Audient is calling the EVO SP8 “the mic preamp of the future”, and says that it’s the perfect I/O expander for your audio interface
Need to record more instruments simultaneously? This could help
If you’re looking to expand the I/O on your current audio interface rather than buy a new one, Audient wants you to consider its new EVO SP8. Billed as “the mic preamp of the future”, this is an eight-channel box that could come in very handy when you want to take on larger projects such as recording a full band.
The SP8 offers eight mic/line inputs, eight line outputs and 2 x ADAT I/O. As with other EVO products, it also includes Audient’s Smartgain feature, which enables you to set the appropriate gain level automatically just by pressing a button. What’s more, you can do this for all eight channels simultaneously.
“If you’re expanding your current non-EVO audio interface, you get up to eight channels of simultaneous Smartgain with SP8, which not only takes the guesswork out of setting your levels, but also saves you time,” says Audient/EVO marketing director, Andy Allen, adding that “If you are pairing two SP8s with your EVO 16 then you have Smartgain on all 24 channels!”
The SP8 includes a high-res, full-colour LCD screen that promises a wide viewing angle. This promises to intelligently display the most relevant information, and everything can be controlled using a single, centralised knob. The display also gives you the option to view the currently selected channel’s status and to show metering levels.
Each of the EVO mic preamps offers 58dB of mic gain and 121dB of dynamic range. The EVO SP8 is designed to sit nicely on your desktop, or can be situated in a rack using the optional ears.
The EVO SP8 is expected to ship in the first quarter of 2023 priced at $499/£399/€499. Find out more on the Audient website.
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I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it.
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