For new business Crown Works Studio (CWS), the purchase of two Audient ASP880 8-channel mic preamps turned out to be a useful and economically sensible addition.
“The pair of ASP880s are currently in place of the typical large-format console and high-end converters found in most studios,” says owner and assistant engineer Ross Wareing, adding that it was “something we were very wary of to begin until we heard the ASP880s in action.”
Together with co-founder and resident producer, Gareth “Gazz” Rogers, they have pooled their resources in order to create the new commercial studio in Wolverhampton, West Midlands, which, since its opening in the latter part of last year, has enjoyed a steady flow of interest across different genres.
Wareing goes on to explain the thinking behind the idea. “When we decided to build CWS we agreed that we were creating a studio environment that we could grow into. Due to budget constraints, a full desk is not going to be on the cards for a while, as much as we have our eyes on the (Audient) ASP8024.
Both ASP880s are connected via ADAT and wordclock to the LS56, and are permanently plugged into the 28-channel multicore running into the live room. “The preamps handle our variety of microphones incredibly well, easily providing enough gain for ribbons and headroom for our LDC valve vocal mics,” Wareing adds. “When we need to add outboard processing the DB25 connections on the back of the ASP880s are incredibly useful, the preamps are always sending output through the individual channels so when you connect external EQ or compression you can see the level on them before engaging the chain with the A-D button on the front panel. Genius.”
Rogers is familiar with large format consoles having used a Trident 80B series for several years. Highlights of his engineering career include working with Ocean Colour Scene, the Holloways, Scott Matthews and recording Paolo Nutini on location at the V Festival. Rogers and Wareing agree that working with artists like these is “a level we are both eager to get back to.”
With their current setup featuring the Audient ASP880s, they are on their way. “We love everything about them, how easy and fast they are to use in a session, how responsive they are in the low end and detailed at higher frequencies,” Rogers says. “The smooth hi-pass filter is clean and doesn’t affect the phase of a fully miked drum kit or a multi-miked acoustic guitar and the ability to add in line external processing before the signal hits the converter means we can further define our sounds without multiple lossy passes through unnecessary conversion.”
