After having a period of 3 years without a console, I couldn't imagine tracking bands without one! Headphones, and just the simple act of seeing all your basic tracks in front of you on faders is so much more natural...nice work as usual!
We have an 8024, amazing how similar the console is, they really haven't fixed basically any of the problems you mention in your conclusion though, I have the same gripes!
Plus when a studio has a console it creates that vibe, and it's hard to put a dollar figure on that. I remember the first time I recorded in a commercial studio and seeing a console full of a thousand knobs I was impressed and it put me in a let's-get-down-to-business mindset.
Great rundown, also fantastic job with the song! You are a wonderful engineer and musician and it's always pleasure watch your reviews and hear your thought's about the gear you are using. Informative and top quality stuff! Keep up the good work!
Hey Thomas! :) thanks for the suggestion, but it’s unlikely that would be useful for everyone watching. It’s very dependant on your setup, and how you want to integrate the console into your setup. :) I’m happy to do a zoom consultation and figure out what is best for your use case.
I came up using consoles and tape in the 90's and early 2000s but I was ultimately won over by the modularity of a piecemeal setup. I completely understand the freedoms and workflow efficiencies you're describing and yet I felt a great deal of resistance watching this and imagining myself going back to a console, myself.
That’s the best part about pro audio these days, you can pick how you want to build your setup. The console workflow works for me in my space. I’ve been bouncing back and forth recently wondering whether or not I should move back to a more modular setup, but the cost of creating that setup, with the same functionality, is a little prohibitive currently.
Alec, related to your comment about the control room monitors out put not having a separate gain control (separate from the main volume control), you can connect your monitor to one of the Alt monitor outputs instead of the main monitor output. That would give you what you want.
I don't know how many times I've watched this video of yours about this console. Truth be told I'm kind of obsessed on getting my hands on one of these consoles, specially now that Audient's decided to upgrade it with the Heritage Edition features. I know a console investment is high cause the cabling is often overlooked but since you got the console, in what aspects have you noticed an improvement in workflow? Also, I'd love to someday watch a video of yours on how do you setup the console for tracking and mixing within your DAW. I personally give myself an idea of how that should be done but I'm such a visual person that I need that reference in front of me. Great video Alec! Regards from sunny Spain!
All of the improvements that I listed in the video are still valid today. :) faster workflow, advanced routing and of course a great open tone. Having 16 mic pre’s and EQ’s as well as a solid monitor section has really helped me not have to invest into each piece individually. Sure thing! I can do that in the future, although these days I don’t mix on the console anymore.
@@dougleydorite I’m working a lot from home and on videos. If I’m out the country and someone needs recalls, I can’t do them with my old workflow. I do miss the sonic ease and time of my analog mixing setup, but convenience and availability became too much of an issue.
I’m not sure if I will do a video specifically on the consoles eq at this point in time. What I can tell you is that I adore it, it’s been the secret sauce on almost every vocal I have recorded. The two mid bands are super powerful and musical. The shelves always seem to do exactly what I need them too. Combining the low cut with the low shelf really gives me some powerful creative options. :) I hope this helps.
I'm drifting toward wanting one of these. Ideally I'd get an MCI JH-536, because transformers, more vibe, single channel modules, and more inputs for use with a tape machine as well - but they are so hard to find and every one of them is a big project to maintain. This seems to make sense from a modern reliability end, and the price is right... but I really would be sold if there were 8 more channels (16 more inputs), and if it was known for having a little more vibe to the sound. Plus a built in patchbay would be great, although I can wire up one from this of course and build a larger desk around it for that.
You can check out their larger consoles for all of those requirements! :) the newer ones have some really great master Buss transformers and tone controls. With the addition of a couple more AUX busses and the option to have digital faders too.
Alec I have an Audient 4816SE. Out of curiosity I spent a few hours comparing the SSL Origin16 ($36,000) to the 4816. A few observations. Overall the specific control layout varies a fair amount, but the underlying functions are pretty similar. Overall, the Origin have some nice additional functions but it is quite a bit more expensive. The Origin does have 0 dB unity switches for all short and long faders. The Origin has an insert switch for the master bus insert. The Origin has two headphone jacks. The Origin has 70 dB gain for the mic input. The Origin used sub D 25 connectors for almost all inputs and outputs, which I do not like. Both have 2 cues, but the Origin has only 4 auxes, instead of six. The Origin does not have the linking function. Each has 4 stereo returns with almost identical controls. The studio/live room functions are comparable. The Origin has no separate trim controls for the 2 aux monitors. The are very similar in size. The EQ's are very similar. The bus compressors are very similar. Both have an internal PSU. Faders are the same size Origin has a solo clear function. Other solo functions are similar. The Origin's knobs have less play. The Origin does not have the terrific overlay that that Audient uses. The faders are similar and the same size.
Just bought a BiG SiX, but already preparing the future, thinking about getting a console, the 4816-HE perhaps. If I understand well the 4816 does *not* have direct outs. One would use the insert sends to overcome this hurdle. But you're using them for your headphone mix system. So, my question is simple: how do you track the individual channels? I'm left puzzled... ;-)
It does not have direct out, but you can route each Chanel to the buss outputs. You have 16 buss outputs. :) this means you can send more than one Chanel to one output. It’s really a lot better that individual outputs. :) I have covered this in the video I think.
