when anybody builds a studio they are making decisions and choices I think one
of the things about a traditional studio desk like this the audience ASP4816
is a traditional desk it's grown with the systems and practices of modern
recording it's not an old-fashioned console in any way at all but I chose
them because of their elegance because they're based in the UK I when I first
bought them I wasn't certain that they would be so trouble-free they proved to
be totally drop free I've never had a single incident technical incident
with an audience despite the fact that I moved particularly the big
one I move around all the time the big one is a project studio for me so the
simplicity but mainly the in-line architecture I have to say the in-line
architecture for me is hugely important I do use tape or I use radar like a tape
machine so having inline suits the old-fashioned
way of working which is in the old days and 60th of 70s and 80s before computers
came along we used to always have a desk that had an input to the
recording medium tape and then the tape outputs will come back on the board
either either to inline or to a separate monitoring section so I've been doing
that for a long time so it kind of suits my headspace as soon as I got a mixer
which was around just just before I started on the demos for Tommy I started
to realize that the mixer is the heart of every the console is the heart of
every studio the design that Dave did and came up with many many years ago is
superb I mean they all have their characteristics the old trident desks have
a characteristic that needs the ssl they'll have their own sounds and
different people like that for different reasons I like the Audient you know I
really like it's a great but maybe transparent isn't the right word it's
actually it's a powerful tool but the main thing is if I've got my channels up
here I can immediately start to work with echo effects from the sends I think
about this desk is it's got one two three four five six seven eight sends and
and a really good EQ I can start to shape the sound as I'm working with it
what I know from my work with Oceanic might be might a commercial studio for
long times we had a big Audient upstairs
is is that you know I had a rack of mic pre so I never used them I just never
used them on banging a mic in and think well that sounds great
that's that was it and I so I love the mic amps so the pathway in and the EQ
and everything about it is is perfect for me I'm really excited about this
room and one of the exciting things that I get excited about when I come in as I
think wow you know but you know I've kind of created this it feels like when
my artist comes in it's another side ah a recording studio and I think what one
of the things that about this is is that it would fit for the price of this
console you know it's no wonder that it's used in so many educational
establishments because it is in itself an educational tool you know if you've
got one of these in your in your studio since I've had this in here I've learned
about the beauty of having a console it is a big console workflow big console
sound in a small footprint right there you know it's an amazing little board I
think calling our little board it kind of light emits a massive board it will
it will serve the old methods as I can demonstrate because I'm using a tape
machine or all serve the new methods as I've demonstrated with this as well you
know it but the one thing it does is it guides
you into a discipline and focus of a way to organize recordings so that what
matters most is the sound what matters most is the way the music sounds and the
way you organize the music if if you're happy with what you're doing with a
laptop maybe you don't need one of these but I think you know I can't live
without it