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Acrosscoupled symmetrical balanced line driver, employed here, is capable of amassive +27dBu output level. Its designed to be clean, fast and precise giving you pristine audio quality for professional sounding recordings. You can unsubscribe from these emails at any time. Moving to the opposite extreme, the preamp's massive headroom is revealed when Itell you that the mic and instrument inputs can accept +28dBu with the pad engaged before overloading the converter, and the line input can accept 10dB more. While some might label your lack of channels as a deliberate creative tool or even a steadfast recording trick, lets not trim the fat: although possible, it is very hard to get a good recorded drum sound without using more than four microphones. This new design introduces asmall but deliberate amount of second- and third-harmonic distortion to deliver alittle subtle musical character. Invest in Audient. Although it's basically the same, it's also better in every way and costs around 30 percent less than the original! Two plots showing the level of mains harmonic components present at the digital outputs. You can unsubscribe from these emails at any time. Located conveniently on the first two channels are those Class-A JFET D.I inputs (designed to replicate the input stage of a valve amp) for instrument leads as well as pad buttons, which were tested with both bass and guitar, and proved to be very clean and rich. Use the button below to let us know you are a real customer, and we'll send you on your way Audient ASP880 - Downloads We use Audient products in our office and many of our employees are happy Audient customers, so when this opportunity presented itself, it was a natural fit. The results are obviously fairly subtle the idea is that you can either use the colouration subtly when recording/mixing, or that you can paint it in several layers, from recording, through mixing, master-bus processing and on to mastering. Theres no mains on/off switch on either the front or rear panels. The AD external input level is fixed, with +18dBu delivering 0dBFS (the EBU standard alignment) and the input impedance is 22k. The Retro channels also offer separate front-panel instrument inputs, which are routed through a high-impedance JFET buffer into the corresponding mic preamp circuitry. In much the same way, the ASP800 can be used stand-alone or as a cost-effective expander for the newer iD14 compact USB bus-powered interface. The upper green line is with 60dB of preamp gain, while the lower purple line is at 0dB gain. At base sample rates both ports provide all eight channels but S/MUX4 formatting is applied automatically when operating at double sample rates, with channels 1-4 transmitted by one port and 5-8 via the other. This is arecognised characteristic of this family of converter chips and, although probably inaudible, highlights the benefits of maintaining headroom when recording! I measured the AES17 dynamic range performance for the AD converters using the insert return to AES3 out, and obtained afigure of 116.5dB (Aweighted). Easily integrate outboard FX such as EQ and compression before the analogue to digital converter. View our Privacy policy. Audient Limited | EVO Limited | Company registration: 3450730, Can You Record An Orchestra With 4 Mics? The familiar styling and layout of the original are retained, but the ASP880 sports new control knobs, more easily distinguished and legible panel labelling, and anew colour scheme on the illuminated buttons. Audient Limited | EVO Limited | Company registration: 3450730, Cobra Sound Enjoys Significant Upgrade With ASP8024-HE, Can You Record An Orchestra With 4 Mics? You may login with either your assigned username or your e-mail address. The technical performance is measurably better across the board, but especially in the AD conversion, and the major signalpath reconfiguration to allow fully balanced inserts will appeal enormously to many potential users. I agree to receive email newsletters and useful tutorials from Audient. This topology has a generous headroom margin, wide bandwidth and very low distortion, and in terms of tonal character it sits comfortably in the fast and clean camp, faithfully passing on whatever the microphone delivers without imposing any overt character of its own. Engaging the pad didn't appear to change the impedance significantly. For the instrument inputs, an output level of -10dBFS was achieved with unbalanced signals ranging from +7dBu (min gain) to -62dBu (max gain). The cylindrical, machinedaluminium control knobs are much easier to roll between finger and thumb than the old flatsided knobs, and the potentiometers behind them are mounted with frontpanel nuts, giving much better support and improving the mechanical feel. Arearpanel push button terminates the word clock input with 75. Review: Audient ASP880 - Mixdown Magazine This graph shows the total harmonic distortion level produced by the AD converter relative to its digital output level. An expanded frequency response plot which illustrates how the