@@alecbrits I see. That indeed works. On my side I preparing routing plans, and mind-testing them. Maybe my way is stupid, but here's how I would use a 4816 for tracking (16 mics). Every channel input is set to LF = mic, and SF = Daw. I would connect the buss 1-8 sends to the inputs of 8 of outboard gear (my inserts), along with busses 9-16 outs to 8 more channels of outboard gear. The return of these outboard modules (16 outs) are actually connected the DAW inputs (the small faders). This allows to route any mic to any or the 16 outboard modules (the group routing actually becomes your patchbay). I would have 16 instruments on long faders and 16 module returns on the short faders (clean layout). What does this buy me? All insert sends (32 of them) are clear, and can be used as direct outs... Is this sutpid, or might this work?
@@68Snaps it could work for sure. But I am perhaps a little more simple, I like using a patchbay to deal with my routing possibilities. I would reach out to Audient/your dealer and see what they say about your routine ideas. :)
Great video! would love to have one of these in the future. Do you have any videos of you using the console live during tracking or mixing? Just curious to see your work flow and the console in action.
Thank you! :) I don’t have any full tracking session videos yet. The main issue there is that when I’m working with an artist, they own the material that is being recorded, so it’s a bit of a licensing nightmare. That’s why I write original tunes for each of the videos. In the future, I may bring in some players and we can track one of my tunes live.
Absolutely love your content Alec, I have been thinking about getting a Audient 4816 for my home studio... I want to invest "once off" and get the best 16 Channel (+ a few more) console and never look back, I record mostly singer songwriter music with percussion, shakers etc. using a variety of top notch microphones, I have a office on the lower level of my home (lets call it the control room for now)… recording happens on the 2nd floor (actually my lounge) that has been acoustically treated... the room sounds amazing, so I basically run a 50 foot snake cable with 16 x XLR's up the stairs from my current set up , I could do much the same when connecting my microphones to the 4816... I was wondering, what Audio Interface do you use when connecting your 4816 to your DAW? I use Pro-Tools... the cabling a connecting aspect does seems QUITE THE TASK, or would this be quite simple for my setup? I live in South Africa (Johannesburg) people with deep knowledge on this is few and far between 🙃 besides my mate in Cape Town (Theo Crous) who is a AWARD WNNING Record Producer / Engineer
Hey Henri! :) thanks so much for the kind words. The Audient here is all connected by patchbays to 2 Apollo X16’s. They do a great job. 32 in and out really allows for freedom and full use of all the ins outs of the console.
Another great video. Really enjoying your holistic approach and hearing the impact different things are having with each upload. I would love to hear a side by side comparison of a song tracked with all Audient Pres on one take, and all API on a separate take. Mainly to see how a higher end pre like the API can impact the final outcome of a mix. Even better if you took it a step further and included Audient EQ on the Audient track and API EQ on the API track.
Hello! Congratulations on your great TH-cam channel. I have a question for you: could you make a video on how you do the automations in your daw having a console? From what I understand you do everything pre eq pre comp. In that case, what you alter is your level entering the compressor. Correct? Thank you! Greetings from Argentina.
Hey El Ruso! Thank you so much. There is not much to explain from my use case, the console is set at unit gain, I don’t use the faders/EQ for for mixing. I automate my sends pre analog compression (I don’t really use much analog compression while mixing for this reason) I mostly use analog EQ on the group faders and the master output fader. I use a DBX160VU as a bass parallel compressor on the group faders. That’s about it. The master buss compressor on the desk is always on, but never shows any gain reduction, I really like the tone of it, that’s why I stays in. Hope that helps!
I keep coming back to this- I wanna work up to having an inline console like this one day. One thing I'd love to know is if you've thought about creative uses for conversion and I/O? It crossed my mind that with proper cabling, you could use daisy-chained Apollo x16s and/or an x8 to make yourself a virtual patchbay and use the UAD console to processing during tracking and mixdown. It'd make recall a breeze, too, since you'd just have to set the console and open up a daw session!
Thanks for commenting Nkozi! :) I use two Apollo X16’s with the console and absolutely love using the UAD processing in conjunction with the Audient. It’s a great match that allows me to integrate both hardware and UAD processing effortlessly! :)
Hi!! I´m wondering if you could, by some way, compare the work in this console, versus a high gama digital console, for example, a A&H SQ7. Not just the work flow, but the final audio results. Have you experienced something like that?
Thank you so much for the idea, unfortunately the logistics and use cases do not line up with my current roster of videos! :) hopefully someone like Dave Ratt might be able to set something like this up.
Alec…now that you’ve had this console for a bit. What are your thoughts now? I’ve got my eyes on the Heritage Edition of this console. Are the preamps Neve-ish? How happy are you with this now that you’ve done a few projects on it?
Hey Charles! :) the pre’s are very clean. Nothing like a Neve. The new heritage has transformers only on the master buss. With some additional tone shaping options. :) I’m a huge fan of this console, it’s clean, reliable and very easy to use. Perfect for me and anyone who hires the room from me.
Alec, do I correctly understand that you have each of the sixteen channels go to each of the headphone amplifier for each artist so that an artist can control how much of all sixteen channels he or she hears? How many headphone amps do you have? What brand/model is it?
@@alecbrits Hi Alec, Just wanted to say thanks again for recommending Guy @ the Chunky Studio Furniture. I collected my bespoke piece today from his workshop in Devon. Delighted. :-)
About that quite signal, Some analog consoles do need more hotter signal on the way in. But perhaps it’s about time to re-calibrate or do some inspection on each channel?
Ya! I run the console pretty hot. The apolllos are calibrated to +24, so it’s all good. I think that there have been a couple of voltage spikes earlier in the warehouse that may have resulted in a little bit of deviance in the channels. Either way, it’s going in to be serviced and modified soon!
