OctoPre

• Eight award-winning Class A discrete transistor-based Focusrite pre-amps
  This pre-amp demonstrates the same wide bandwidth philosophy featured in the original vintage Focusrite units, ensuring low noise and distortion.
• Eight independent Focusrite Compressors/Limiters
  Revolutionary circuit design allows dynamics to be handled via a single control.
• Up to 16 digital outputs (24bit, 96kHz)
  Two high quality 8-Channel A/D converters are available. Both converters are 24 bit and 128 x over-sampled, handling sample rates of up to 96kHz, but can dither down to 20 or 16 bit.
• Two ‘Super Channels’
  No separate D.I. is required, with TRS Jack inputs and phase reverse on the front fascia.

• Rear

With eight pristine class A Focusrite mic pre’s, eight compressor/limiters, and almost all the interface options known to man, OctoPre is the perfect partner for any Digital audio workstation, making high quality, multi-channel recording (eg. Drums and synths) easy.

Equally, it can be utilised as an instant location recording solution, (as part of an ultra-compact 8-channel system with a laptop,) or as an additional set of pre-amps for any analogue or digital console or hard disk recorder.

OctoPre features eight independent compressor/limiters, whose revolutionary circuit design allows dynamics to be handled via a single control. Starting with a brick-walllimiter (to avoid critical overs), the rotary control then allows you to add increasing amounts of compression.

Two independent side-chain control circuits are used for each channel of dynamics, one for limiting and one for compression. The limiter and compressor side-chains each generate two separate control signals, one fast and one slow, that are then fed to the gain change elements in the audio path. The gain control elements consist of a pair of custom Optos, which follow a crossover network that splits the audio into two bands, “high” and “low”. The fast side-chain drives the high frequency opto, whilst the slow side-chain drives the low frequency opto. This process ensures less distortion when the limiter is reacting to very fast transients. By splitting the response, only the high frequency section of the waveform is drastically affected, reducing inter-modulation distortion, and therefore non-related harmonics, providing a far more musical effect.

In addition, both the side-chains operate as feedback systems. Thus, the amount of compression and limiting is calculated using the level after the split opto stage. The advantage of this feedback system is that the limiter senses the level after compression has been applied and therefore the limiter only works when it absolutely has to.

The dynamics control also introduces an additional make-up gain, balancing the level change caused by compression. This auto make-up gain ensures the output level to the A/D remains constant whilst further compression is applied. Consequently, any input levels already set will not require any further adjustment during dynamics set-up.

Only one dial, but all the control, providing the quickest route to a warm, controlled, yet
entirely musical signal. All the excitement and all the control without compromise.

Two high quality A/D converters are available for OctoPre. The converters are 24-bit and 128x over-sampled, handling sample rates of up to 96 kHz, but can dither down to 20 or 16 bit. All frequency settings and bit rates can be altered from the front fascia, with an ADC lock LED to show when word clock is synchronised.

• Option 1: ADAT outputs only
  8 channels of ADAT lightpipe (up to 96 kHz).

• Option 2: 8 AES/EBU or S/PDIF outputs + 8 channels of ADAT lightpipe
  All on one board, up to 96 kHz - 16 channels at 48kHz (mirrored across the formats.

An external Wordclock input is also provided (BNC connector). The AES/EBU or S/PDIF format outputs can run simultaneously with the lightpipe outputs, giving up to 16 channels of digital output for all sample rates

Q: What are the basic features of the OctoPre?
A: Eight mic pre's, eight compressor limiters, optional 8-channel A/D conversion (2 formats available.)

Q: Is the compressor just a global compressor across all eight channels?
A: No, each OctoPre channel features a unique, independent compressor/limiter, so you have EIGHT discrete compressors in total. Each can be set independently to act as a brick wall limiter, or to add increasingly heavy amounts of compression to a given channel.

Q: Which applications is the OctoPre suitable for?
A: The OctoPre can be used as a multi-channel front end for Digital Audio Workstations, allowing multi-channel recording to HD. Equally it can be used simply as the perfect interface/ A/D converter for synths/other line level devices. It provides additional channels for anyone who has run out of mic pre?s on their analogue console (either live or recording,) and is especially useful as a source of additional mic pre?s for digital consoles. Finally, anyone who needs 8 channels of compression/ limiting will find the OctoPre extremely useful.
Q: How many rack spaces does OctoPre take up?
A: The OctoPre is just a 1U device.

Q: Does the OctoPre support phantom power on each channel?
A: Yes it does.

