ProAudio Review - April 2008 - (Page 14)

STUDIO | API Continued From Page 13 REVIEW output and routing section similar to that found on the channel strip modules, with eight assignment buttons for routing to the sub-master busses and a PGM button for assignment to the main stereo bus, plus a Pan engage button and knob to enable L/R panning across the main L/R busses and odd/even sub-master bus pairs. A return output level knob is also provided along with Solo, Mute and Safe buttons identical in function to those on the full channel strips. Additional Aux and Mix buttons select as the return's input a corresponding rear-panel auxiliary input (on TRS 1/4-inch and DB-25) or the output of the corresponding send bus, respectively. If the possibilities for this section (and the console in general) aren't already swimming about in your head and expanding exponentially, let me help you along. Not only are these eight mild-mannered "echo returns" really Super Inputs with multiple switch-selectable input sources and full channel-strip solo/mute and routing control, they are also – Tada! – normaled to the console's eight open 500 Series slots. Add in eight 512C preamps and, well, you can guess the rest ONCE AROUND THE BLOCK DIAGRAM The API 1608 is endowed with refreshingly unfettered internal routing and external patching facilities, leaving the user is free to create, configure and reinvent how the console is best used for any immediate purpose or to adapt it over time as needs change. While the use of the 1608 can be as simple and straightforward as desired, some more creative options are certainly possible. For instance, by patching the console's preamp outputs directly to a DAW's inputs and the returns from the DAW into the EQ inputs, the 1608 becomes a simultaneous high-end API multichannel DAW front end and a full-featured multichannel summing mixer with all EQ, sends and sub-master features available for the mix. Likewise, by putting the board's sub-master outputs and routing capabilities to good creative use, multichannel surround mixing is easily possible, complete with built-in, fully calibrateable surround monitoring. SUMMARY When I first heard about the API 1608, I couldn't help but wonder what corners were cut and where the skeletons were buried to bring out an API console at under $50k. As I delved deeper into the product literature three external sources (all six-channel capable), the eight aux busses in stereo pairs and the main PGM out. There is also a dedicated headphone amplifier with on/off switch and under-armrest stereo 1/4-inch jack, as well as a full talkback compliment that includes a built-in mic and T/B To Aux, T/B to All and Slate momentary buttons. Each of the eight summing bus sub-master sections on the 168B module has separate L and R main program bus assign buttons, a bus on/off switch, a bus Solo button (AFL/PFL), and a Trim knob that provides from 0 to 84 dB of attenuation of its respective balanced (unlike the original 1604) 2520based active combining amplifier. The 1608 also provides similar control of its main stereo bus summing amplifiers, with individual left and right master on/off switches, Trim attenuators and a stereo insert (PGM INS) engage/bypass. One of the most impressive and flexible sections on the 1608 can be found in a fairly unlikely place: the E1608 Echo Send/Return modules. The echo VU's read echo sends. The VU Return button allows monitoring of the echo return signal. Each echo return input provides a full SANCHEZ Continued From Page 13 because I still use a bunch of old school effects and reverbs including a tube version of the EMT 140 plate. My cue system features a 12channel mixer for each performer, so in a tracking situation I will use the eight sends on the first eight tracks of the mixer and fill the rest with the multi-track return row of my patch bay, if needed. This gives the artist maximum flexibility, and I never have to worry about trying to balance two cues across five people — never an enjoyable experience. The console has eight busses, which is perfect for me in a mixing or tracking situation. I have learned over the years that spending more time getting the sound shaped and confirmed at the tracking phase will lead to a more efficient mix. I blend multiple kick and snare mics as well as guitar mics at tracking, so I don’t have too much to think about at mix. In a mixing situation, I am a big fan of buss compression on drums, and eight of them are more than enough for my needs. This may seem futile to praise such a simple and functional aux/buss system, but anyone working on a vintage console — especially an 80 Series Neve — knows how frustrating it is to exercise switches when you should be working. There is a 500 Series slot for each channel plus eight additional 500 Series slots in the center section. This is the area where the console really shines. The modular concept is flexible and fresh. I currently have twelve 550a, four 560, two 550b, two 525 and two Speck ASC-V EQ modules. I took the option of short-loading the expander bucket because I am very interested to see the next generation of 500 series modules. The API EQs have been around a long time and are tested and true. I love the idea of being able to add different flavors of EQ and compression into this desk to mix and match the sonic properties of a given channel. I plan on filling the rest of the expander bucket with EQ and the additional 500 Series modules with compression. The character possibilities of the desk aren’t limited to API, which was a positive selling point. NOT INLINE, NOT ‘BUDGET’ On the negative side, I could see how people could consider the 16 channel version limiting because it is not an inline con- sole. I don’t ever have a problem because, with the extra bucket, it is easy for me to split the console into input and monitor sections. The console doesn’t currently have automation, but Bill at Mercenary informs me that it will probably be ready in the fall. This also isn’t a budget console by any means. In addition to the near $75k price tag (short loading the expander of EQ), a patch bay must also be built. This is not to say the 1608 is overpriced, because it isn’t. But it is a serious investment. Overall, since receiving the first console in February, my experiences have been what I expected. It’s the beginning of a love affair that has been unrequited for some time in my audio career. I would put any of my recent mixes on the 1608 up against any I have done elsewhere on much more expensive and “vintage” consoles. The sonic quality of the 1608 is as good (and better in some areas) as other consoles on which I’ve had the pleasure of mixing. It is a very balanced sounding desk that can kick you in the stomach but can also blow sweetly in your ear. Engineering is art and the API 1608 is a wonderful canvas. 14 | ProAudio Review | April 2008 Subscribe to the Digital Edition of Pro Audio Review http://www.myparmag.com www.proaudioreview.com http://www.proaudioreview.com http://www.myparmag.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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