ProAudio Review - April 2008 - (Page 13)

and virtually all buttons on the 1608 illuminate when engaged, which proves to look very cool in a dark control room . At the top of the channel strip – or bottom rather, as the 1608 retains the reverse-orientation of the original 1604 – is a mic/line/instrument input section outfitted with an API 212 preamp and its customary controls: Gain knob, Mic/Line selector, 48V phantom power, Pad (20 dB mic/-6 dB line) and polarity reverse. The Mic/Line selector button doubles as a peak level indicator by glowing red (regardless of which input type is in use). Mic and line input connectors are XLR, the Hi-Z instrument input is a switching (overrides mic) TS 1/4-inch jack, and the preamp output is available on a TRS 1/4-inch jack. Continuing up the strip are the send controls that feed the 1608's eight auxiliary busses. Sends 1-4 are configured as mono sends with individual level controls (in concentric pairs) and send on/off buttons (nice!). The remaining four sends are grouped into stereo pairs 5/6 and 7/8, with each pair having a concentric stereo level and pan knob plus send on/off switch. All sends can be placed pre- or post-fader in odd/even pairs. Borrowing a feature from the Vision range, a To Bus switch on 7/8 routes its level to any of the first four sub-masters, where it can then be summed back into PGM (to aid in independent parallel processing tasks). At the top of the input strip is the routing and output section. Each input channel can be routed to the main stereo program bus (PGM button) and/or directly to any of the eight submaster summing busses (using assignment buttons 1-8). By engaging the PAN button and using the channel's pan pot, also located in this section, the output signal can be placed across a panorama between any selected odd and even summing busses. Note that a channel's post-fader/post-mute XLR direct output is always active. This section also includes controls for highpass filter engage (FLTR, -3 dB @ 50 Hz, 6 dB/octave) and insert return engage (INS). The half-normaled insert path is placed between the equalizer output and the fader input, and external gear can be connected using the corresponding rear-panel TRS 1/4inch points. Speaking of equalizers, each channel's preamp output is half-normaled to the input of the EQ module fitted immediately above it; EQ modules can also be patched for alternate use via the rear-panel 1/4-inch TRS EQ I/O points on the rear panel. Since the proportional Q, reciprocal filtering and other features of the excellent API 550As and 560 are well-known and documented, I'll save the space for more 1608 coverage. An Alps 100mm fader serves as the channel's primary output level control to the direct out, summing busses, stereo program bus and, of course, designated post-fader sends. Immediately above the fader are the channel's Mute and Solo buttons. Two much-appreciated inclusions here are a solo-safe button, and an assignment button to add the channel to the 1608's single master Mute Group (remember no VCAs/no automation). The specific function of channel Solo buttons is determined by the global selection of PFL, AFL or SIP (destructive soloin-place) on the 845B Central Facilities module Also located on the 845B are the Mute Group master controls, including the thoughtful option to also mute the pre-fader send outputs on channels assigned to the group. CONTROLLING INTEREST The 1608's center section provides a wealth of monitoring functions including the selection of three sets of monitor outputs (Main, Small1, Small2), with the Main monitoring outputs supporting up to six channels for 5.1 surround monitoring. Other monitoring features include Mono summing, speaker cut, monitor dim (with dedicated level knob) and a master input selector that offers the choice of API continues on page 14 ➤ art but little technical training. I’ve never been taught why an EQ does what it does or how a compressor works. I just had to stay at the studio until the sessions were done, grab a reel of two-inch and begin the experimentation. It’s my opinion that learning how to listen is the thing that separates the engineers that spend their time in the studio from the ones who spend their time on audio message boards. I feel it’s important to share this little bit of my history because I am about to review a product from a vantage point that is fairly removed from the technical. I based my search for a desk on the experiences I have had with them throughout my career. I spent much of my time working with the aforementioned consoles as well as a Neve 8058 and a Trident A-Range. These are all products that have a storied history in the audio world and each have their unique strengths and limitations. I enjoyed the sheen on the top end of the VR, the biting midrange of the SSL, the enhanced bottom end of the 8058, and the overall depth and width of the A-Range. These were all points to consider when settling on a console for my studio in Chicago, The I.V. Lab. THE PURSUIT OF AUDIO NIRVANA Since opening about two and a half years ago, I have been searching for a desk that I could afford but that would also allow me to stop spending a majority of a recording budget on a mixing studio. I have worked with Bill Thomas from Mercenary Audio since I got the idea to open the studio, and he has always been well informed and extremely helpful about all my inquiries and purchases. He called me in the summer of 2007 and told me about the API 1608. Bill has an uncanny knack of eliciting enthusiasm, but he didn’t have to say much to get me excited about this product; I have worked with API EQs and mic pres, and they have always been very useful in my pursuit of audio Nirvana. A 16-channel console is obviously not going to be the answer for many engineers making records the way I like to make them, and I was relieved when Bill informed me about the 16-channel expander. This would give me 32 channels as well as eight aux returns. I make records using an Ampex MM1200 16-track tape machine in conjunction with Pro Tools, so essentially having 40 inputs at mix was more than ideal. FEATURES OF I.V. LAB’S 1608 The console’s input module features the API 312 mic pre, of which I already had eight, so I was familiar with (and admired) its sound. The 1608 features eight aux sends (4 mono, 2 stereo), which are useful to me SANCHEZ continues on page 14 ➤ Manny Sanchez, www.proaudioreview.com April 2008 | ProAudio Review | 13 http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - April 2008

ProAudio Review - April 2008 Contents A Little More Recognition Please Studio News and New Products API 1608 16-Channel Analog Console TASCAM X-48 Digital Audio Workstation SSL Matrix Super Analogue Console Toft Audio Design Series ATB Analog Console KRK Systems Exposé E8B Powered Monitor Broadcast News and New Products ZOOM H2 Portable Digital Recorder Producing Surround Sound at 50th Grammy Awards JBL LSR4312SP Linear Spatial Reference Powered Subwoofer Audio Production For Gaming Euphonix S5 Fusion Digital Post Production Console NAB Hot Gear Soundcraft Vi6 Digital Live Production Console Go To A Show! Contracting News and New Products Studio Consoles Studio Wireless Microphones Alicia Keys “Superwoman”

ProAudio Review - April 2008

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