Hey Alec! I recently got a really good deal for a used ASP4816 in mint condition and I'm currently trying to set it up. I'm having issues with patching the inserts and returns of the Group channels and the Master L&R. The way I have them patched is to a patchbay in "Non-Normalled" mode and this works fine for the channels, but when sending things to one of the 4 stereo Group buses, the bus does not receive any sound and the Master works only in solo mode or if I insert external processors to it. I'm assuming that the inserts & returns on the Groups and Master have a different configuration internally in the ASP4816 than the channels, since I disconnected the cables going to the Inserts & Returns and the groups and master now work fine. Would you happen to have any experience on this topic? Thanks in advance and, of course, suscribed for a long time now :) Santi
Congratulations on your purchase Santiago! I’m not 100% sure how to diagnose the issue that you are having with the console, it may be a routing situation either with the Mix buttons, or the routing switches at the top of the desk. I’m not too sure. Might be best to get in touch with Audient customer support for this.
Hello Alex, thanks for this great video, If I understood properly your Stereo return patching explained at 7min of your video, you're using 8 I/O for Hardware insert then insetting this insert on different Aux Bus in your Daw then you need another 8 unused analog out channel to enter in your 4 Stereo analog Return ? So basically it needs 8 IN + 16 OUT ? :) Also I imagine you're automating each Aux bus fader ? thanks a lot
Hi! :) thanks for commenting. I use 2 out on the LA2A’s as they are two mono units. Then on the Flint and Bam I use a mono channel on each and they convert the mono signal into stereo. Each of them then come into my stereo returns. That means that I can automate each of the sends into each of the units. :) I hope that explains it.
Alec Brits - Nice job, Alec. I read an 'ancient' 2012 review by SOS magazine which basically said it's perfect. At that time, the DAW input was an option. Is it now built in to the models shipping in 2021? Thx.
@@alecbrits I am thinking to get focusrite 2802 mixer..use to be Audient ..Do you think the bus comressor and the houl mixer is made with the same staff like the biger Audient mixers?! Thanks
could it be that the temperature variations between how things were the previous day and how things are first thing in the morning has caused the components to change their spec?
And now they have a Heritage Edition which does add the colour you were looking for. I'm not sure that it adressed your other concerns. I moved from an Apollo X8p and X16 setup to a Presonus StudioLive 32s to have a full mixer with all the routing possibilities and complete recall. But after discovering that this console exists the other day, I'm seriously considering selling as much as I can and going to Audient. Thank you for sharing your thoughts, it's useful to see what decisions others have made. And your comment about selling all your gear to get one rings true. I'm sure they end up being even more expensive in Canada due to shipping from Europe. Did you ever consider a full digital mixer like the 32s when making this decision? I wonder what made you choose Analogue Mixer/Audio Interface combo over a fully digital mixer solution. I'm not sure I'm going to be able to figure out how to afford changing my setup, and I'm wondering if I'm idealizing a fully analogue console when I already have a full 32 mic pres and more. Any thoughts you have on these considerations would be appreciated.
The Heritage does offer some of the updates I wanted, however it still does not offer unity faders which would have been awesome. I would say that you do not need an Audient at this point. My honest answer is take your time with your current setup, and get the most out of it. Once you have managed to save enough for another console then it might be the right time for that move. Selling gear to buy is very useful but often creates a little more sacrifice than reward. Purchasing the Audient was the right move for me at that time. However, the cabling and infrastructure around the console was a serious investment too. It took almost a year to bounce back from the purchase. Hope this helps!
@@alecbrits You are correct. There is absolutely no "need" I have. But the desire for classic analogue consoles is great because it's what I learned on. If I made this move, it would stickly be out of a desire for something different and a foolhearty belief that somehow it would be better. ;-) What about my other question, did you at any time consider a digital console rather than an analogue one?
The Neve is a great desk! But it does not offer the flexibility and facilities in my current business model. :) also, I think that the API 2448 is the right machine for me.
@@alecbrits Do your clients prefer the API sound? Because every demo you’ve done with the Neve stuff just sounds meant to be. Don’t know why, maybe I’m just not an API guy lol
It’s not about what my clients like. :) it’s about my preferred tone and work flow as well as what will require the least repair work done over time. I think I will always have a few Neve Mic pre’s and compressors in the studio, but not a full console. At least not at this time. :)
@@alecbrits No I understand completely :) My favorite part of engineering is how personalized it is. Anyway keep up the great work and looking forward to the videos! Everything sounds amazing!
Please tell me If one 8x interface will be enough to do the job? Connected to 8 sub group faders on the right side on the console? I must record on console preamps only synths, guitars, vocal, no drums. Great channel. Thank you very much for your work.
Hey Dominik! :) thanks for the comment. Yeah, I think it could work in that mode for your workflow. In the future you also know that you can expand comfortably if you ever need to.
@@alecbrits Hi Alec :) Thank you very much for your answer. I want to do anolog summing by console faders. To do it correctly - 8x interface is enough or I must have 24x interface or 3x16 interface? I will be recording by console preamps. You have 3x16 with ASP 4816 console if I remember well. I'm not sure if I must have minimum 24x Interface to do analog summing correctly becouse ASP 4816 have 24 all faders... th-cam.com/video/TYc091MB3u0/w-d-xo.html
@@DominikMarciniak if you want to use as a summing mixer, you will need a minimum of 16 channels. I have two Apollo x16’s for 32 in and out. That way I can use most of the inputs etc. :)
@@alecbrits Thank you :) I wonder if he doing analog summing correctly using 8x Interface and aux for effects from DAW, he have 24 faders all on the console... Or maybe this is not analog summing on this videos?: th-cam.com/video/-lbdKdKb2js/w-d-xo.html th-cam.com/video/NKF87Zb-gAs/w-d-xo.html
The console only has compression on the master buss. Each input has a possible insert where can add in external compression. :) the manual explains all this pretty well.