lowend extension changes with gain. The digital interface was an optional extra in the ASP008, but it's now astandard fitment, and it's another new design. At the Thick end of the range, though, not only is there a great deal more harmonic distortion with some higher components, but theres also a substantial LF peak in the response above a pronounced bass roll-off. By providing the cleanest signal path possible, ASP880 makes sure you capture every nuance, every detail of your audio, letting you focus on getting the most from your session. Take control of your signal with the Variable HPF. ASP880 Insert Points Explained Can you use Internal and External Mic Pres at the same time? Features Bang for buck Overall: I've had limited time with the ASP880 but here are impressions thus far. The 'peak' light comes on at 2dBFS (+16dBu), two decibels below converter clipping. There's no mains onoff switch, front or rear, but ayellow poweron LED is provided. The new ASP880 is an elegant evolution of that design, retaining almost all of its strengths while improving on every aspect, incrementally in some areas and radically in others. We find out. Rotary controls are provided to set the gain as well as to adjust the HMX and Iron drive levels. Keep up to date with the latest drivers, documentation and more to make the most out of your Audient product. ASP800 provides 8 channels of Audient's renowned console mic preamps, class-leading Burr-Brown converter technology, two JFET D.I's and two Retro channels with revolutionary tone control. The ASP800 lacks the ASP880s line-level insert points, which allowed external processing equipment to be patched in after the preamp but before the A-D converter. The result is the ASP880, which retains all the ASP008's key functions and qualities, but improves on it in so many ways. A-D conversion in the ASP800 is provided by two quad-channel Burr-Brown PCM4204 chips, which are from the same family as the ASP880s four, dual-channel PCM4220s, but deliver a very slightly lower level of performance. Although the ASP880 was designed as a replacement for the companys popular ASP008 (http://sosm.ag/apr06-asp008), it was also conceived to serve as an input expander for the iD22 audio interface/monitor controller (http://sosm.ag/audientid22). The ASP880's AES and S/PDIF outputs are also absent, but an external word-clock sync reference can still be connected via a BNC socket (with switchable 75 termination). 8 Channel Mic Preamp with ADC ASP880 is an audio powerhouse designed with expandability in mind, making it the perfect addition to your audio interface. With the gain control at minimum and the pad engaged, a line input of +24dBu produced a digital output of -20dBFS, while at maximum gain the preamp could raise a line input of -60dBu to -20dBFS. The lineinput selector has been omitted because that functionality is now provided by the physical input connections. The ASP800 is a lower-cost alternative to the ASP880, and although the overall facilities have been sensibly scaled back, this is offset nicely with the addition of the excellent Iron and HMX coloration tools in the two feature channels. Thanks for signing up. It sounds exactly the same as the ASP880 in clean mode (clean, quiet, accurate, transparent) and has generous headroom margins, but the two Retro channels can get down and dirty when required, in very musical ways. Mix Pre 3 II can't export 2 mono files for stereo? Check out our privacy policy here Although the front-panel layout implies that the HMX circuit precedes the Iron processor, the actual signal flow is the reverse Audient tell me they made this decision based on listening tests. Their instrument inputs and the Iron and HMX tone-shaping facilities are an impressive highlight. Used in combination, the Iron and HMX processing can shape the source in myriad interesting ways, and the superbly informative but readable manual includes a very descriptive graph illustrating how the different processing effects change the sound character. Web site designed & maintained by PB Associates & SOS. The pres sound really good too. Meanwhile, the Burr Brown AD converters perform great, are accurate, and ensure high quality conversion: this is a noticeably satisfying interface to use and listen to in action, and any seasoned audio professional will be able to note this straight off the bat. The rotary drive control is a three-gang pot which simultaneously adjusts the driving impedance, the signal level into the transformer, and the secondary windings output damping. While the technical performance doesnt quite match the ASP880 in a few areas, its only a smidgen off and is unnoticeable in practice, while the additional mic gain and better control linearity will be noticed and appreciated. For those who like to have both mic and line sources connected simultaneously, selectable at the press of abutton, that functionality can be replicated in part, but only for the digital outputs. The previous model wasvery competent and versatile, and delivered ahigh standard of reliable performance. At the maximum setting the transformer