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AUDIENT SUMO PDF

I’m sure most Tape Op readers know that the summing wars are really heating up . As widely discussed in these pages and at TapeOpCon for the last few years. adder 16 tracks with compressor and limiter, insert two points, one has 4 inputs switchable to mono optional card A / D UTILIZATION the summation in n is not. Get the guaranteed best price on Microphone Preamps like the Audient Sumo Summing Amplifier with Compressor/Limiter and k/24 bit Digital Output Card at.

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I’m sure most Tape Op readers know that the summing wars are really heating up.

User reviews: Audient Sumo – Audiofanzine

As widely discussed in these pages and at TapeOpCon for the last few years, summing devices, such as the Roll Music Folcrom and the Dangerous Music 2-BUS, have set the stage for the onslaught of devices that allow you to utilize all of the available outputs on your audio interface during mixdown. Smart audisnt like Audient, a European console maker making inroads in the US, are taking their expertise in analog-audio design and joining the fray. Based on the heart and guts of their flagship ASP console, the Sumo is ajdient “just what you need” type of box for those of us working solely with DAW’s.

The converter is definitely the “dark horse” winner of this unit. The Sumo’s infrastructure begins at the right point with a fully-balanced mix audint with tons and tons of headroom.

Signals seem to stay clean, wide, and open; and the buss exhibits none of the “pinched” nature of some mix busses whereby the image starts to close down as maximum level is reached. True, some people like to mix in this “sweet spot” as mixes generally tend to sound more finished and even slightly compressed when the mix buss is filled “just right. The inputs are configured in stereo pairs, with inputs all switchable to mono, which is obviously great for kick, snare, bass and vocals. Balanced inserts on the audieng outs let you plug in your favorite mix-buss processors.

All this is fine for a desktop mixing setup, but it’s doubtful that these features would solve even a basic studio’s complicated monitor routing needs. I’d love to see an expanded Sumo that really integrated the monitor section of a larger console.

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On the audent, the Sumo’s compressor, while generally smooth and useful, is a bit too active for me, and I found that it exhibited pumping too quickly. It would be nice to see more ratio settings as well; having a couple more settings between 1. The compressor added a modern sheen to mixes but was a bit of a pain to set up. The most problematic feature of the Sumo is the metering. The LED ladders have a tremendous amount of light spill, so signal in one suo would light up the other channel so much so that it would seem as if there was signal present when there was none.

Audient Sumo – 16 Channel Summing/Mix with SSL type Bus Compressor and Limiter

The meters were very “fuzzy,” so it was hard to really get much focused detail outside of just RMS level. Overall, the Sumo is a great idea and is well executed, and it’s a recipe for more devices that I’m sure we’ll see in the coming year.

As far as mixing “In The Box,” I’m not really biased either way. I’ve had good results working audiwnt number of ways: It’s not always about the gear; it’s more about the decisions that you make with what’s at hand in front of you.

I used the Sumo for awhile on different mixes at my home studio, but my primary use of it was mixing a band from PA called The Sw!

The project was mixed twice: The Sumo mix was much better, fuller, and more open-which could have been for many different reasons-but I would say that the major difference was just the ease in balancing. Mixing in Pro Tools exclusively sometimes feels like mixing with tweezers; you have to be very, very careful how you’re gain-staging at all times just to make sure that you’re not using up too much of the math too quickly.

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With the Sumo, mixing was quicker and a bit more intuitive, as there symo always a bit ajdient room for more signal. Unlike using a console as a summing device, mixing through the Sumo was really neutral sounding and didn’t seem to impart much of a sound; the Sumo just represented what was going on and got out of the way.

The stereo image was wider and the depth of field seemed better. I used a Digi for mixing, and clocking Pro Tools from the Sumo really made Pro Tools sound better overall during the days that I had the unit. I think that for what you get for your money, its “all in one” nature, and the fact that the Sumo is relatively transparent, the Sumo covers a lot of ground to help DAW-only studios take advantage of the ease and audoent of analog summing. I’ll definitely miss it when it’s gone.

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Many people seem to have issues with digital mix busses, and the M-3 is one of several When I first heard about the U. I asked Mackie to send the U. Why didn’t anyone else think of doing this? It has always been a priority for me to provide the ability for each member of a band to dial in her or his own headphone mix during a tracking xudient overdub session. It was essential to me when building When one hears the name SSL, the first thing that comes to mind is a big bucks console.

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Now that there is some kind of rackmount version of every other large format console’s mic pres or channel I have seen the future, and it is touch. Cakewalk’s Scratchpad is their first foray into iOS apps auident is exactly ahdient it sounds like.

The main portion of the on-screen interface is divided My living-room stereo system consists of a mish-mash of late’s and early’s hi-fi gear, a Rega Planar turntable, six in-ceiling speakers hooked up to a power amp, and a pair of ADAM Audio P11A Vintage King co-founder Michael Nehra shares some of his love, knowledge, and practical advice for diving into the world of vintage audio gear, and then takes us behind the scenes for a walk through Jim Williams has spent much of his 56 years working with some of the biggest names in the music business, including Frank Zappa, John McLaughlin and Stevie Wonder.

He’s the owner of Audio Upgrades, Bill Cheney and Jim Romney are the men responsible for keeping the amazing legacy of Spectra Sonics, a legendary, if criminally unheralded, pro-audio company alive.

Their mic preamps, summing amps, and control room Sumo summing amplifier Reviewed by Thom Monahan. Tape Op is a bi-monthly magazine devoted to the art of record making. Subscribe for free here.