Hey Eidji, thanks for the comment. The Audient 4816 has the compressor over the mix output, unfortunately you cannot access the input and output of the compressor on the rear of the console.
Great video. I have been using a QU-24 for my studio work. Lately I am drooling over an analog console. Is the 4816 fully compatible with mixing in the box? I mean would it have channel banks if the mix is having more than 16 channels or do you need to sum the stems to 16? TIA
Thank you so much! The console is split into two inputs per channel, so you have 32 inputs on mixdown, an additional 4 stereo returns and you could use the 8 group returns as inputs with pan control. So that gives you a total of 48 inputs. I use the 16 long faders and then the groups have hardware inserts across larger groups of instruments/harmony. I leave the “short fader” section of the console to deal with tracking. That way I can be mixing in the morning, and tracking in the afternoon, without having to change or re-patch anything. The console is completely analog, no automation. I hope this helps!
@@alecbrits That's a smart way of working. I think leaving one for tracking and the other for mx down is always good. Just want to clarify this, does this console have a in-built sound card which you can integrate with a DAW or do you need to purchase a motu or similar external sound card to connect to the DAW? If you need a third party card, then what would be the best card that has the AD-DA converters which complements the recordings of the console. Sorry for the long question. TIA
No worries! The console has zero digital interfacing. I use two universal audio Apollo X16’s to run the audio through the console for recording and mixing. :)
@@alecbrits Thanks a lot! Now those two worth of another console . . .lol I think I have rethink about this whole thing! Going analog is so tempting but thinking about routing and interfacing with the box is simply overwhelming! Thanks for your input. Appreciate! Good luck with your work! Oh and that Fender P sound fantastic! great playing man
I've been thinking about getting an ASP4816 as well, so it's great to see your videos about it. Have you looked at the FaderMate system to replace the faders on the board with motorized faders? Being able to mix down on the board with any compression I'd like, while still being able to automate the level into the mix bus is very attractive to me. I'm just not yet sure if it's attractive enough to add another several thousand dollars/pounds to the setup... Thanks, and please keep the videos coming!
@@alecbrits It's my 3rd api console,Still leaning the ins and outs of it,Lately i been using it with my iz radar and the automation on the board ,very happy with the results
Hey Alec! I hope you don't mind. I used your song to demo my PI-3141 compressor. I think it sounds great! Check it out on the stereo mix video on my channel! Cheers.
I received my new 4816 a week ago. It is even better than I anticipated. Very high quality in every aspect.
Congrats Thomas! :)
Congratulations and wish you all the best for you and your console I too love AUDIENT consoles.
@@HarvinderSingh-yy8th thanks
After having a period of 3 years without a console, I couldn't imagine tracking bands without one! Headphones, and just the simple act of seeing all your basic tracks in front of you on faders is so much more natural...nice work as usual!
I can imagine! :) thank you so much!
Best recording/studio channel on TH-cam!! Fantastic work, please keep on going!
Thanks so much Georg! :)
We have an 8024, amazing how similar the console is, they really haven't fixed basically any of the problems you mention in your conclusion though, I have the same gripes!
Hopefully they will be updated in the future. :)
This thing sounds deep and smooth wow. It’s worth every penny.
It’s a great console! :)
Plus when a studio has a console it creates that vibe, and it's hard to put a dollar figure on that. I remember the first time I recorded in a commercial studio and seeing a console full of a thousand knobs I was impressed and it put me in a let's-get-down-to-business mindset.
It’s definitely part of it! :)
Thanks for this video, is the most in depth and straightforward about this console! Congrats
Thanks so much!! :)
Great rundown, also fantastic job with the song! You are a wonderful engineer and musician and it's always pleasure watch your reviews and hear your thought's about the gear you are using. Informative and top quality stuff! Keep up the good work!
Thank you so much!!
Great run down. Love the song as well.
Thank you Lauren! :)
I'm late, but this is a great video Alec! Great music as well!
Thank you so much!! :D
I loved your Neve OPX review and was happy to see your lovely audient console! Love Audient!
Thanks so much Robert! :)
We're always on the way to improve our workflow. Happy for you finding ideal equipment to work with. Congrats, Alec!
Thank you Arie! :)
Very good video - well organized - articulate I just ordered a new version of the 4816SE, to arrive next week
Thanks so much Thomas! Congratulations on the purchase. :)
It would be interesting if you would do a video showing you cabling in detail. Thx
Hey Thomas! :) thanks for the suggestion, but it’s unlikely that would be useful for everyone watching. It’s very dependant on your setup, and how you want to integrate the console into your setup. :) I’m happy to do a zoom consultation and figure out what is best for your use case.
Great video and great song too!
I came up using consoles and tape in the 90's and early 2000s but I was ultimately won over by the modularity of a piecemeal setup. I completely understand the freedoms and workflow efficiencies you're describing and yet I felt a great deal of resistance watching this and imagining myself going back to a console, myself.
That’s the best part about pro audio these days, you can pick how you want to build your setup. The console workflow works for me in my space. I’ve been bouncing back and forth recently wondering whether or not I should move back to a more modular setup, but the cost of creating that setup, with the same functionality, is a little prohibitive currently.
Alec, related to your comment about the control room monitors out put not having a separate gain control (separate from the main volume control), you can connect your monitor to one of the Alt monitor outputs instead of the main monitor output. That would give you what you want.
Yeah! :) very true, still would like the option on the mains.
@@alecbrits and they could have done it easily
Yep! Thank you :)
I don't know how many times I've watched this video of yours about this console.
Truth be told I'm kind of obsessed on getting my hands on one of these consoles, specially now that Audient's decided to upgrade it with the Heritage Edition features.
