Last week I did my Audient ASP880 review class A 8 channel pre-amp, I then went and bought it. As an Omni user who wants more I/O but doesn’t want to buy more Avid hardware it was a no brainer.
Some have asked why I selected the ASP880, so here’s how I’m using it.
Here’s my set-up to show you what I now have in terms of flexibility. This set-up requires this recipe;
- Avid Omni
- Audient ASP880
- Patchbay and cables
- 3 x DB25 to jack 8 way looms
- 2 x ADAT optical cables
- Optional, but recommended - 8 way XLR/Jack/Combo stage box
- Hardware to taste
ASP880 And Avid Omni Workflow Tracking
I now have 8 XLR/Combo connectors when tracking through my Class A Audient ASP880 class A pre-amps. Also included are variable filters for cleaning up the signal from 25Hz to 250Hz.
The audient AD also alllows me to use 8 insert points on record, so I can really start to use the hardware in the rack on all channels. This is simply a case of 2 of the DB25-jack loops out to the patchbay then I can put any of my hardware across any of the 8 channels.
ASP880 And Avid Omni Workflow Mixing
When it comes to mixing the flexibilty remains, using a DB25-jack into the patchbay I can then use hardware effects on up to 8 channels, sending them out of the Omni and then back into the ASP880 via the AD inputs.
ASP880 And Avid Omni Workflow - Using Pro Tools For Input Switching
I also own an Avid Eleven Rack so if I want to use that to track guitars then that is coming into Pro Tools via the AES/EBU connection on the back of the Avid Omni and then it is simply a case of swapping over the inputs on the hardware settings in Pro Tools.
ASP880 And Avid Omni Workflow - Why This Set-up?
There are other solutions when it comes to haging something off the Omni via ADAT but for me the ASP880 with it’s Class A pre-amps, variable filters and inputs via the AD gives me the quality and flexibilty I have been looking for.
Did Audient pay me to write this? No, I paid them!