MOTU 896mk3
FireWire Audio Interface with 8-channels of XLR/TRS Analog Inputs with Microphone Preamps, AES/EBU, S/PDIF, ADAT, S/MUX, and Built-in Effects - 24-bit/192kHz
MOTU's Premier FireWire Interface!
MOTU re-invents their popular 896 interface with the 896mk3. With eight XLR/TRS "combo" style analog inputs with preamps, true hi-Z guitar inputs plus a load of digital I/O for a total of 28 inputs and 32 outputs, the 896mk3 is ready to be the centerpiece of your digital studio. Built-in effects bolster the feature set with the Classic Reverb, British-style EQ, and an emulation of the legendary LA-2A, which does amazing things to drum and mix busses. If you need a top-notch FireWire interface, check out the 896mk3. MOTU 896mk3 at a Glance:- Digital mixing
- Effects processing
- Overload protection
- Comprehensive metering
- CueMix FX software
- Comprehensive I/O
- Synchronization
- Expansion, drivers and AudioDesk
Digital mixingThe 896mk3 provides 28 inputs and 32 outputs in a two rack-space form factor. All I/O is routed to an on-board 16-bus digital mixer driven by hardware-based DSP with 32-bit floating point precision. The mixer allows for no-latency effects processing to inputs, outputs, or busses directly in the 896mk3 hardware, independent of the computer. Effects can even be applied when the 896mk3 is operating stand-alone as a complete rack-mounted mixer. Input signals to the computer can be recorded wet, dry, or dry with a wet monitor mix (for musicians during recording, for example). Effects processingThe 896mk3's Classic Reverb provides five different room types, three frequency shelves with adjustable crossover points, shelf filtering, and reverb lengths up to 60-seconds. Two forms of compression are supplied: a standard compressor with conventional threshold/ratio/attack/release/gain controls and the Leveler, an accurate model of the legendary LA-2A optical compressor, which provides vintage and musical automatic gain control. Finally, the EQ section provides 7-band parametric EQ modeled after British analog console EQs, featuring 4 filter styles (gain/Q profiles) to effectively cover a wide range of audio material. LP and HP filters are also supplied with slopes that range from 6 to 36dB. The 896mk3's flexible effects architecture allows users to apply EQ and compression on every input and output (a total of 60 channels), with enough DSP resources for at least one band of parametric EQ and compression on every channel at 48kHz. However, DSP resources are allocated dynamically and a DSP meter allows users to keep tabs on the 896mk3's processing resources. Each input, output and mix bus provides a send to the Classic Reverb processor, which then feeds reverb returns to mix buses and outputs, with a selectable split point between them to prevent send/return feedback loops. Overload protectionAn individual trim knob, 20dB pad switch, and 48V phantom power switch are supplied on the front panel for each of eight mic/guitar combo jacks on the rear panel, all eight of which are equipped with preamps and V-Limit, a hardware limiter that helps prevent digital clipping from overloaded input signals. With V-Limit enabled, signals can go above zero dB (where limiting kicks in) to as high as +12 dB above zero with no distortion due to digital clipping. Additional protection can be applied to the mic/guitar inputs by enabling the 896mk3's Soft Clip feature, which engages just before clipping occurs and helps reduce perceptible distortion. Comprehensive meteringThe 896 is well known for its comprehensive front panel metering, and the 896mk3 builds on this unique feature to further set it apart. 10-segment ladder LEDs are provided for every input and output. One 8-channel meter bank is dedicated to the eight analog inputs. Another 8-channel meter bank can display any input or output bank, which the user can quickly select with a convenient front-panel rotary encoder. Dedicated main out meters are also provided. CueMix FX softwareAll of the settings in the 896mk3 are accessible from the programmable front-panel backlit LCD. Users can also launch the CueMix FX control software for Mac OS X, Windows XP and Windows Vista. CueMix FX is a completely new software front-end with attractive graphic mixing, graphic editing of parametric EQ and a convenient tabbed interface for quick access to all features in one window. Three separate tabs show inputs, mix busses (eight stereo busses), and outputs. Users click a "Focus" button on any channel or bus to edit its settings in another area on the right-hand side, which provides separate tabs for graphic editing of the parametric EQ, compression and other effects. Each channel displays a graphic thumbnail of EQ curves, compressor settings, and other channel specific parameters. There is also a section for talkback and listenback. CueMix FX can be operated side by side with any host audio software for Mac or Windows, and it can be controlled from the Mackie Control Universal Pro automated worksurface. Comprehensive I/OThe 896mk3 allows users to connect a wide variety of studio gear, including microphones, guitars, synths, keyboards, drum machines, and effects processors. In addition to the eight mic/guitar preamp inputs, the 896mk3 provides two independent headphone jacks with independent volume knobs, one of which also