I know a console investment is high cause the cabling is often overlooked but since you got the console, in what aspects have you noticed an improvement in workflow?
Also, I'd love to someday watch a video of yours on how do you setup the console for tracking and mixing within your DAW.
I personally give myself an idea of how that should be done but I'm such a visual person that I need that reference in front of me.
Great video Alec!
Regards from sunny Spain!
All of the improvements that I listed in the video are still valid today. :) faster workflow, advanced routing and of course a great open tone. Having 16 mic pre’s and EQ’s as well as a solid monitor section has really helped me not have to invest into each piece individually.
Sure thing! I can do that in the future, although these days I don’t mix on the console anymore.
@@alecbritsyou don’t mix on the console anymore? Why not?
@@dougleydorite I’m working a lot from home and on videos. If I’m out the country and someone needs recalls, I can’t do them with my old workflow.
I do miss the sonic ease and time of my analog mixing setup, but convenience and availability became too much of an issue.
@@alecbrits I see. I hear that a lot, that running through a console just makes life easier when it comes to mixing.
Alec, would be great if you made a demo of the audient EQs if you ever have the time. How do you like the EQ?
I’m not sure if I will do a video specifically on the consoles eq at this point in time. What I can tell you is that I adore it, it’s been the secret sauce on almost every vocal I have recorded. The two mid bands are super powerful and musical. The shelves always seem to do exactly what I need them too. Combining the low cut with the low shelf really gives me some powerful creative options. :) I hope this helps.
I'm drifting toward wanting one of these. Ideally I'd get an MCI JH-536, because transformers, more vibe, single channel modules, and more inputs for use with a tape machine as well - but they are so hard to find and every one of them is a big project to maintain. This seems to make sense from a modern reliability end, and the price is right... but I really would be sold if there were 8 more channels (16 more inputs), and if it was known for having a little more vibe to the sound. Plus a built in patchbay would be great, although I can wire up one from this of course and build a larger desk around it for that.
You can check out their larger consoles for all of those requirements! :) the newer ones have some really great master Buss transformers and tone controls. With the addition of a couple more AUX busses and the option to have digital faders too.
Alec I have an Audient 4816SE. Out of curiosity I spent a few hours comparing the SSL Origin16 ($36,000) to the 4816. A few observations. Overall the specific control layout varies a fair amount, but the underlying functions are pretty similar. Overall, the Origin have some nice additional functions but it is quite a bit more expensive.
The Origin does have 0 dB unity switches for all short and long faders.
The Origin has an insert switch for the master bus insert.
The Origin has two headphone jacks.
The Origin has 70 dB gain for the mic input.
The Origin used sub D 25 connectors for almost all inputs and outputs, which I do not like.
Both have 2 cues, but the Origin has only 4 auxes, instead of six. The Origin does not have the linking function.
Each has 4 stereo returns with almost identical controls.
The studio/live room functions are comparable.
The Origin has no separate trim controls for the 2 aux monitors.
The are very similar in size.
The EQ's are very similar.
The bus compressors are very similar.
Both have an internal PSU.
Faders are the same size
Origin has a solo clear function. Other solo functions are similar.
The Origin's knobs have less play. The Origin does not have the terrific overlay that that Audient uses. The faders are similar and the same size.
Thanks for the insight. :)
Great! Thank you for the insight! And may I say...great musician!
Thanks so much Sebastian. :)
Amazing content, and awesome tunes every time! Thank you!
Thank you so much!!
Looks amazing
It’s a great console for sure! :)
Great video! Thanks for sharing 🙂👍
Thank you Simon!! :)
I was hooked as soon as I heard the first word and the sound was good... on an audio channel.. figure that.
Hahaha, thanks so much!
Just bought a BiG SiX, but already preparing the future, thinking about getting a console, the 4816-HE perhaps. If I understand well the 4816 does *not* have direct outs. One would use the insert sends to overcome this hurdle. But you're using them for your headphone mix system. So, my question is simple: how do you track the individual channels? I'm left puzzled... ;-)
It does not have direct out, but you can route each Chanel to the buss outputs. You have 16 buss outputs. :) this means you can send more than one Chanel to one output. It’s really a lot better that individual outputs. :) I have covered this in the video I think.
@@alecbrits I see. That indeed works. On my side I preparing routing plans, and mind-testing them. Maybe my way is stupid, but here's how I would use a 4816 for tracking (16 mics). Every channel input is set to LF = mic, and SF = Daw. I would connect the buss 1-8 sends to the inputs of 8 of outboard gear (my inserts), along with busses 9-16 outs to 8 more channels of outboard gear. The return of these outboard modules (16 outs) are actually connected the DAW inputs (the small faders). This allows to route any mic to any or the 16 outboard modules (the group routing actually becomes your patchbay). I would have 16 instruments on long faders and 16 module returns on the short faders (clean layout). What does this buy me? All insert sends (32 of them) are clear, and can be used as direct outs...
Is this sutpid, or might this work?
@@68Snaps it could work for sure. But I am perhaps a little more simple, I like using a patchbay to deal with my routing possibilities.
I would reach out to Audient/your dealer and see what they say about your routine ideas. :)
Thank you for your kind answer. I will reach out to Audient. And on a personal note, I deeply hate patchbays and anything cable related. ;-)
Great video! would love to have one of these in the future. Do you have any videos of you using the console live during tracking or mixing? Just curious to see your work flow and the console in action.
Thank you! :)
I don’t have any full tracking session videos yet. The main issue there is that when I’m working with an artist, they own the material that is being recorded, so it’s a bit of a licensing nightmare. That’s why I write original tunes for each of the videos. In the future, I may bring in some players and we can track one of my tunes live.
