which is joined by a dedicated re‑amp output, as well as a pair of headphone outputs. Along with the local controls, the Quantum HD 8’s preamp gain, phantom power and output routing can be controlled using the company’s free Universal Control app or Fender Studio Pro — the interface is supplied with a perpetual licence for the latter. Two pairs of ADAT I/O are present, meaning the Quantum HD 8 can be expanded with an additional 16 inputs and outputs.
$1099.99.
£879 including VAT.
www.soundonsound.com/reviews/presonus-quantum-hd8
fender.com/products/quantum-lt-16-usb-c-audio-interface
Focusrite Scarlett 18i20 / ISA C8X
Focusrite Scarlett 18i20
Sitting atop Focusrite’s hugely popular Scarlett range is the 18i20, which employs the same converters that power the flagship RedNet series. Its eight preamps include analogue Air Presence and DSP‑based Harmonic Drive modes inspired by vintage studio consoles, and are joined by 10 line‑level outputs (four of which can be used as Main and Alt monitor outputs for built‑in A/B switching between two playback systems) and a pair of independent headphone outputs. There’s an Auto Gain function that makes quick work of setting input levels: hit the button, play for 10 seconds and the interface will adjust the gain accordingly across all eight preamps; the signal level is continually monitored, and a Clip Safe function can be engaged to automatically back the level off during takes to avoid distortion. All of the inputs also accept line‑level sources, and the first two are equipped with Hi‑Z instrument inputs. Up to 16 extra inputs and outputs can be added via ADAT.
Focusrite ISA C8X
The recently released ISA C8X also features eight built‑in mic pres, two of which are Focusrite’s praised ISA design. Equipped with Lundahl LL1538 transformers, they deliver the classic tone for which the ISA range is renowned while offering some additional character thanks to new, all‑analogue Console and 430 Air modes. The C8X offers insert points for the two ISA channels as well as 12 line‑level outputs, and will accept up to 16 additional inputs and outputs via ADAT. Both interfaces can be controlled remotely using the Focusrite Control 2 app, which handles everything from routing configuration and monitor mixes to preset saving and recall.
Scarlett 18i20 $749.99, ISA C8X $2299.99.
Scarlett 18i20 £649.99, ISA C8X £1899.99. Prices include VAT.
www.soundonsound.com/reviews/focusrite-scarlett-18i20-4th-gen
www.soundonsound.com/reviews/focusrite-isa-c8x
focusrite.com/products/scarlett-18i20
focusrite.com/products/isa-c8x
MOTU 10pre
MOTU 10pre
Seeing as the 8pre is no longer in production, it seems only fair to include the 10pre, which bends the rules here slightly with 10 onboard mic pres. MOTU opted for placing eight channels on the rear panel so that they’re easily accessible for rack‑based setups, with two more on the front panel for ‘on the fly’ access during sessions — all 10 inputs also accept line or instrument signals. The first two channels feature insert points for integrating external gear into their signal path, and the unit offers eight DC‑coupled line outputs as well as two dedicated headphone outputs. An onboard 64‑channel DSP mixer handles routing duties, with all input and output busses boasting four‑band EQ and compression, while input channels are treated to a high‑pass filter and gate. Helpfully, a set of front‑panel switches offer switching between up to three pairs of monitors along with mute, mono and talkback functions. The 10pre can be augmented with 16 additional channels of I/O via ADAT, and also includes 128 channels of AVB‑based network I/O.
$1595
£1649 including VAT.
motu.com/en-us/products/10pre/
Prism Sound Atlas
Prism Sound Atlas
While best known for their large, modular converter systems, Prism Sound also offer a range of high‑end audio interfaces. The Atlas employs the latest generation of the company’s A‑D and D‑A converters, combining them with a set of eight mic preamps that each feature the company’s Overkiller soft‑clip limiter circuitry and eight line‑level analogue outputs. Two instrument inputs are then provided on the front panel along with a pair of independent headphone outputs. Local control is provided for the Atlas’ most commonly used features, with more in‑depth control over the likes of routing and low‑latency monitoring carried out via a companion desktop software application. As well as functioning as a USB interface, the Atlas can be fitted with Prism’s Dante or MDIO‑HDX expansion cards, allowing it to be integrated with Dante networks or Avid’s Pro Tools HDX and HD Native rigs. As for I/O expansion, the unit offers an additional eight inputs and outputs via ADAT.
$5149
£3994.80 including VAT.
www.prismsound.io/products/atlas/
SSL 18
SSL 18
SSL are famous for their large‑format consoles, but they’ve steadily introduced a whole host of new studio gear in recent years, including a family of audio interfaces. The largest, the 18, includes eight preamps that will accept mic and line‑level sources — the preamp circuitry is completely bypassed when selecting a line input — while the first two can be switched to Hi‑Z instrument mode. The preamps are designed to be clean‑sounding by default, but those who want some ‘grit’ can take advantage of a 4K mode that introduces some analogue saturation inspired by SSL’s 4000‑series consoles. Thoughtfully, there’s also a dedicated talkback mic input that avoids the need to sacrifice any of the main inputs.
There are 10 line‑level outputs, four of which can be switched between +9 and +24 dBu alignment levels, and outputs 9‑10 can be repurposed as insert sends for the first two input channels. All of the line‑level outputs are DC‑coupled, and the 18 also includes MIDI and word clock I/O. Two headphone outputs are provided on the front panel, and as well as offering three modes that optimise them for different headphone sensitivities, they can also be configured as additional line‑level outputs. A front‑panel monitor level control is joined by Cut, Alt and Talk buttons, with more in‑depth control and routing taken care of by the SSL 360 software application. As for expansion, the 18 is equipped with two ADAT inputs and outputs, allowing users to add up to 16 additional channels in each direction.
$1199.99
£899.99 including VAT.
www.soundonsound.com/reviews/solid-state-logic-18
solidstatelogic.com/products/ssl-18
Universal Audio Apollo x8p / Volt 876
Universal Audio Apollo x8p
Universal Audio have a couple of options in their range. The first is the Apollo x8p, which packs in eight of their Unison preamps — an innovative design that modifies the input circuitry and is capable of emulating preamps and channel strips from the likes of Neve, Manley, API and others. Onboard DSP makes it possible to track through and monitor the company’s UAD analogue‑emulation plug‑ins in real time, and the unit can be purchased alongside various plug‑in bundles. All eight channels accept mic or line‑level inputs, and the first two feature front‑panel Hi‑Z instrument inputs; dedicated main monitor outputs are joined by eight line‑level outputs, and the unit offers a pair of independent headphone outputs. Dual ADAT I/O then allows for up to 16 additional channels.
Universal Audio Volt 876
A newer addition to the UA range is the Volt 876, which offers a broadly similar I/O count, but without Unison preamps or onboard DSP. Its eight preamps feature a Vintage mode that’s inspired by UA’s 610 valve console, and are each joined by a compressor that’s based on the 1176. Once again, up to 16 additional inputs and outputs can be hooked up via ADAT. Routing, configuration and low‑latency monitoring for both interfaces can be carried out using the company’s UAD Console software.
Apollo x8p $3299, Volt 876 $999.
Apollo x8p £3499, Volt 876 £859. Prices include VAT.
www.soundonsound.com/reviews/universal-audio-apollo-x-gen-2
www.soundonsound.com/reviews/universal-audio-volt-876
www.uaudio.com/products/volt-876-usb-audio-interface
www.uaudio.com/products/apollo-x8p
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