Q: What rear panel connections are featured?
A: The OctoPre has 8 XLR connectors for microphone input, and 8 line level inputs and 8 line level outputs connected via two 25-pin d-sub connectors. This allows the OctoPre to be connected to a patch bay and have every input connected at all times for easy operation. (Note: some competitive products make you physically remove the unit from your rack to switch between +4 and -10 operation, and cannot be permanently wired to a patchbay.)
Q: What other connections are on the back panel of OctoPre?
A: The fully loaded unit features a 9-pin D-type connector allowing digital output in AES/EBU or S/PDIF format, and two Lightpipe ports for 96kHz ADAT (aka S/MUX2.)

Q: Is the OctoPre a Class A device, and why is that important?
A: Yes, the OctoPre is a Class A device. Why? Class A is a type of amplifier design in which you have a standing DC current running through your amplifier circuits all the time. As the signal comes along you vary what you're taking from that, rather than switching between supplying a positive current for one half of the waveform and a negative current for the other half. This results in the ability to represent audio in a linear (distortion free) manner all the way through the circuit. Cheaper processors use IC amplifiers which run close to Class B and don't have the same standing DC current, which means the transistors inside the chips are switching on and off, inevitably resulting in less linear performance.

Q: Should balanced connectors be used with the OctoPre?
A: Yes, where possible. However the line level analogue inputs and outputs (although balanced, operating at +4 dBu,) can operate with unbalanced ?10dBV input sources. Alternatively, if using an unbalanced instrument source, you can connect to the unbalanced 1/4" inputs on channels 1 and 2.

Q: Does the OctoPre have the same kind of spectacular bandwidth that has given the Red and ISA range units their reputation for 'open-ended' sound?
A: Yes. The audio bandwidth of the OctoPre is 10 Hz to 200 kHz!

Q: Is there an optional digital input card?
A: No, because all the processing in the OctoPre is entirely analogue - so even if there were a digital input, the digital signal would have to immediately pass through a D/A converter to allow processing!

Q: Why is the 24-bit 96kHz specification important?
A: An A/D converter works by sampling the audio waveform at regular points in time, and then quantizing those values into a binary number, which relates to the number of bits specified. The quantized signal must then be passed through a D/A converter before it becomes audible. In simple terms, the D/A essentially joins the dots plotted by the A/D converter when the signal was first converted to digital. The number of dots to join, combined with how little those dots have been moved, determines how accurate the final signal will be compared to the original. The greater the sample rate and bit rate, the more accurate the whole digital process is. So 24 bit/96 kHz performance will ensure more accurate digital transfer of your audio information compared to the old 16-bit/44.1kHz standards. This is especially important if further digital signal processing is to be applied to the signal once converted to digital, as any mathematical operations taking place on the data, (for example as a result of a gain change, or dynamic
effect process,) may result in quantization and rounding errors. The higher the
resolution of the digital data, the smaller the audible effect of these errors will be.

Q: What if my system only operates at 16 bit, 44.1kHz?
A: No problem, the OctoPre features dithering and supports most sample rates, (simply select the rate you need from the OctoPre's front panel,) so you can use an OctoPre with a 16, 20 or 24 bit system operating at 44.1, 48, 88.2 or 96kHz.

Q: What is dithering? Why do I need it?
A: When dropping down from e.g. 24-bit to 16-bit, quantizing errors occur because 24-bit sampling involves more samples than 16-bit, so when you reduce the bit depth the extra samples have nowhere to go. At high signal levels these errors are random and not audible, but at lower signal levels the errors correlate more closely to the audio and become audible as distortion. Dithering effectively 'randomise' the truncation errors at lower levels, causing the 'least significant bit' distortion to disappear.

Q: Can I retrofit a digital board to an analogue OctoPre at a later date?
A: Yes, and you can do it yourself - it can easily be retro-fitted at any time without any soldering etc, just a few screws to undo, and one clip-connector to join to the main PCB.

Q: How can the OctoPre operate with the ADAT lightpipe format at 96kHz? I thought the maximum sample rate for this format was 48kHz?
A: Not any more. The OctoPre supports the new 96kHz ADAT specification, using two discrete optical ports.

