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The Konnekt 8 is equipped with two XLR mic inputs on the front that double as ¼-in. instrument inputs. These inputs automatically sense the type of signal source, which is reflected on the Control Panel application with the ?Inst? or ?Mic? designation.
The analog inputs can be used independently for recording two separate mono sources simultaneously ? two mics, two line level sources, or one of each ? or paired for a stereo source. Phantom power is provided for condenser mics, supplying 48v to either channel. Each input has a pad|instrument button, which provides -20dB attenuation and should be engaged when using a ¼-n. jack for a guitar or other line-level instrument.
There are two front panel headphone jacks with 16dBu of gain ? which is plenty loud enough, even with the output knob at halfway. One of the headphone jacks automatically mutes the speaker outputs when a plug is inserted. This is a very handy feature for multitracking with a microphone while playing back previously recorded tracks, as it prevents feedback and leakage that would occur if the monitors were not muted while recording with a mic. The other jack is conventionally wired, so that sound still comes out of the monitors even when a headphone is connected.
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| Front panel view |
The rear panel includes the two main analog outputs and S/PDIF I/O jacks for digital connectivity at up to 96 kHz. If the digital and analog jacks are employed simultaneously, four-in/four-out routing is possible. Also on the back panel are MIDI I/O connectors. The Konnekt 8 serves as a sample-accurate MIDI interface thanks to the converter quality, according to the manual. Finally, there are L-R Aux input jacks on the rear panel, which can be monitored and mixed (but not recorded) by pressing an Aux In button on the front.
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| Rear panel view |
Users will appreciate the inclusion of real knobs for controlling all input and output levels. This has multiple advantages, including the fact that it?s simply easier to adjust knobs than it is to move virtual faders with a mouse. The physical knobs also make it easy to control active monitors from the front panel, a major convenience if there?s no mixing board or attenuator in line.
Still, the Control Panel application is useful. It has faders to adjust the DAW?s main output, so you don?t have to switch back and forth between the DAW and the Control Panel. The Control Panel also provides meters showing the channel 1, 2, and S/PDIF input levels. Although these are adjusted on the hardware interface, having reference meters is a good safety check when you?re focused on the computer and haven?t noticed the hardware?s red distortion LEDs lighting up. The Control Panel is also where direct monitoring can be enabled, for monitoring recorded tracks while overdubbing on top of them with no noticeable latency. The Control Panel has more extensive functions with the Konnekt 24D for assigning and routing its effects.
There are two more important features built into the Konnekt units. One, up to four Konnekts can be linked via FireWire to function as a single unit. This makes it possible to expand the system as more channels are needed, and a combination of Konnekt 8 and Konnekt 24 D units can be mixed and matched in the network. Two, the Konnekt hardware can be used as a standalone device without a computer, making the mic pres and Hi-Z inputs accessible in a live performance situation.
After putting the Konnekt 8 through its paces, I was very impressed. It?s the best-sounding unit I?ve heard in its price range ($299 street price), and I think TC Electronic has a hit on its hands with the Konnekt product line. Highly recommended.
For more information, including a Flash presentation, go to www.tcelectronic.com/konnekt8
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