Thank you. That’s so cool you have the 4816 too. It’s pretty crazy all the things it can do. I’d love to talk with you more about that.

Absolutely spot on. I have ua apollos and there is the "console" virtual mixer that complicates things too. I've been using the mic inputs from when I first got them. To simplify now, I should probably make then all line inputs. Sometimes there's no sound because of the pilot error on that, too. Wow, the SSL XL-Desk looks great! I was using Logic as a tape recorder for years. I think it would have been more fun for everyone if the computer WAS the console. I wonder if I will ever take the plunge and make the 4816 the center of the only setup... I can still be all in the box with speakers or on the mixer side with other speakers. It's cool, and fun, and wonky, and strange, and great, and disorienting, and interesting. Ha! It was definitely the virtual computer side of things confusing me for awhile. I have named the I/O labels but they're numbered differently when mono vs stereo and the names don't always show. I got spoiled having a stereo signal be on one fader in the box. Wot, I have to use two analog faders for stereo?! Oh yes. Huh. 😂 I agree, a template doesn't work for every song. My patch bay is still nomalled to the outboard gear for the I/O plugin. Maybe now I'd like my DAW outs to be normalled to the 4816 inputs so I don't have to patch them. It's great that the 16 adat outs are plugged directly to the 4816. But I have the MS-16 1 inch tape machine going to the desk too. With 4816 inserts in the patch bays I can patch outboard gear to the 4816 or use the outboard gear in the box with the I/O. I was recording to tape while playing to Logic tracks, flying in the taped tracks, and lining them up to the logic project. Nice to have real tape saturation on 12 or less tracks of drums. A friend mentioned because of the playback head I could even send Logic tracks to the tape deck and input them back into new Logic tracks in real time. I wasn't sure it would work with all I have going on in this setup. But it does! I had cranked up the midrange and high end on a shaker, sent it to the desk to the tape machine and back to print on a new track in Logic and the wave form had less transients. Of course you could hear it worked but it was cool to conform it visually. Lately I have been closing my eyes to adjust mix to dry or EQ moves or parallel processing, to listen more than watch. For decades it was: just listen. It is cool to see the sonic shape on an EQ on the master fader. I guess we all did it by ear and depended on the mastering engineer to trim the fat. I like seeing why the mix is over cooked. So I'm torn to reset stuff up or get a new furniture desk to hold the 4816. At first you crave more gear, then you realize you've complicated your life tremendously, then you dig it again, and then you realize you have lots of options and it's all good. Totally fun to be us!

‘Elloooo, Sylvain! How’s by you?

Ah, great! Let’s keep on with the fun then. It’s a blast to be us. 😎

kzfaq.info/sun/PL1HcwONdBtUUJNUybNHS-bU00-LdZ6Sto&si=0fKd0tMuqknwoVSA A few steps before

What are you wondering about the 4816? Maybe I have some thoughts

Hey Lauren pardon the delayed response. I was wondering if you could show us the wiring for the your studio?

Exactly.

@@LaurenPassarelli... my background is in the studio... technical. Back in the early 90s I worked in a studio that had another console designed by Dave Deardon in his former company, DDA (Deardon Davies Associates). It was the AMR 24... a split console with 36 inputs and a 24 buss/monitor section, so it was a LONG console... but it was also a top notch performer. When I realized that Audient was another company by Dave Deardon, I knew that whatever they put out would be well-designed and a very good value for the money. It's nice to see your setup and get what you're doing. There is something about mixing through a console (It's actually the buss structure and what it does to the overall mix) that cannot be readily duplicated in the box. The hybrid studio is really the best way to go for music. Cut tracks through a console into the DAW, then edit and get things ready in the DAW, then run it through a console, printing the mix back to the DAW or... if you're lucky... run it to 2 track tape as well for that finishing sheen.

I know what you're sayin'. I used to have a Studiomaster Trackmix 32 with 4 ADAT machines and before that a half inch eight track tape recorder: Tascam 38.kzfaq.info/get/bejne/qNZ2opuJrNKofKs.html kzfaq.info/get/bejne/bat9ndKnzLTPmWQ.html

@@LaurenPassarelli You have ALL done the gear! I really love the idea of tape! Is that working well? Is it pretty reliable?