controls the XLR main outs on the rear panel. This "master vol" knob can also be programmed to control any combination of outputs (analog and/or digital). For example, it can control monitor output for an entire 5.1 or 7.1 surround mix. All analog I/O can operate at sample rates up to 192kHz (a total of eight analog inputs and ten outputs). Two optical banks provide 16 channels of ADAT optical at 48 kHz, 8 channels of S/MUX optical I/O at 96 kHz, or two banks of stereo TOSLink at rates up to 96kHz. The banks operate independently, allowing users to mix and match any optical formats. AES/EBU and RCA S/PDIF connectors also supply independent sets of stereo digital I/O. SynchronizationThe 896mk3 is equipped with Direct Digital Synthesis (DDS), a DSP-driven phase lock engine and internal clock source that produces imperceptibly low jitter characteristics (below the noise floor), even when the 896mk3 is resolved to an external clock source via either word clock or SMPTE time code. The 896mk3 can directly resolve to (or generate) time code via a dedicated quarter-inch time code input and output, without the need for an extra synchronizer. Expansion, drivers and AudioDeskThe 896mk3 supplies two FireWire jacks so it can be daisy-chained with additional MOTU FireWire audio interfaces or other devices. The 896mk3 is also fully compatible with the 8pre, a single rack MOTU interface that adds 8 mic preamp inputs to the 896mk3. Because the 8pre connects to the 896mk3 via ADAT optical, its mic inputs are fully integrated into the 896mk3's on-board CueMix FX digital mixer. The 896mk3 provides CueMix FX and drivers for Mac (OS X) and Windows (XP and Vista) for cross-platform compatibility with virtually all audio software via WDM/ASIO/Core Audio drivers. The included AudioDesk workstation software for Mac provides 24-bit recording/editing and 32-bit mixing/processing/mastering. MOTU 896mk3 Features:- 28-in/32-out FireWire Interface
- CueMix FX - flexible 28 input/16 bus mixer with on-board DSP effects
- Front-panel control
- Stand-alone operation
- Eight rear panel combo jacks provide 1/4" or XLR mic input with phantom power and pad
- Clip protection
- Eight 24-bit/192kHz analog inputs and outputs on XLR jacks
- 16 channels of ADAT lightpipe, 8 channels of SMUX (96 kHz) or two pairs of stereo TOSLink
- Expandable - add additional interfaces for more I/O as your needs grow
- Separate XLR main outs and front-panel headphone jacks, each with independent volume control
- Stereo 24-bit 96kHz AES/EBU in/out
- Stereo 24-bit 96kHz S/PDIF in/out
- Word clock in and out
- Includes drivers for Mac & PC, including ASIO, WDM, Wave, GSIF, Core Audio, and Core MIDI
- Supports all popular Macintosh and Windows audio software
- 100% compatible with all host-based effects processing in today's popular audio programs
- Includes AudioDesk full-featured workstation software for the Mac
- Plug-and-play operation with your Mac or PC via FireWire
- Front panel volume control for monitoring
- Stereo, Quad, 6.1, 7.1 and user-defined surround monitoring setups available
- Two front panel headphone jacks with independent volume controls
- Comprehensive front panel metering for all analog and digital audio I/O
- Dedicated front panel clock status LEDs
- International 100-240V, 50-60 Hz autoswitching power supply
MOTU's 896mk3 is primed to be the centerpiece of your digital studio!
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Sweetwater Advice
Carson McClain
If you have serious studio needs and you don't want to be tied to one platform of hardware or software then look at the 896mk3 from MOTU. Solid construction, flawless drivers, clean preamps and metering that could not be more obvious. Not only is this a great interface, it is also outstanding in standalone mode for live.
Very Nice Piece
by James Lewis from Eastern, N.C
October 20, 2008
Music Background: Recording Engineer, & Video Producer
I've had every MOTU 828 since the initial unit years ago so I've seen MOTU grow in quality, style and support. Every unit has been rock solid for me and I recently got the 896HD to get more mic pres ... read more [+]and higher sampling rates. The unit is fabulous! I was pleased with the decent mic pres and other options that I have. I do live audio recording and audio for video where i often multitrack the audio, mix down and sync it to the video for a great sound and the 896hd has brought that to another level. Now, if you want the Apogee quality, then go with Apogee but if you want a very decent, affordable unit with multiple options then go with the MOTU 896mk3, 828mk3 or the Cuemix mk3 as I have all 3. Apogee and others make great converters and now interfaces so if you can afford to get that setup then more power to you, but if you're on a budget and need a unit that has a decent compressor, onsite mix capabilities, decent mic pres,and rock steady drivers then look at the 896 HD. You won't be disappointed. close [-]
great for the money
by Ryan from Helm's Deep Studios from Winston-Salem, NC
January 29, 2010
Music Background: Producer/engineer, Pro Musician
I agree with basically everything the first two reviewers said. It completely blows away the firepod and even the Eureka. It will take a little time getting to know how to use all the functions that i ... read more [+]s has though,. but not too long.
