Create a Logitech ID to save all of your Logitech Capture settings in a profile. Adjust your layout, apply transitions, and personalise the look of your video content. Download Logitech Capture Video Recording & Streaming Software for Mac and PC.It's also great for recording video games and more.Mac Apps for Video Capture. You can use it to capture your entire desktop or a specific region, application or window. Movavi Screen Capture Studio is the video recording software, which has all the tools you will need to capture a screen on the computer and edit your recordings. Movavi Screen Capture Studio. Hundreds of studio-quality effects for processing audio and MIDI.The Roland Studio Capture offers a very generous amount of analogue I/O and an unusually high level of digital control.TOP 8. Offering a full multitrack audio and MIDI recording, editing, processing.
Built natively for the new M1. IShowU Instant Awesome realtime screen recording for macOS. Built natively for the new M1. I've lost count of the number of Firewire interfaces I've used that have eight mic inputs, eight or 10 line outputs, and a bank or two of ADAT digital channels for expansion.Capture all audio from your mac. When Firewire established itself as the de facto standard for multi-channel audio interfaces a few years ago, there was a strong tendency towards uniformity in the products that rival manufacturers developed — perhaps because most of them were using the same handful of different chip sets. Capture game footages, webcam feeds. I want to capture the sound from Studio One to OBS but i dont know how to do that.It's not only in matters of I/O count that Roland are innovating. Drawing on their popular Octa Capture which, as the name suggests, did offer eight analogue ins and outs, the Studio Capture packages 16 analogue inputs and eight outputs, along with S/PDIF and MIDI I/O, into a smart and compact box.Ground Control Free Audio Router for MacOS Loopback Soundflower. Roland are the latest manufacturer to break out of this particular mould with the new Studio Capture. Although there are a few that adhere to the established eight-in/eight-out format, there are also plenty that don't conform. IShowU Switcher multi scene recording & streaming tool.These days, more manufacturers are moving to USB2 as a connection protocol, and it's striking how much more diverse the resulting products have become. The one down side of its compactness is that it uses an external DC power supply.As you can see, things are pretty crowded at the back of the Studio Capture in fact, there isn't even room for an IEC mains connector. It feels very solidly constructed, and I'd have no qualms about taking it out on location. From the point of view of its physical design, it's a truly lovely piece of engineering, which manages to pack not only a lot of I/O and a fair number of controls into its small case, but also incorporates very clear five-segment LED meters for all 16 inputs. PhysicalThe Studio Capture is two rack units high, but little more than 11 inches wide, although it comes with some very solid metal brackets that can be bolted onto the side if you want to rackmount it. These parameters include mic preamp gain, and thanks to its 'Auto-Sens' technology, the Studio Capture will even set gain levels for you if you ask it nicely. Apart from the volume knobs that control the main monitor output and the two headphone outs, every parameter can be adjusted either from the front panel or from the attached computer, and stored and recalled for later use. Studio Capture Drivers And ControlNaturally, the control panel offers a larger and more colourful overview of proceedings, but the Studio Capture's 128x64 front-panel LCD conveys a surprising amount of useful information and is generally very clear, despite its small size.Below the meters, each of the 16 inputs has its own selection button with associated red LED. Any changes you make using the front-panel controls are reflected on-screen in the control-panel software, and vice versa, so you can move between the two with confidence. This can be defeated using a small slide switch on the rear panel if you're using an external monitor controller.The Studio Capture is not a class-compliant device, so drivers and control-panel software need to be installed from a supplied CD-ROM. One feature I like is that the first pair of outputs are not only duplicated on jacks and XLRs, but have a front-panel Level control that works in the analogue domain. ![]() It would be more useful, albeit more expensive, to have analogue high-pass filters before the A-D converters, so that unwanted low-frequency energy doesn't rob you of your headroom.The dynamics are also digital, and within the main window they present only threshold and ratio controls, although an optional floating window gives additional parameters such as attack and release times. The high-pass filter is implemented in the digital domain, which, as far as I can see, means that you might as well switch it off and use your recording software's EQ to do the same job. (Using the stereo S/PDIF digital input deprives you of analogue inputs 15/16.)The Studio Capture's Control Panel software lets you configure its mic preamps and dynamics. Inputs 13-16 are dedicated line inputs on quarter-inch jacks they don't appear within the Preamp window, but you can open a small floating window offering nominal +4dBu, -10dBV and -20dBV sensitivity settings. Phantom power is individually switchable per-channel, which is nice, and according to the specs, a total of 50mA can be supplied across all 12 preamps. How does revolve command work in autocad 2014 for macAfter a few seconds, the Studio Capture analyses what it's just heard and sets the input gain appropriately. Given that a digital compressor can't protect you from clipping the A-D converter, and that most DAWs have more sophisticated dynamics built in, I can't see why you'd ever really want to use these.What, then, of the Studio Capture's Auto-Sens technology? The idea is roughly as follows: you plug a microphone in, point it at a musician, hit the Auto button and have them play the loudest part of their performance. In other words, if you switch on the compressor or gate, your signal will be recorded compressed or gated. A simple built-in reverb is available in monitor mix 'A' only, in case your performer wishes to hear it in his or her phones. A small floating Patchbay window lets you choose what is heard at each of the five output pairs (the headphone bus is treated as an additional pair), so you could, for instance, have the first two output pairs and the headphones sharing monitor mix A, while outputs 5/6 hear monitor mix B and outputs 7/8 directly pick up an output pair from software such as a click track. The other page of the control panel provides either a single monitor mixer, for situations in which flexibility takes second place to simplicity, or four separate ones labelled 'A' to 'D'. However, this can be switched to a more conservative 12dB (or a living-on-the-edge 0dB!) if you prefer, and you can of course make manual gain adjustments after Auto-Sens has done its work, or, indeed, set the level yourself.The Studio Capture software's monitor mixer page. By default, Auto-Sens sets the input gain so as to leave only 6dB headroom before clipping, which would be little enough to make me uneasy in many circumstances. It's clever enough to realise that gain for stereo-linked channels should be set identically even if the channels receive different input levels, and that it shouldn't ramp the gain up to the maximum +58dB if no signal is detected. However, when I tested real-world latency using Oblique Audio's RTL Utility, the figures I obtained were surprisingly poor: with the buffer size set to 256 samples, for instance, the actual round-trip latency measured a whopping 1278 samples (29ms) at 44.1kHz.After this review appeared in the print edition of Sound On Sound, though, Roland supplied a second unit for testing, and under their direction, I was able to achieve considerably better results. ConclusionsRoland's promotional material for the Studio Capture makes considerable play of its "High-performance VS Streaming driver technology” and "industry-leading low-latency USB performance”. At the highest of these, you lose half of the inputs and outputs, but full functionality is retained at 96kHz. The first of these has its own front-panel control beneath the Studio Capture's display.The Studio Capture supports sample rates up to 192kHz, but, oddly, multiples of 44.1 are not available, so the full list comprises 44.1, 48, 96 and 192 kHz. Roland tell me that they will be improving their documentation, and that future versions of the driver will be optimised by default for best performance under ASIO rather than WDM. This is not mentioned anywhere in the documentation, and runs counter to the similar-looking features in other interface drivers I've encountered, where such options invariably reduce CPU load by introducing additional safety buffers and thus increasing latency.With this box ticked, my RTL measurements were broadly in line with other USB interfaces I've tested, and unlike many, the Studio Capture was happy to function in my system at its lowest 32-sample buffer size, with the round-trip latency measuring 5.2ms at 44.1kHz.
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