@@ericsample9818 It's been a blast, like time traveling back to my 1/2 inch eight track days on the Tascam 38. This MS-16 looks similar to the 38 and I liked that it could be in a rack. It works great. Bought off reverb. Drums and anything with major transients really take to tape well. I never had any trouble with my 38 and I haven't had trouble with this MS-16. It's fun to play with. kzfaq.info/sun/PL1HcwONdBtUUJNUybNHS-bU00-LdZ6Sto

How's yer desk? (4816SE) Will you be using it with a stand alone recorder, tape, digital 2 tk?

@@LaurenPassarelli It is wonderful. Beyond my expectations..... the functionality, design, controls, build quality and finish quality. I will only use it occasionally - to feed my DAW (Reaper) or to mix. It is a lot of fun.

@@teashea1 Can you even believe how quiet the noise floor is!? It floored me. Everything sounds more pro right away. And I’m told those quiet Audient pres are in every interface and mixer they make. I could have gotten whisper quiet for a whole lot less money! Yes, the fun quotient is worth every penny. Congratulations!!

@@LaurenPassarelli Yes. The Audient preamplifiers are the best that exist in any console or audio interface. They are extraordinary. Audient uses these pre amplifiers in all of their equipment. The console is so much fun - I agree with you Lauren. How do you use yours most? Tracking or mixing?

@@teashea1 I've been using it with my 16 tk 1 inch Tascam MS-16 in a rack. I love that I don't have to parse the tracks to get to the console. I have sent 32 tracks from Logic but I hate having to parse each song. Have you put the mixer as the center piece of your studio? I still have two setups: my Logic system, and the tape system with separate monitors opposite each other. Maybe if I bought a different desk and made the console the only way to work, I could keep a template with the outs all ready. I like the different ways to work though. I also like my desk. You can see the other setup in this video: kzfaq.info/get/bejne/l8x3fKqnqMrJaIU.html I haven't mixed a song through the mixer yet. Just playing around. But I will. I'd like to track a song and mix it just on the 1 inch and mix on the 4816. I recorded the guitars, voice and drums to "Seasonal Blues" onto the tape machine then dumped everything to Logic to add more tracks and mix. kzfaq.info/sun/PL1HcwONdBtUUJNUybNHS-bU00-LdZ6Sto

It's beautifully clean & quiet. These pres are in every Audient interface and mixer. The hush is divine, the noise floor extremely low. I like the EQ. What sold me was no maintenance on an analog desk, no external power supply, super quiet, small size, with tons of connections and possibilities. Turns out it's a popular size, SSL, Neve & API have one, all much more expensive. I got this used. It's amazing.

@@LaurenPassarelli Thanks. That's helpful.

I'm amazed at the low noise floor. The hush of a semi pro board is really stunning. These mic pres are in every interface Audient makes. Pretty amazing. The sound is clear, clean, professional, detailed, and articulate. I wanted a console with a built in power supply that didn't take up too much space, or cost a ton. I bought it used and I love it.

@@LaurenPassarelli That’s amazing. Did you consider getting the Toft or the Api The Box before getting the Audient?

@@preciseaudioblog definitely. For years I thought I’d get a Toft or Trident. And maybe I’d prefer their color. The 4816 has so many connection options and the direct outs plus being able to have the tape deck and Logic connected at the same time was cool.

Reverb.com. Came from a gentleman in Florida who had it serviced before selling to make sure all was working. Heads were in great shape etc. I have written to Tascam to say there would be interest in resurrecting tape machines. Just at Berklee College of Music alone where I teach there would be hundreds of sales. Then the price of tape would come down. Chris Mara is doing his share at Welcome to 1979. Tape machines look cool. They're fun. I get the tape at www.atrtape.com/

@@LaurenPassarelli I use a mci-jh-110 for mix downs

The only down side is the tape is $

Reaper would allow a global routing?

@@LaurenPassarelli Lauren, there are dozens and dozens of excellent tutorial videos here on the wide range of Reaper abilities. Kenny Goioa is very good at explaining things. Unlike other DAW's, Reaper lets you adapt it (pretty easily) to the way you want to work.

@@teashea1 I loooove Logic. I use a lot of the sounds in it since I compose so much. Been using Logic since 2005.