Eight
channels of precision
mic-pre
For the discriminating work-station user requiring high precision
amplification of microphones. Perfect for the project studio, midi desktop
or direct to disc applications. The exceptional clarity of these amplifiers,
described recently by a principal reviewer at Studio Sound:" .
. . this is a very desirable preamp, with a full, open, clean sound.
It is superbly quiet and, to all intents and purposes, transparent."
Every channel has switchable +48V phantom power and a balanced output.
When used in conjunction with OCTAMIX, the unit becomes a stereo output,
eight channel mixer, ideal for live sound reinforcement, broadcast and
theatre applications.
|
"Why
are channels 7 & 8 'Hot channels'?" We
spoke to our best buddy Bob Rosa, engineer and producer about how
'hot' does it really get. Now Bob uses two MWS mic pre's and two
Hi Def EQ's. Considering that in the last year Bob has engineered
on albums for Jon Secada, Barry Manilow, Whitney, Luther Vandross
and two singles for Mr Michael Jackson . . . AND being a devout
John Oram fan throughout VOX and TRIDENT, we believe in this mans
judgement .
 John and Bob Seen here in New York City. |
TECHNICAL SPECIFICATIONS
- INPUT
GAIN Channels 1 - 6
0 dB to +70 dB level adjustment with 41 position stepped control
- 'HOT
CHANNELS' Channels 7 - 8
-12dB to +35 dB level adjustment with 41 position stepped control
- EQUIVALENT
INPUT NOISE
-127.8 dBu ref: 200 ohm, audio bandwidth (at +70 dB gain)
- INPUT
LEVEL Channels 1 - 6
+22 dBu maximum, will accept line levels
- 'HOT
CHANNELS' Channels 7 - 8
+34dBu maximum, will accept line levels
- OUTPUT
LEVEL
+28 dBu
- AUDIO
BANDWIDTH
Better than 18Hz to 73kHz
- PHANTOM
Switches a nominal +48 volts to the corresponding channel input connector
- PHANTOM
LED
Indicates phantom voltage is active
- PEAK
LED
Active at 6 dB before clipping
- DISTORTION
Less than 0.005% T.H.D. 20Hz to 20kHz
- POWER
SWITCH
Internal Power Supply Unit with indicator ledREAR PANEL
- MIC
/ LINE CONNECTORS
XLR balanced
- OUTPUT
CONNECTORS
T-R-S jack balanced
- MAINS
CONNECTOR
I-E-C fused
CONTROL FUNCTIONS
To have printed information on this product sent to you, E MAIL
The right preamp at the right price could improve your recordings tomorrow.
Tim Goodyer checks out the Octasonic today.
THE APPEARANCE of the modular digital multitrack recorder has prompted some rather surprising developments. Apart from, but facilitated by, changes in recording practices there has been a rash of equipment quite clearly inspired by the ADAT and DA-88. Unity gain boxes containing eight channels of valve amplification, for example, present a solution to those worried about digital's 'harshness'. A more conventionally practical development is that of packaging outboard in 'boxes of eight'. The latest subscriber to this practice is John Oram's Octasonic.Finished in house blue, Octasonic is a tidy package of eight mic preamps in a 1U-high rackmount. Along with mains switching, the front panel offers eight 41-step knurled gain pots, individual switching for phase reversal and 48V phantom power, and leds to indicate the presence of a signal peak and phantom. The final now familiar touch is the placing of the on-off led in the 'O' of the Oram Sonics logo. The rear panel carries eight balanced female XLR inputs and eight balanced 1/4 -inch jack outputs. There is no ground lift.
Returning to the front panel, it's worth commenting that while the white phase pushbuttons stand proud of the panel, those for phantom power are heavily recessed--obviously to help prevent accidental operation. I found these easy to operate using my little finger, but many of the rest of you will have to resort to the use of a willow wand or something similar. Both the peak and phantom leds are also deeply recessed. Although this limits to a small extent the angle from which they can be viewed, it also has the effect of making it very easy to see when they are lit.
In operation, everything is as you might expect with a couple of qualifications. First of all, the unit runs fairly hot. Second off, Channels 7 and 8 differ slightly in their setup from Channels 1-6. Where the gain on the first six channels can be set between 0dB and 70dB (with a maximum input level of +22dBu), the last two offer -12dB to 35dB (+34dBu max). While all will accept line-level inputs, these 'Hot Channels' are specifically intended to accommodate more lively mic feeds and high level line inputs. The facility is credited to NYC producer Bob Rosa after his recent work with Michael Jackson. The bandwidth on all channels is quoted as better than 18Hz-73kHz, and the noise is quoted as being down at -125dBu at +70dB gain. Whether you're setting up the Hot Channels or their cooler brethren, the peak led lights at 6dB below clipping with output levels being set to deliver +28dBu.
Output connections are on 1/4-inch jacks partly due to the limited panel space on a single rack unit but also to integrate with the forthcoming Octamix 8:2 mixing module with which interconnection tails will be supplied. Using Octasonic and Octamix together will allow XLR mic inputs to appear mixed to stereo plus a stereo submix on XLRs--with the prospect of an Oram EQ block not far off.
In service, Octasonic performs creditably well. The circuitry is the same tried, tested and liked stuff of Oram's BEQ Series 24 console and incorporates a feature Oram calls 'group delay' where the LF content up to around 50Hz-60Hz is delayed with respect to the HF. This obviously represents character rather than accuracy but John Oram seems happy with this. In fact, Oram is eager to see other mic amp manufacturers publish similar details of their designs.
The cost of the unit (around £155+VAT per channel in the UK) suggests that it should defer to the majority of professional preamps currently on the market, but the reality is somewhat different. The Octasonic is likely to be a better performer in its field than the linear digital recorders it is likely to serve are in theirs. And as an 'upgrade' to even a respectable console--and there are plenty that are outside of the big league--it makes a worthy option.
Oram also casts Octasonic in the role of a digital 'smoothing device' along the lines of the unity gain valve boxes mentioned earlier. Better than this, it appears that Alesis are prepared to concede that the amps used to raise the individual outputs of the ADAT to the pro +4dB standard are readily bettered, and that appreciably better results can be obtained by feeding the -10dB outs into Octasonic.
With Octamix and an MDM, Octasonic should provide a convenient location recording package in a similar vein to that offered by the American Audio Toys Inc Pro6. True, it will be a bulkier package but then it will be cheaper and give you the options that accompany a modular system.
It's good to have options and Oram's Octasonic is an option that should appeal--if not to purists, then certainly to those who craft the sound of their recordings.
Tim Goodyer
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