Known for its iconic bass synths and drum machines, the Japanese company Roland has been a staple in the music production equipment industry since the early 1970s. A pivotal contributor to the development of MIDI, Roland is one of, if not the most influential company when it comes to electronic music.

Despite Roland's well-established popularity, Roland audio interfaces have yet to catch on even though Roland has been manufacturing them for at least 14 years. However, don't let the lack of popularity disgruntle you, as Roland audio interfaces are durable, high-spec, and pretty good value.

Roland offers audio interfaces for any level of music work, from budget-friendly entry-level interfaces suitable for podcasters and aspiring musicians to proessional studio-level interfaces for full bands, medium-level orchestras and everything in between.

That said, without further ado, let's review the various Roland audio interface models available and see which one best suits your needs.

The Rubix Trio – A Model for Each Level

With the discontinuation of the -Capture series (aside from the STUDIO and OCTA-CAPTURE models), Roland released the Rubix series audio interfaces. The Rubix series consists of three models, named by the number of their inputs and outputs: The Rubix22, Rubix24, and Rubix44.

The Rubix22 is an entry-level audio interface, though it does feature plenty. It offers a very sturdy build, up to 24-bit/192kHz high-resolution audio support, two low-noise inputs for mic preamps with XLR combo jacks, line, and instrument, a shielded metal chassis, and universal ground lift that silences the 60Hz AC hum. It also has MIDI I/O and class-compliant USB support, making it a perfect option for iPad-based musicians.

Besides two extra outputs, the Rubix24 offers the same as the x22; however, it also includes a hardware compressor/limiter that boasts a dynamic processor that prevents clipping and unwanted distortion. 

Lastly, there’s the crème de la crème, the Rubix44. As the numbers suggest, the x44 features four combo XLR jack inputs in pairs of two with one and three Hi-Z switchable, +48V phantom power options for condenser microphone input and input rotaries for all four inputs.

Additionally, all inputs and outputs have controls for the built-in compressors. On the back, you have four TRS outputs and switches for compressor, limiter, headphone source, loopback, and ground lift. You don't get much in terms of software, though, with only Ableton Live Lite included. 

As for pricing, the Roland Rubix22 comes in at $170 on SweetWater, the Rubix24 at $230, and the Rubix44 at $350.

The Roland UA Duo

If you're an aspiring DJ or producer, either of the two Roland UA models should be suitable for you. They offer the best in monitoring and playback signal quality, as well as a beautiful mix of durability and design.

The Mobile UA is made for sonic precision, with PCM and DSD support (up to 352.8 kHz and 5.6 MHz, respectively) and 32-bit floating-point PCM audio from your DAW. Further enhancing your listening experience are 2.8 or 3.1 MHz DSD audio sources, allowing for high-res audio playback with no resampling. 

Another piece of software contributing to the Mobile UA is Roland's S1LKi audio engine, which enables DA conversions under almost ideal conditions, no matter the sampling rate. It also boasts two channels of 158 MW headphone output at 40 ohms, removing the need for a mixer or external headphone amp in high dB situations. Other features include ASIO and Core Audio support, low-latency streaming, and a compact build weighing only 130 grams.

A step up from the Mobile UA is the Super UA, which features the same PCM and DSD support and other previously mentioned features of the Mobile UA but also includes up to 24-bit/192kHz recording quality and a detachable I/O module that houses two XLR inputs and two XLR outputs, negating the need for removing your mics and monitors. 

On top of the mentioned XLR inputs and outputs, you also have a ¼-inch and 1/8-inch jack for headphones. You also have illuminated buttons and a LED-collared multi-function knob for switching between inputs and outputs, and a pair of aesthetically pleasing level meters for visual aid. 

The Roland Mobile UA costs around $200, and the Roland Super UA is around $550.

Roland OCTA-CAPTURE and STUDIO-CAPTURE

For solo artists, full bands, medium-sized orchestras, and everything in between, Roland offers the two most potent of its audio interface lineup, the OCTA-CAPTURE and STUDIO-CAPTURE.

With ten inputs, ten outputs, and eight VS preamps, the OCTA-CAPTURE is a competent audio interface, to say the least. The VS preamps are the same as the ones in Roland's V-STUDIO 700 and M-400 V-Mixer. The Eight XLR inputs are for preamps, +48V phantom power, low-cut filter, phase invert, and digital compression for each channel. 

The OCTA-CAPTURE is highly compatible, supporting Windows through ASIO 2.0/WDM and Mac through Core Audio drivers. You can even link up two OCTA-CAPTURE units or one OCTA-CAPTURE and a V-STUDIO 100 or 700 on the same USB bus with no performance issues thanks to Roland's VS STREAMING. 

OCTA-CAPTURE features AUTO-SENS to simplify the input level adjustment for a fully miked drum kit or full band. This feature automatically sets the ideal recording level for each input when you activate AUTO-SENS and play your connected instrument. 

Finally, it also boasts four independent software-controlled direct mixers for creating custom monitor mixes. The mixes can then be assigned to any analogue output and utilize the 40-bit DSP processing for headphones, speakers, or recording devices.

If ten inputs and ten outputs aren't enough for you, Roland offers the massively capable flagship 16 input, ten output STUDIO-CAPTURE. It features MIDI (with FPT) and coaxial I/O, 12 premium mic preamps, 24-bit/192 kHz audio quality, individual metering and input channel buttons, XLR monitor outputs with dedicated level control, dual headphone outputs, and 2U rackmount ears—pretty much everything the OCTA-CAPTURE can do and even more. 

Twelve inputs are XLR/TRS combo inputs that support phantom power, a low-cut filter, phase invert, and digital compression. The 12 XLR mic inputs can also be used as balanced or unbalanced 1/4-inch line input. Inputs 13-16 have dedicated TRS jacks, and inputs 15 and 16 can be used as coaxial digital inputs. 

Lastly, the main stereo outputs are mirrored on XLR jacks, while eight analogue outputs are provided on TRS jacks. 

You can get the OCTA-CAPTURE for $640, while the STUDIO-CAPTURE costs around $900.

Final Thoughts

Roland truly offers an audio interface for any use and occupation, and no matter which option you opt for, you'll undoubtedly get what you paid for and more. For entry-level aspiring musicians, the Rubix22 and Rubix24 are fantastic options. If you want something more professional, the Rubix44 and OCTA-CAPTURE are your best choices.

As for heavy-duty work, you can definitely depend on the STUDIO-CAPTURE and OCTA-CAPTURE. Last but not least, if you're an up-and-coming DJ or producer, the Mobile UA and Super UA audio interfaces are perfect for you.