Q: So how are the multiple digital outputs configured at 48kHz/96kHz?
A: At 48kHz or lower: the 8 AES or SPDIF (switch-selected from rear panel) outputs can run simultaneously with 8 ADAT outputs, plus 8 ADAT outputs from the second port (hence 24 simultaneous digital outputs in total.) The ADAT outputs in this mode are exact duplicates of each other. All output formats put out the same set of 8 channels in terms of sample rate, dither etc. At 96kHz: outputs are the same as above, except that the two ADAT ports carry
output channels 1-4 and 5-8 respectively (hence 16 simultaneous digital outputs in total). In simple terms, the A/D puts out three separately buffered sets of 8 channels at 48kHz, or two separately buffered sets of 8 channels at 96kHz. The digital outputs can always be fed with any mix of mic, line or instrument inputs.

Q: When the A/D is used, are my analogue outputs available for use?
A: Yes. The line outputs can run simultaneously with both the ADAT and AES or S/PDIF outputs, providing, all at once, 8 line level analogue outputs, 8 Lightpipe ADAT outputs and 8 AES or S/PDIF outputs.

Q: Are the OctoPre 25-pin d-sub connectors (analogue outputs) wired for TASCAM or Mackie wiring spec?
A: The OctoPre sub-connectors are wired to the TASCAM specification.

Q: Do I need to buy an option cable to use the analogue outputs on the OctoPre?
A: Yes. We recommend the following models from Hosa: Line output d-sub connection to 8 x XLR: DTM805 Line input d-sub connection to 8 x XLR: DTF805

Q: Do I need to buy an option cable to use either of the A/D cards?
A: Yes; ADAT optical cables are available from many sources, and Focusrite will offer their own 9-pin to 4 phono (RCA) connectors S/PDIF cable and 9-pin to 4 XLR connectors AES-EBU cable.

Q: Do the OctoPre's A/D options feature WordClock as standard?
A:Wordclock may be fed in via a BNC connector on each A/D to allow synchronisation to any Wordclock master source.

Q: Why do I need Wordclock anyway?
A: When using multiple pieces of digital equipment it is necessary to make sure that their bit-streams are all in sync. In order to do this all equipment need to be synchronised to a common Wordclock system. Somewhere in this system a Wordclock 'master' must be dictating the Wordclock for the rest of the equipment, ('Wordclock slaves') to follow. Failure to sync. all pieces of digital equipment to a common Wordclock source will result in audible clicks and glitches in programme material.

Q: What is the function of the ocean blue LED on the OctoPre's front panel?
A: i.) It indicates when electricity is flowing though the unit.
ii.) It looks very cool in low-light conditions.

Inputs
• Electronically balanced 20kW
• Nominal level +4dBu / -10dBV

Input Connectors
• 1/4" jack (channels one and two only)
• 25 pin D-type 8 channel line level analogue connector
• 8 XLR inputs for Mic

Front Panel Controls
• Phantom Power: On/Off: +48V
• Gain (mic): 0dB to 60dB
• Gain (line): -10dB to +10 dB
• Gain (instrument): 0dB to 60dB (Impedance > 1MOhm)
• Phase Reverse: On/Off (Channel 1 & 2 only)
• High Pass filter: On/Off: -12dB / octave. ?6dB at 75Hz
• Dynamics: Limiter threshold is fixed at 20dBu. Compressor threshold and ratio is variable
• Frequency select: Switchable (44.1, 48, 88.2, 96kHz)
• Dither: 24-, 20- or 16-bit

Metering
• Signal Present: -20dBFS (green LED)
• Overload: +22dBu (red LED)
• Compressor mode: Yellow LED intensity increases with compression
• Hard Limit mode: Red LED on when limiting (threshold = +20dBu)

Analogue Output
• 25-pin D-type 8 channel analogue connector

Performance specifications
• THD: 0.001% @ 20dBu input, mic and line at 0dB gain
• Noise: -96dB at unity gain through the unit
• Mic EIN: -128 dBu @ 6dB of gain with 150Ohm termination impedance
• Frequency response: -1dB at 10Hz to 200kHz

Weight
• 4.2kg
• 9.3Ibs

Dimensions
• 484mm (W) x 44mm (H) x 330mm (D)
• 19" (W) x 1.7" (H) x 13" (D)

Sound On Sound Magazine quotes
September 2002

"In use, the mic amps sounded excellent at both low and high gain settings, and DI'ing an electric guitar via one of the Super Channels also gave very good results"

"I can see OctoPre owners making a good deal of use of its dynamics... the OctoPre's compressors are more versatile than their single control would suggest. At low settings they are relatively transparent and would be useful for ironing out uneven playing on, say, acoustic guitar; more extreme settings are flattering on vocals and add a healthy 'chunk' to clean electric guitars."

