but this is a real studio workhorse I've had it in about four different locations
now I mean it briefly in a studio in France and I had a similar desk in my
commercial studio in Twickenham where I don't have that anymore but that was a
and I used the eight outputs and the Audient surround sound module to
provide myself with a a way of doing five one and the first project I did was
2003 and four where I did a quick 5-1 mix of the old masters of the who's
Tommy again you know it's worth mentioning the story of it you know the
heritage of it it you know Dave Deardon who designed this this board you know
made a bunch of Studio consoles awhile ago maybe 20 years ago 25 years ago and
this arose from that and his experience and I've to presume a certain amount of
feedback that he got from users has created a console that it's really hard
to fault you know it's not just the the ergonomics of it the fact that
everything falls to hands so well that the you know the sweet spot here is you
know it's everything it's reachable the patch Bay is right there you know this
is a desk that you can physically work at work with music and get the feeling
of the music flowing through when I record new music if I'm recording adding
anything piano or bass or anything like that I would I would go to this row of
faders here this is literally the the fader that goes out to the input of the
radar so the mic amp is there it goes through here through the EQ if you wish
or not if you don't wish up through here and that's your level down to tape and you can
flip that and now all my tracks are coming back here and
my inputs would be back through there so that the actual you know you've got
two methods of working now the interesting thing about this interesting
thing about this in-line system it's not just that you've got you know if I want
to push mix on here and mix on there I've got to faders going down to the
track I can split this EQ so that the treble and bass are assigned to this
line or and the midi to that one or vice versa
I've literally got I've effectively got two equalizers here they separate and so
I could do a really complicated analog mix with loads and loads and loads of
channels and still have a degree of control over the EQ without using
loads and loads of outboard reverb compression all available they're very
very easily on the patch Bay right to hand if I was working with a band I can
have one two three four lots of stereo cans or I can use those eight sends to
feed a cans box in which each individual will have their own control of what
feeds into it's just really really powerful elegant desk to have a desk of
this quality and this kind of capability it's quite extraordinary the grouping to
its 24 groups which is just phenomenal actually on a on a channel like
this it's just extraordinary to have 24 groups you know that you're you know so
I don't have to you know before going to happen to record on 24 I rarely reach
there but if I do let's push a button no patch cord no nothing it's all there the
desk gets me to where I want to go you know it's it's really beautiful laid out
the in line and philosophy is great and in this
particular case if you go above 36 channels you can have a patch Bay and
the patch Bay means that built in when you move this desk you put it anywhere
you've got a studio