Absolutely love your content Alec, I have been thinking about getting a Audient 4816 for my home studio... I want to invest "once off" and get the best 16 Channel (+ a few more) console and never look back, I record mostly singer songwriter music with percussion, shakers etc. using a variety of top notch microphones, I have a office on the lower level of my home (lets call it the control room for now)… recording happens on the 2nd floor (actually my lounge) that has been acoustically treated... the room sounds amazing, so I basically run a 50 foot snake cable with 16 x XLR's up the stairs from my current set up , I could do much the same when connecting my microphones to the 4816... I was wondering, what Audio Interface do you use when connecting your 4816 to your DAW? I use Pro-Tools... the cabling a connecting aspect does seems QUITE THE TASK, or would this be quite simple for my setup? I live in South Africa (Johannesburg) people with deep knowledge on this is few and far between 🙃 besides my mate in Cape Town (Theo Crous) who is a AWARD WNNING Record Producer / Engineer
Hey Henri! :) thanks so much for the kind words.
The Audient here is all connected by patchbays to 2 Apollo X16’s. They do a great job. 32 in and out really allows for freedom and full use of all the ins outs of the console.
Alec is your music or the music you produce available on Digital Services like Amazon Music?
Hey Thomas! :) it’s not up yet, but will be releasing next year.
Another great video. Really enjoying your holistic approach and hearing the impact different things are having with each upload. I would love to hear a side by side comparison of a song tracked with all Audient Pres on one take, and all API on a separate take. Mainly to see how a higher end pre like the API can impact the final outcome of a mix. Even better if you took it a step further and included Audient EQ on the Audient track and API EQ on the API track.
Sounds like a lot of tracking! But I am working on a way to be able to record one mic into three pre’s at once. :)
since this video, have you had a chance to try out the ASP8024-HE?
Hey Jeremy!
I have not had a chance to try one out. Consoles are a bit harder to try out in a workflow! :)
Congrats! Could you make a video about the table the console is standing on? I can see wooden sides, but would love to se more!
Thank you! :) I am planning on doing a studio tour where I can talk about the console stand and all of the workflow related items!
@@alecbrits awesome! Loopings forward to it!
Great video. You are a talented fellow. Sound great on every instrument including vocals.
Thank you! :)
Hello! Congratulations on your great TH-cam channel. I have a question for you: could you make a video on how you do the automations in your daw having a console? From what I understand you do everything pre eq pre comp. In that case, what you alter is your level entering the compressor. Correct? Thank you! Greetings from Argentina.
Hey El Ruso! Thank you so much. There is not much to explain from my use case, the console is set at unit gain, I don’t use the faders/EQ for for mixing. I automate my sends pre analog compression (I don’t really use much analog compression while mixing for this reason) I mostly use analog EQ on the group faders and the master output fader. I use a DBX160VU as a bass parallel compressor on the group faders. That’s about it. The master buss compressor on the desk is always on, but never shows any gain reduction, I really like the tone of it, that’s why I stays in. Hope that helps!
great video! thanks
Thank You Samuel! :)
I keep coming back to this- I wanna work up to having an inline console like this one day. One thing I'd love to know is if you've thought about creative uses for conversion and I/O? It crossed my mind that with proper cabling, you could use daisy-chained Apollo x16s and/or an x8 to make yourself a virtual patchbay and use the UAD console to processing during tracking and mixdown. It'd make recall a breeze, too, since you'd just have to set the console and open up a daw session!
Thanks for commenting Nkozi! :) I use two Apollo X16’s with the console and absolutely love using the UAD processing in conjunction with the Audient. It’s a great match that allows me to integrate both hardware and UAD processing effortlessly! :)
Came here for the review, but gotta say nice track!
Thanks again James! :)
Thanks again James! :)
Hi!! I´m wondering if you could, by some way, compare the work in this console, versus a high gama digital console, for example, a A&H SQ7. Not just the work flow, but the final audio results. Have you experienced something like that?
Thank you so much for the idea, unfortunately the logistics and use cases do not line up with my current roster of videos! :) hopefully someone like Dave Ratt might be able to set something like this up.
Alec…now that you’ve had this console for a bit. What are your thoughts now? I’ve got my eyes on the Heritage Edition of this console. Are the preamps Neve-ish? How happy are you with this now that you’ve done a few projects on it?
Hey Charles! :) the pre’s are very clean. Nothing like a Neve. The new heritage has transformers only on the master buss. With some additional tone shaping options. :)
I’m a huge fan of this console, it’s clean, reliable and very easy to use. Perfect for me and anyone who hires the room from me.
Alec, do I correctly understand that you have each of the sixteen channels go to each of the headphone amplifier for each artist so that an artist can control how much of all sixteen channels he or she hears? How many headphone amps do you have? What brand/model is it?
I used the Behringer powerplay system. I talk about it on the studio tour. :)
@@alecbrits Thankyou
Where did you get the mixer furniture from? Looks really nice!
Chunky studio furniture uk. :)
@@alecbrits Hi Alec, Just wanted to say thanks again for recommending Guy @ the Chunky Studio Furniture. I collected my bespoke piece today from his workshop in Devon. Delighted. :-)
@@MartinVanDerSande Thats awesome! What a legend!
About that quite signal, Some analog consoles do need more hotter signal on the way in.
But perhaps it’s about time to re-calibrate or do some inspection on each channel?
Ya! I run the console pretty hot. The apolllos are calibrated to +24, so it’s all good. I think that there have been a couple of voltage spikes earlier in the warehouse that may have resulted in a little bit of deviance in the channels. Either way, it’s going in to be serviced and modified soon!