"With the OctoPre, Focusrite have taken advantage of a gap in the market, and the unit has surprisingly little competition."

"At £149 and £249 respectively, both of the OctoPre's digital options offer good value for money."

"I know of no other product that offers the same balance of features at the OctoPre's price, and it must be considered excellent value for money. As a front end for a digital recording system, it's much cheaper than comparable rackmounting alternatives. Meanwhile, compared with the option of using a budget analogue mixer for this purpose, it offers substantial advantages in terms of size, expandability, and (in many cases) sound quality, as well as offering built-in dynamics and A-D conversion. I expect Focusrite to sell bucket loads of them."

"Summary: The current gap in the market for affordable multi-channel mic preamps has given Focusrite an opportunity and they've grasped it with both hands. The OctoPre makes an excellent companion to almost any digital recording system."

Future Music Magazine quotes
October 2002
Jon Musgrave

"All knobs and switches are clearly arranged and in spite of it being 1U, are very easy to use"

"It's with the optional AD converter board that the OctoPre gets really interesting"

"Conclusion: Respect! With the OctoPre Focusrite now have a unit in the Platinum range which is suitable for all who are looking for more than two well sounding class-A microphonepreamps. As an extension for analogue live desks or studio operations or with the optional digital board as a high-class AD converter for HD productions, this unit is a good choice in all cases. The OctoPre saves space, is easy to use and futhermore it sounds great."
Soundcheck (Germany), October 2002
"Given that there are eight mic pres crammed into a 1U box you might expect the facilities to be quite basic, but actually Focusrite have been quite smart with what they've included."

"The OctoPre is designed to be as simple to use as possible, and once you've sorted out your chosen interconnections this is certainly true. From the simple fact that each channel only gets one gain knob (there's no output trim as such) and that compression is controlled by another single knob, there really is little margin for error. This is great if you're in the process of recording a live session, leaving you more time to sort out mix positions."

"It's worth noting that in practice the OctoPre's digital output board interfaces seamlessly using the ADAT and S/PDIF connections, and having the bit rate and sample frequency clearly indicated on the front panel is also a welcome feature."

"With so many soundcards supporting the ADAT interface you can't deny the attraction of the OctoPre as a front-end A/D converter for your computer as well as the perfect recording solution for recording multiple sources."

"You'd be hard-pushed to find eight quality mic pres anywhere else at such a competitive price."

"Verdict: 10/10 sounds & results."

"If recording multiple live instruments is part of your music-making process the OctoPre is without a doubt the unit to go for."

Interface Magazine quotes
October 2002

"OctoPre is a good example of smart design."

"OctoPre offers best mic preamp combined with good compression."

"Great value for money."

Resolution Magazine quotes
October 2002
Jon Thornton

"Another multichannel preamp with a thing about the number eight? Possibly, but this unassuming unit represents something of a rethink on traditional functionality and the interpretation of 'wow'."

"Focusrite has obviously put a lot of thought into this product. The result is ideally suited to a whole host of applications and there is a lot more to it than initially meets the eye."

"The front panel of the OctoPre is clear and reasonably uncluttered when you consider exactly how much is going on in the space."

"They [the mic pre-amps] proved to be very quiet, and sound open and natural at all levels of gain. There is little obvious colouration of the sound... they perform very admirably indeed. So well in fact, that Focusrite could be forgiven for leaving things there. But it is with the addition of the OctoPre's two other functions - dynamics processing and digital connectivity - that the application for this unit becomes more obvious."

"Focusrite allows the compressor and limiter to act on fast transients by only severely affecting the high frequency part of the waveform. This leads to less intermodulation distortion and therefore a more musical response."

"As eight channels of decent mic pre-amp alone it may well find a home in many studio outboard racks. With the digital options fitted and the stripped down, yet effective, approach to dynamic processing the OctoPre is also ideally suited as an analogue front end to a DAW, or incorporated into a live recording rig in conjunction with a digital multitrack. In the live recording or project studio DAW scenario, I can see the OctoPre becoming a real alternative to, and taking sales from, the more traditional small format stereo mixer."

"...when you consider the capability, compactness and price it becomes a compelling all-round package with a 'wow' factor all of its own."

Audio Media Magazine quotes
Simon Tillbrook

"The Class A pre-amps on the OctoPre are superb. They are extremely quiet and smooth [...] Taking a guitar feed straight through the front TRS jack inputs on Channels 1 and 2 was equally impressive."

"Focusrite has put a great deal of time and effort into this design and it really does show operationally."

