MOTU 828 interface review - MO-MO-MOTU!

MOTU (Mark of the Unicorn, that’s a great name!) has been a key player in digital audio for many years, particularly in the field of audio interfaces for musicians and sound engineers. It’s true that we at AF have rarely had the opportunity, or perhaps taken the time, to test MOTU products in depth, despite their more than solid reputation. A short test of the MOTU 828 therefore aims to fill this gap, and will allow us to take a closer look at one of the brand’s renowned interfaces.

In fact, the MOTU 828, has evolved over the years to become a benchmark interface for the brand. In MOTU’s current range, the 828 interface represents the solution for those seeking an interface with numerous inputs and outputs, ranking just below the MOTU 1248 but without the option of digital networking via AVB technology, which is one of the American brand’s distinctive features. Enough introductory remarks, let’s get on with the test!

Connections and functions of the MOTU 828

Before pointing out what caught our eye, we’ll start with a quick, objective description of the device. On the rear panel, from right to left:

• First, there are four 6.35 mm (1/4-inch) TRS jacks that form a send and return pair (SEND & RETURN / MIC INSERT 1 & 2) for inserting an external effect into the audio chain of the first two mic preamps. We’re off to a pretty good start, because this kind of detail is quite rare today on the interfaces we test in this price range.
• Then there are 10 line-level inputs (LINE IN 1–10) in 6.35 mm (1/4-inch)  TRS jack format. That’s pretty generous!
• Just after, we find the main line-level outputs (MAIN OUT (A) – LEFT / RIGHT) in XLR format for connecting the interface to monitor speakers or a main broadcast system. Here, too, the XLR format is quite remarkable, as TRS jacks are generally used on competitive units. We’ll come back to this detail later.
• Then come the 10 line-level outputs (LINE OUT 1–10)  on 6.35 mm (1/4-inch) TRS jacks, here too it’s generous, and, what’s more, the outputs are DC-coupled for sending control voltages (VC).
• A foot control input (FOOTSWITCH on a 6.35 mm (1/4-inch) TRS jack) that can be used to trigger functions in the software or on the interface (e.g. talkback, playback, etc.). It’s unusual, and here too it’s well thought out.
• MIDI input and output (MIDI IN / OUT) on DIN 5-pin socket.
• S/PDIF input and output (RCA format)
• Optical A and B input and output (TOSLINK format). Each port can carry up to eight audio channels in ADAT.
• A BNC format input and output for the clock (WORDCLOCK IN / OUT) to ensure synchronization with the rest of the digital chain.
• Then the connection to the computer on a USB-C port (compatible with USB 2.0 and 3.0) and the IEC power connector, to connect the device to the mains.

Let’s move on to the front panel and, this time, let’s read it from left to right: 

• First, two XLR/jack combo inputs (MIC/LINE/INSTRUMENT 1 and 2) for microphones, instruments (guitar/bass) or line sources. Each is equipped with a PAD button to attenuate the input signal, a switch to activate 48V phantom power and, of course, a gain knob.
• Two headphone outputs in 6.35 stereo (1/4-inch) format, each with an independent level control.

• A/B control section: a set of buttons to manage routing and monitoring. Specifically:

– AB ON: activates A/B switching.
- A / B: selects the active monitor pair.
- MUTE: mutes main outputs.
- MONO: switches outputs to mono.
- TALK: activates talkback microphone.

• Next to this is the usual multifunction color LCD display. It displays input and output levels with digital VU meters and visualizes routings, effects, etc.
• It’s accompanied by a navigation/menu section with a small clickable navigation wheel for selection and MENU, BACK and SELECT buttons for parameter navigation. This is an important point, as these tasks are often assigned to the main encoder, the one used to set the monitoring level. Here, audio and navigation controls remain independent. It’s a detail, but an interesting one.
• We finish with the main output volume encoder and the device switch button. And there you have it!

What can we say about all this? An important first point, and one that you may have noticed, is that we’ve already managed to raise several positive aspects just in a list that was intended to be “objective”. So, of course, we could point out that the device offers numerous inputs and outputs, both analog and digital, but this is expected in an interface of this price range.

To keep things brief, let’s say that at this level (of quality and price), the 828 is well within the current offer. As far as I/O is concerned, if there are any differences, they will correspond to what you fundamentally need: the Antelope Discrete 8 Pro Synergy Core has more mic inputs and reamp outputs, but no effects loop; the Arturia AudioFuse 16Rig has more line inputs, but only one headphone output and no footswitch, the RME Audio Fireface UCX II has the DURec function (recording directly to USB memory media) but not as many inputs or outputs. In short, these are differences that buyers need to be aware of to distinguish what will best suit their needs. But it’s also, from our point of view, what makes the 828 sit comfortably in its range, because what it offers doesn’t have to suffer in comparison.

To focus on a few particular points, we’ll note that we particularly appreciate the presence of two headphone outputs, a footswitch (handy for talkback, for example, or to cut the DSP reverb between takes, for better communication between the booth and the studio), an independent encoder for navigating between menus and the A/B system that makes it easy to switch from one listening system to another. The use of XLR monitoring outputs is interesting. Manufacturers usually avoid it for obvious space reasons, but the XLR format is, in my experience as a technician, more solid and durable than 6.35 mm (1/4-inch) jack, and its safety clip system generally makes it superior in situations where you won’t be regularly plugging and unplugging the connection between devices.