Hey Alec! I recently got a really good deal for a used ASP4816 in mint condition and I'm currently trying to set it up. I'm having issues with patching the inserts and returns of the Group channels and the Master L&R. The way I have them patched is to a patchbay in "Non-Normalled" mode and this works fine for the channels, but when sending things to one of the 4 stereo Group buses, the bus does not receive any sound and the Master works only in solo mode or if I insert external processors to it. I'm assuming that the inserts & returns on the Groups and Master have a different configuration internally in the ASP4816 than the channels, since I disconnected the cables going to the Inserts & Returns and the groups and master now work fine. Would you happen to have any experience on this topic?
Thanks in advance and, of course, suscribed for a long time now :)
Santi
Congratulations on your purchase Santiago! I’m not 100% sure how to diagnose the issue that you are having with the console, it may be a routing situation either with the Mix buttons, or the routing switches at the top of the desk. I’m not too sure. Might be best to get in touch with Audient customer support for this.
@@alecbrits Thanks Alec! Will do! Cograts on a great YT channel :D
Hello Alex, thanks for this great video, If I understood properly your Stereo return patching explained at 7min of your video, you're using 8 I/O for Hardware insert then insetting this insert on different Aux Bus in your Daw then you need another 8 unused analog out channel to enter in your 4 Stereo analog Return ? So basically it needs 8 IN + 16 OUT ? :) Also I imagine you're automating each Aux bus fader ? thanks a lot
Hi! :) thanks for commenting. I use 2 out on the LA2A’s as they are two mono units. Then on the Flint and Bam I use a mono channel on each and they convert the mono signal into stereo. Each of them then come into my stereo returns.
That means that I can automate each of the sends into each of the units. :)
I hope that explains it.
@@alecbrits THanks Alec, so maybe I understand your rooting; Analog out of your LA2A is going directly into the Stereo Return of your console ? :)
Indeed!
@@alecbrits Thanks :)
Alec Brits - Nice job, Alec.
I read an 'ancient' 2012 review by SOS magazine which basically said it's perfect.
At that time, the DAW input was an option. Is it now built in to the models shipping in 2021?
Thx.
Thanks Allan!
It is very much still an option. :) I use the DAW Input as my long fader input.
nice man ! you sound pro
Thanks man!!
@@alecbrits I am thinking to get focusrite 2802 mixer..use to be Audient ..Do you think the bus comressor and the houl mixer is made with the same staff like the biger Audient mixers?! Thanks
I believe it is pretty much the same!
@@alecbrits Do you give lessons on mixing ? on skype
Hi Deyan, I don’t at the moment. But I will be doing some tutorials on my mix workflow. :)
could it be that the temperature variations between how things were the previous day and how things are first thing in the morning has caused the components to change their spec?
I think it’s all of the above, also the voltage supplied to the area where the studio is based varies slightly, temperature plays a big part for sure!
congrats!!
Thank you! :)
And now they have a Heritage Edition which does add the colour you were looking for. I'm not sure that it adressed your other concerns.
I moved from an Apollo X8p and X16 setup to a Presonus StudioLive 32s to have a full mixer with all the routing possibilities and complete recall. But after discovering that this console exists the other day, I'm seriously considering selling as much as I can and going to Audient.
Thank you for sharing your thoughts, it's useful to see what decisions others have made. And your comment about selling all your gear to get one rings true. I'm sure they end up being even more expensive in Canada due to shipping from Europe.
Did you ever consider a full digital mixer like the 32s when making this decision? I wonder what made you choose Analogue Mixer/Audio Interface combo over a fully digital mixer solution.
I'm not sure I'm going to be able to figure out how to afford changing my setup, and I'm wondering if I'm idealizing a fully analogue console when I already have a full 32 mic pres and more. Any thoughts you have on these considerations would be appreciated.
The Heritage does offer some of the updates I wanted, however it still does not offer unity faders which would have been awesome.
I would say that you do not need an Audient at this point. My honest answer is take your time with your current setup, and get the most out of it. Once you have managed to save enough for another console then it might be the right time for that move. Selling gear to buy is very useful but often creates a little more sacrifice than reward.
Purchasing the Audient was the right move for me at that time. However, the cabling and infrastructure around the console was a serious investment too. It took almost a year to bounce back from the purchase.
Hope this helps!
@@alecbrits You are correct. There is absolutely no "need" I have. But the desire for classic analogue consoles is great because it's what I learned on. If I made this move, it would stickly be out of a desire for something different and a foolhearty belief that somehow it would be better. ;-)
What about my other question, did you at any time consider a digital console rather than an analogue one?
Gorgeous console. The knobs look like SSL 👍🏼 But why not save up for the 8424 and build the ultimate Neve hybrid lol
The Neve is a great desk! But it does not offer the flexibility and facilities in my current business model. :) also, I think that the API 2448 is the right machine for me.
@@alecbrits Do your clients prefer the API sound? Because every demo you’ve done with the Neve stuff just sounds meant to be. Don’t know why, maybe I’m just not an API guy lol
It’s not about what my clients like. :) it’s about my preferred tone and work flow as well as what will require the least repair work done over time. I think I will always have a few Neve Mic pre’s and compressors in the studio, but not a full console. At least not at this time. :)
@@alecbrits No I understand completely :) My favorite part of engineering is how personalized it is. Anyway keep up the great work and looking forward to the videos! Everything sounds amazing!
Thanks Ben!
Please tell me If one 8x interface will be enough to do the job? Connected to 8 sub group faders on the right side on the console? I must record on console preamps only synths, guitars, vocal, no drums.
Great channel. Thank you very much for your work.