"As you rotate and introduce more compression, the effect smoothes out and you really start to appreciate the amount of control that you actually have."

"Setting up the dynamics to an input source was very simple indeed, with very pleasing results. Both experienced professionals and home studio users will find the OctoPre a real joy to use."

"Even with competition, the OctoPre's versatility and sonic qualities represent quite a reference point for other manufacturers. With the mic pre-amps alone this would be a great addition to any rack."

"With the digital option fitted, the Focusrite OctoPre represents the most cost effective and sonically pleasing stand-alone input stage for digital users, and another good option for both live and studio applications."

Sound and Vision (Germany) Magazine quotes

"Once again the English company Focusrite has provided a product that is perfectly suited for all users looking for a unit that provides more than just two efficient class-A mic pre amps for audio productions. Whether as an extension for analogue recording in both studio or live applications, or as an high-class A/D converter for DAW productions, paired up with the optional digital board this unit is certainly impressive, providing easy handling, brilliant technical specs and a great price/performance ratio."

Music Mart Magazine quotes
March 2003
Chris Martin

"The mixer's pre amps sound fine, but when I A/B'd it against the OctoPre, it was as if a veil had been lifted (sounds corny but it's true). It brought out the best in all the mics and sources I tested it with. All subtle nuances of the source material were revealed, whether breathy female vocals or the string overtones of an acoustic, with nary a hint of harshness in upper mid range, where many pre amps fall down; highs were open and the bottom end was solid. The entire frequency spectrum was extremely well balanced, and noise not an issue."

"I plugged both bass and guitar straight in, and again the sound was well balanced and superb."

"The dynamics worked better than any single knob has a right to, whether on vocals or guitars, and while it wouldn't do away with a 'character' compressor, it could make other compressor/limiters used for gain control redundant. It was easy to 'dial in' a setting to suit, and the limiter was unnoticeable in virtually all sensible settings."

"When you take into account the exceptional dynamics of this unit, which more than equals many stand alone units, the price per channel comes down to more reasonable levels."

"If you often record more than one channel at a time (in which case a voice channel may be a better option) you really should try the OctoPre out. Chances are that it will be a lot better than the preamps on your board, and you'll end up with noticeably better results."

Recording Magazine quotes
May 2003
Bill Stunt

"On spec, this one looks like a knockout bruiser with a list of stats thatwill make competitors train a little harder. It's also got a pedigree - the Focusrite name alone makes this one worth getting a ringside seat."

"Tests on a variety of sources gave great results. I recorded guitars, voices and percussion instruments and the results were more than acceptable. I have an oddball acoustic guitar that is particularly difficult to capture...This is a big-sounding, rich, but not exceptionally bright guitar. I got some of the best results I've ever had recording this instrument with a Rode NT3 mic and the OctoPre. This combination captured the mellowness of this old beauty exceptionally well, with an admirable depth of field. Transparency is an audio quality that is hard to define but easy to hear - I definitely heard it in this test. Voices fared equally well. A nice openness, combined with good detail, were the characteristics of the recordings I made. Percussion instruments sounded rich and full bodied. The amount of gain in the design left me lots of room to capture the transients without distortion."

On the dynamic processing: "Whatever it is, it's quite musical and useful. At its lowest position, limiting only, you've got built-in protection for occasional transient spikes. In the digital world this is a good thing. In compressor mode a little bit goes a long way, but it does sound good. I really liked it on voices and on direct-injected guitars. It's got a nice punch to it and it seems to alter the frequency response in a way that's flattering."

"All in all, it's a far better sounding dynamics processor than those found in other units of this type that I've tried."

"I liked this unit a lot. Enjoyable as it is in the studio, I'd be happy to have it in my live recording rig. I know I would make good use of the dynamics function. In the likely chaos of a live recording, a limiter is a godsend. Eight of them on eight good-sounding Focusrite pre-amps is a miracle. And an affordable one - even with the addition of one of the digital output cards, the OctoPre is incredibly good value for the money."

Studio Magazine (Germany) quotes
Dieter Kahlen

"The equipment offers a very high functional value, using minimal space at an exceedingly attractive price. The OctoPre is small and light with capabilities up to 96kHz. When one can avoid the extreme tax liability of setting up, there is in our opinion, at this time, hardly an alternative in this price range."

"In comparison to the microphone pre-amps of the already installed ADT mixing desk, that we have been using for a long time already, the pre-amps of the OctoPre sounded (on the tested voices) immediately attractive and presentable. The sound image was open and soft..."