saturates beautifully and the distortion levels build, mostly in the odd harmonics, introducing a distinctive rich growly quality, just as the controls labelling suggests! Like most retailers, we use advanced software to protect your security and personal You can unsubscribe from these emails at any time. I agree to receive email newsletters and useful tutorials from Audient. The adjustable high-pass filter, polarity invert and switchable impedance options of the ASP880 are all omitted to reduce costs. or even blocked browser cookies. The basic preamp is wonderfully clean sounding but the adjustable HMX and Iron facilities allow the user to introduce the kinds of musically beneficial distortions associated with valves (tubes) and transformers on the Retro channels. Analogue insert and external AD input options. The electronically balanced line inputs are padded down by 10dB and routed to the mic preamps. Audient ASP800 - Sound On Sound As the PSU is passively cooled, theres no fan noise. Converter-level compatibility mode to match the iD14 audio interface. I agree to receive email newsletters and useful tutorials from Audient. These, once again, are small but worthwhile improvements. The minimum setting is labelled Sparkle and the effect is predominantly to add a gentle air EQ lift, with a modest amount of symmetrical harmonic distortion mainly second, third and fifth. The input impedance is controlled, as before, from arecessed toggle switch, but the markings now refer only to 'lo', 'hi' and 'med'. Full manual only available as adownload. If you read last years review of the Audient ASP880 (http://sosm.ag/audientasp880) youre probably wondering why the company are releasing another eight-channel 1U rackmount preamp. Frequently Asked Questions Are there any issues with UA Apollo and ASP880? Samples integrate seamlessly into your track, locking to each session key and tempo, while powerful effects provide endless customisation. Packaged in a 1RU module, Audients ASP880 exhibits a dense functionality, and boasts a high-end performance, all at a price point that may be welcomed by those looking to not break the bank. At the anticlockwise position (seven o'clock) the gain is 0dB, with 2dB at nine o'clock and 20dB at 12 o'clock. The DI input enjoys exactly the same gain range as the mic input, and can accommodate all manner of passive and active instruments without issue. All rights reserved. Changing the input impedance alters the way the microphone capsule is loaded electrically, and can bring about substantial tonal differences in dynamic mics and capacitor mics with output transformers. These work wonders when using sound sources with a little more going on in the high range for instance, a chorus-drenched Juno or jangly electric guitar. Running on an elevated 32V single-sided power rail, this asymmetrical HMX saturation circuitry generates copious amounts of harmonic distortion (predominately comprising the second, third and fourth harmonics) at up to about 2.5 percent. I measured an AES17 dynamic range figure of 112dB (A-wtd) which is about 4.5dB less than the ASP880, and consistent with the difference in Burr-Browns claims for the 4202 and 4220 converter chips. Mix Pre 3 II can't export 2 mono files for stereo? However, it lacks the impressively creative HMX and Iron tools of the ASP800s feature channels. Less than a year after refreshing their eight-channel preamp design, Audient have released another. The preamp gain clearly diminishes fractionally with HPF setting, but only by 0.2dB, which is inaudible, and is only exposed here because of the expanded amplitude scale. If these numbers make your eyes glaze over, rest assured that there's plenty of gain on hand for all typical applications! In the performance stakes, this figure ranks the ASP800 alongside products like SSLs Alpha MX, Drawmers A2D2 and Millennia Medias AD596 interface module. The upper lightpipe port provides eight channels at base sample rates, and channels 14 at double sample rates. Onboard, you'll find eight of Audient's acclaimed Class A console mic pres (with variable-input impedance), along with high-end Burr Brown converters, line inputs . The A-D converter's operating level can be switched between the EBU standard of 0dBFS = +18dBu and a lower +12dBu peak level. Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. Talking of the manual, that's not included either: Audient say they're doing their bit to save paper! In the manual they recommend 1RU space above the unit in a rack. With the gain at maximum the same output level required an input of -62dB exactly 10dB lower than for the ASP880 under the same conditions. its not unusual to find more hum in channel 8 than channel 1. Whereas the latters SMPS provided 18V rails for the audio circuitry (as well as +48V for phantom power and +5V for the digital electronics), the ASP800s linear supply uses 15V rails for the audio stages (hence slightly less headroom), +48V for phantom, 9V for the digital board, and +32V for the HMX and Iron saturation circuitry.

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