Hey Dominik! :) thanks for the comment. Yeah, I think it could work in that mode for your workflow. In the future you also know that you can expand comfortably if you ever need to.
@@alecbrits Hi Alec :) Thank you very much for your answer.
I want to do anolog summing by console faders. To do it correctly - 8x interface is enough or I must have 24x interface or 3x16 interface?
I will be recording by console preamps.
You have 3x16 with ASP 4816 console if I remember well.
I'm not sure if I must have minimum 24x Interface to do analog summing correctly becouse ASP 4816 have 24 all faders...
th-cam.com/video/TYc091MB3u0/w-d-xo.html
@@DominikMarciniak if you want to use as a summing mixer, you will need a minimum of 16 channels. I have two Apollo x16’s for 32 in and out. That way I can use most of the inputs etc. :)
@@alecbrits Thank you :)
I wonder if he doing analog summing correctly using 8x Interface and aux for effects from DAW, he have 24 faders all on the console...
Or maybe this is not analog summing on this videos?:
th-cam.com/video/-lbdKdKb2js/w-d-xo.html
th-cam.com/video/NKF87Zb-gAs/w-d-xo.html
Hai Alec, many thanks to your explanation.. how do you get compression on the separate channels? Can you use the internal ASP compression ?
The console only has compression on the master buss. Each input has a possible insert where can add in external compression. :) the manual explains all this pretty well.
@@alecbrits thanks 🙏!..
Alex what is a unity switch?
Something to disable the fader, that way you can not have to re-set the desk for every mix. :)
@@alecbrits Thanks
Can you add automated faders function?
Not from Audient themselves sadly. :)
@@alecbrits that would be a favourable upgrade
When you use the compresseur to glue the mix do you use that on bus or on the master ? ( can I use in parallels with many bus ? )
Thanks you
Hey Eidji, thanks for the comment. The Audient 4816 has the compressor over the mix output, unfortunately you cannot access the input and output of the compressor on the rear of the console.
Great video. I have been using a QU-24 for my studio work. Lately I am drooling over an analog console. Is the 4816 fully compatible with mixing in the box? I mean would it have channel banks if the mix is having more than 16 channels or do you need to sum the stems to 16? TIA
Thank you so much!
The console is split into two inputs per channel, so you have 32 inputs on mixdown, an additional 4 stereo returns and you could use the 8 group returns as inputs with pan control. So that gives you a total of 48 inputs. I use the 16 long faders and then the groups have hardware inserts across larger groups of instruments/harmony. I leave the “short fader” section of the console to deal with tracking. That way I can be mixing in the morning, and tracking in the afternoon, without having to change or re-patch anything. The console is completely analog, no automation. I hope this helps!
@@alecbrits That's a smart way of working. I think leaving one for tracking and the other for mx down is always good. Just want to clarify this, does this console have a in-built sound card which you can integrate with a DAW or do you need to purchase a motu or similar external sound card to connect to the DAW? If you need a third party card, then what would be the best card that has the AD-DA converters which complements the recordings of the console. Sorry for the long question. TIA
No worries!
The console has zero digital interfacing. I use two universal audio Apollo X16’s to run the audio through the console for recording and mixing. :)
@@alecbrits Thanks a lot! Now those two worth of another console . . .lol I think I have rethink about this whole thing! Going analog is so tempting but thinking about routing and interfacing with the box is simply overwhelming! Thanks for your input. Appreciate! Good luck with your work! Oh and that Fender P sound fantastic! great playing man
I've been thinking about getting an ASP4816 as well, so it's great to see your videos about it. Have you looked at the FaderMate system to replace the faders on the board with motorized faders? Being able to mix down on the board with any compression I'd like, while still being able to automate the level into the mix bus is very attractive to me. I'm just not yet sure if it's attractive enough to add another several thousand dollars/pounds to the setup...
Thanks, and please keep the videos coming!
I recently checked out the Fadermate system, what an amazing system they have there!!
Alec ,Would you buy it again?
I think that if my budget was the same, yes. If my budget was a bit more flexible, I would look at something that had automation and 500 series EQ’s.
@@alecbrits Just purchased a api 2448 with automation
@@zonarecordingstudio congratulations!!! My dream console right there. Let me know how you get on with it! :)
@@alecbrits It's my 3rd api console,Still leaning the ins and outs of it,Lately i been using it with my iz radar and the automation on the board ,very happy with the results
Audient ,Just released the 4816 heritage edition,thoughts?
Alec are you a native Liverpudlian? I am trying to place your accent.
Born in South Africa, lived in LIVERPOOL for 11 years. :)
Hi Alec, do you record with hardware compression on the way in??
Hi Ivan! Depends on the project/instrument. Generally I try not to record with it on the way in.
@@alecbrits Thanks for the response! Also, I purchased the tlm 107 after watching your video on it! Great mic!
Ah amazing! :) congratulations!
@@alecbrits Thanks! What preamp would you recommend I buy with it?? I was thinking of getting the Neve 88R lb.
I love the 88rlb! So good and flexible.
Wait, the console is not modular? Ooof nooo thxxx
yo bro can i write you email to give me some tips on audient 2802 ? about summing..printing..conections..Thanks a lot !
Hi Deyan, I’m not too familiar with the 2802 sadly.
I’m assuming this is a 15,000$ console ?
It’s around that price point. :)
Hey Alec! I hope you don't mind. I used your song to demo my PI-3141 compressor. I think it sounds great! Check it out on the stereo mix video on my channel! Cheers.
That’s all good! Pop a link on the comment here. :)
What do you use for ad/da convertors? Does the console connect to the daw by way of usb?
I use Universal Audio Apollo X16. :) the console is fully analog and does not connect to the computer in any way.