My major CONs for this piece is that i have had two replaced in the past year and a half. That's right, i said 2 in one year! I think MOTU needs to seriously fire their QA & QC guys at the factory because this is just unacceptable. One the first one that i got, right out of the box the LED displays didn't work, and now my second one is in the show getting repaired because it just all of a sudden decided not to show up on my CPU. I called sweetwater, went thru the usual 15 minute wait for tech. support so they could talk to me for 5 minutes and tell me what i already know. *sigh* ....maybe i just have bad luck. they sound great...when they work. close [-]
Goodbye Firepod, MAUDIO, Line 6, and older 896
by Mythic Isle Pro from Seattle, WA
July 9, 2009
Music Background: Recording & Mixing Engineer
I'm not one to skirt around the issues at hand so I'll be succinct: It's a great interface. I come from using interfaces in the brands listed above, most recently the old 896. The first thing I notice ... read more [+]d was the aesthetic update: the box looks much more clean cut, the fat has been trimmed. The mk3 really makes the 896 and 896HD look like trash. Second thing: more I/O options. Awesome, it manages to have more versatility and still look clean and uncrowded. When I plugged it in for the first time after I installed the drivers everything worked flawlessly. Coming to the important part now: It sounds great. I thought it sounded much improved over the older versions and on a hunch contacted MOTU. Sure enough, they revamped the entire analogue stage and put in a more stable clock which, let me tell you from experience, WAS IN DIRE NEED. The result was audio which was represented and dealt with much more clearly and accurately. To put any questions to rest: YES, it simply does sound better, work better, and feel better then any firepod, MAUDIO, or Line 6. It DOES NOT sound better than say RME, LYNX, or some of the highest end interfaces, but it comes within surprising proximity at this price point.
On the sound: Listening to my itunes library (AAC files) Windows Media Library (MP3) and CD library, the difference between the sound quality of each of the different file and compression types has never been so abundantly clear. Anyone who says there is no difference is a fool who probably doesn't have the equipment nice enough to show them. I can no longer listen to AAC files, it's simply to dissapointing, even in comparison with the slighlty less compressed MP3 files, which are also still dissapointing and pale greatly in the face of audio right of the CD. To sum that up: it's all about the details, and this box can pull through.
HOWEVER, here are some cons: testing it through playback of my music libraries and recorded wav files, I find that the high end seems to still have the "veil" over it that seems to be ever popular with interfaces less than $1500. The result is a bit of a narrow feeling, the sound doesn't feel fully open and in turn the imaging and sonic landscape is less intimate. On the low end it's the opposite: seems to be very solid, maybe a little to solid. I have to wonder if there is a little overemphasis. In any case, to get the "veil" on the high end removed, I contacted Black Lion Audio to get it modded. They don't work on the mk3 yet, but they plan too in the near future. Until then, these are issues expected from a high-middle range interface, and it still sound better than the competition at the price point and certaintly below it.
The only other thing that bothered me was the reverb in Cuemix. I had been hopefull that with this box, I could use Cuemix's reverb and send it to an output of a vocal mic without sending it to tape, thus saving me the trouble of setting up a wet monitor mix in the DAW. Well...you can, but not at 2x sample rates or above. If you record at anything above 48 (and most people do) you can't use the reverb, which is something that no one tells you. It probably has to do with the DSP bandwidth, but still it was a little bit of a bummer.
All in all, buy this instead of a firepod, maudio, line 6, etc. It just sounds and works better. For those of you upgrading from an older 896 or 896HD, you'll be utterly satisfied and relieved. close [-]
Hmm
by Victor from
August 18, 2008
Music Background: Recording Engineer, The Fold Studios
Well, the good points: MOTU's cuemix software is still exemplary to use, fantastic and very user friendly. Nice assignable meters. Pre's offer a decent amount of gain. Other than that...kind of dissap ... read more [+]ointed. I think the downfall here was that they tried to cram in all these features into one box instead of focusing on something more important, like mabye updating to better converters. They tried to put in effects, dynamics, pres, internal mix software, word clock i/o, and multiple sample rates into an interface, and I think this kind of thing really gets on the nerves of many engineers. An interface should be an interface, and everything else should respectively be what it is and be used for it's designed purpose. This fell far short of my expectations both in audio quality and overall useable value. I would not recommend to any serious engineer, maybe even a hobbyist. close [-]
See Also: FireWire Interfaces
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