"In conclusion, the OctoPre is exceedingly good value for money, has flexible possibilities and many microphone paths fabricated to good quality. Even if good periphery equipment is used and especially as there is no shortage of DAW front-ends today, market niches still keep cropping up and Focusrite has obviously found one."

"I thought I would take a minute to let you know how great this Focusrite Octopre is. I find that I am getting clear, natural sounds more often with little or no EQ necessary. And the overly simple one knob compressor/limiter is surprisingly intuitive, providing an ideal first step for input to digital sound cards, which are notoriously bad at handling hot transient signals. The performance of this thing is not hype. Eight great sounding mic pre's and eight useable compressors in a unit at this price point is hard to beat.

I would not hesitate to recommend this unit to other customers. I used the instrument input on the Octopre for a bass guitar tracking session the other day. The bass player (Dave Smith, who has played on numerous albums from Buddy Guy to Johnny Lang) liked the bass sound so much that he is now checking into buying one of your Trak Master units as a recording session bass pre amp.

So, when you make quality products and sell them at a fair price, there is definitely a word-of-mouth domino effect among real life, down-in-the-trenches players and engineers.
I have other mic pre's by other manufacturers, and now with the addition of this Octopre I have completely eliminated the need to go through the board during tracking, resulting in cleaner, punchier tracks. Based on the performance of this unit, I would like to eventually add other Focusrite products as budget permits."
Steven Wenger, River City Sound Productions, Memphis TN

"This is the first recording I have done with these units and I must say they sound really good with a lot of headroom! I work as an engineer at Swedish national radio and normally we record live music using a mobile truck using SSL 4k+ desk, but I can’t hear any obvious difference between the SSL and the Octopres, I just loaded up the work in my DAW and it sounds punchy clean and warm."
Henrik – Sweden

"I received this gear last night along with the ADAT Option card to run with my Digi 002R. The card installation was a snap following the clear instructions included. I plugged it up with the optical cable to the digi and was tracking in minutes. It has great sounding pre's and 8 of them at that. A nice touch is the high pass filter and compression on the face plate. I have had no problems using this gear, it opened my Digi002R to 18 track input capability. Definitely worth the $$$$. Great job on this piece."
John Gogan, June 2005

"This thing sounds GREAT. Very warm and clear. I bought the digital I/O card and pump it into my FW-1884. It couldn't be easier to use or sound better without spending 5 times the price.
I was really concerned that for basically 125 per channel I'd get cheesy pre's... not the case.
Class A stuff.
Highly recommended."
Kirk Fischer, June 2005

"I bought one of these along with the Multiple I/O (digital) option to use as a front end into my Digi 002R for live applications. I go into the OctoPre and out to the 002R's optical in via lightpipe. This unit is perfect! A couple nights ago I had to record without a sound check, and I had my levels set 1/2 way through the first song. The controls on the OctoPre are very simple and intuitive. But I've also ended up using this as a clean set of pres into my Pro Tools TDM system in my studio! An unexpected benefit, and I have happier clients. I can't find anything this good anywhere near the price."
Tom Pollock (Pine Ridge Studio) June 2005

"Just purchase two Octopre's and put them to the test the other night. The session was just a practice for a local band, and I recorded the first half with the mixer preamps and the second half with the Octopre. I couldn't believe the difference between the two preamps. I'm going to save up and purchase one more unit to be able to record all 24 tracks with Octopre. Just wanted to let you know how happy it made me to finally hear such an improvement in something that I recorded (the band didn't sound that great).
Paul Harrison – USA

"The OctoPre was excellent! I used it on the drums and vocals and found the compressor section very usable and controllable without having to think too much, which is always handy at a festival!"
Geoff Pryce - Chief Engineer

"I love the warm gooey Octo... I bought a nice Midas Venice 240 for their excellent pre's, but spent too much and realised I still only had 8 outs to my 888... I sold it and bought the Octo's and digital cards"
Jason Novak, Manga Video/Palm Pictures, USA

As a service provider for mobile productions we are involved in live recordings for broadcast and cd productions. Two OctoPre are used mostly for input expansion for our Yamaha desks and for direct recordings without mixer. Regarding our new OBvan with two DM2000 desks we are planning to expand our OctoPre inventory.

The units providing on smallest room and for a very attractive price a very high functionality. The OctoPre is small, leight-weighted and 96 kHz compatible - if external remote of the parameters is not needed we think that there isn't an alternative in this price region."
Stefan Heinen, StudioMagazin November 2002