So much for the physical hardware, let’s move on to the digital.

MOTU 828 control software: routing, mixing and integrated effects

The software supplied with the interface is excellent. Not only is it packed with features, but despite this, it manages to retain a readable user interface and clear architecture. The first page, called “HOME”, is a kind of equivalent to the front panel of your interface. A second tab, “DEVICE”, lets you set common elements, then follow the I/O tabs (INPUTS and OUTPUTS) and seven tabs allowing you to create seven different mixes, distributed over the five pairs of line outputs and the two headphone outputs.

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It’s impossible to list everything here, so we’ll focus mainly on the most critical aspects:

• The ability to parameterize talkback (broadcast level, mix attenuation level during talkback, type of trigger – temporary or fixed – and selection of mixes to which it is sent.
• The ability to manage from the HOME tab, the direct monitoring of any input or set of inputs to any output, in the form of a matrix.
• The “Optical Expander” function in the DEVICE tab, which will route all analog inputs and outputs to the two optical inputs and two optical outputs.
• The ability to choose ADAT or TOS format for optical connections, and this independently for inputs and outputs!
• The ability to add the USB returns you want to your mixes (for example, returns 1/2 on the main mix, returns 3/4 and 5/6 on the headphone mix.). À la carte!
• The networked control function that lets you take control of the interface’s software system from a tablet.
• The ability to choose whether the overall monitoring level applies to one, two, three — or even all outputs together. Handy for immersive mixing.
• The ability to send any mix, but also any input, analog or digital, solo to headphones, or even the “wet” mix of the built-in reverb, thanks to a simple drop-down menu. The same goes for the loopback.
• The ability to apply, on each input, and in real time, equalization (4 parametric bands), a gate and a compressor. In addition, each mix benefits autonomously, from equalization (3 parametric bands) and a reverb on the master.

We’ll stop there, but it’s clearly a lot.

Measured audio performances of the MOTU 828 (latency, THD, dynamics)

First of all, the MOTU 828 works with a maximum resolution of 24 bits/192 kHz. A quick look at RTL Utility tells us that the actual latency is as follows:

To test the interface, we ran a benchmark with our trusty APx515 from Audio Precision. As usual, we publish the results obtained in THD, THD+N, channel deviation and IMD (except for the headphone output), then the amplitude response of each measured channel. For all configurations, I adjust the gain to obtain the best possible result.

Dynamic range: 105.3 dB (AES-17, A-weighted)

1 – Let’s start with the line inputs: 

Deflection: ±0.1 dB (reference frequency: 1 kHz)

THD+N : – 98 dB / THD : – 105 dB (@ 1 kHz)

Intermodulation distortion: – 96 dB (SMPTE type, @ 1 kHz)

In amplitude, we measure: 

2 – Let’s move on to the microphone inputs:

Deflection: ±0.15 dB (reference frequency: 1 kHz)

THD+N : – 105 dB / THD : – 113 dB (@ 1 kHz)

Intermodulation distortion: – 104 dB (SMPTE type, @ 1 kHz)

Amplitude:

Max gain: 65,9 dB (mic input, @ 1 kHz)

3 – What about the headphone output?

Deviation: ±0.07 dB (reference frequency: 1 kHz)

THD+N : – 49 dB / THD : – 51 dB (@ 1 kHz)

Amplitude:

4 – And finally, the line output:

Deviation: ±0.05 dB (reference frequency: 1 kHz)

THD+N : – 98 dB / THD : – 110 dB (@ 1 kHz)

Intermodulation distortion: – 100 dB (SMPTE type, @ 1 kHz)

Amplitude: 

FAQ

Is the MOTU 828 compatible with DAWs such as Ableton Live or Pro Tools?

Yes, it is compatible with all DAWs supporting the Core Audio (macOS) or ASIO/WDM (Windows) standard.

Can the MOTU 828 be used without a computer?

No, it requires a computer for advanced routing and access to DSP effects via the control software.

Are the built-in effects usable for recording?

Yes, DSP effects (EQ, compressor, gate, reverb) can be applied directly to inputs, ideal for monitoring with processing.

Is the Loopback function available?

Yes, the MOTU 828 lets you route internal computer audio for streaming or system capture uses.

Is latency low?

Yes, the measured latency is very low, well suited to demanding uses such as live gaming or studio captures.

Technical specifications

• USB-C audio interface (USB 2.0/3.0 compatible)

• Maximum resolution: 24 bits / 192 kHz

• 2 mic/line/instrument inputs on XLR/jack combos with gain, pad and phantom power

• 10 balanced line inputs on 6.35 mm (1/4-inch) TRS jacks

• 10 balanced line outputs on 6.35 mm (1/4-inch)  TRS jacks (DC-coupled)

• 2 main monitoring outputs on XLR connectors

• 2 independent headphone outputs with separate volume

• Insert/send/return on the first two inputs

• S/PDIF input/output (RCA)

• 2 ADAT optical inputs/outputs (up to 16 channels)

• Word Clock input/output (BNC)

• MIDI input/output (5-pin DIN)

• Footswitch input (TRS jack)

• Multifunction color display with dedicated navigation

• Browser-based mix and routing software

• 7 independent internal mixes with EQ, compressor, gate, reverb

• Network control via tablet or browser

• A/B monitoring with talkback function

• Loopback function and real-time DSP effects