Audient ASP 4816 User manual

Owner’s Manual

Audient Limited, Aspect House, Hampshire,
England, RG25 2PN
Telephone: [phone]
www.audient.com
E&OE
V 1.04

Contents
Introduction
How to use this manual 4
Unpacking 5
Service and Repair 6
Ventilation 6
Power-up 6
Audio interfaces 7
Dimensions 7
 Specications8
Overview
Console layout 10
In-line architecture 11
Solo 13
Metering 13
 Typicalconguration 15
Glossary 16
Console functions.
INPUT POD 20
ROUTING AND AUXILIARIES 21
EQUALISER 22
SHORT FADER (SF) 23
FLIP AND PAN 24
LONG FADER (LF) 25
INPUT CONNECTORS 26
STUDIO SPEAKERS AND FOLDBACK 27
 CONTROLROOMMONITORING 28
OSCILLATOR 29
SOLO 29
COMPRESSOR 30
STEREO INPUTS 31
LINE I/PS 17-14 AND SUB-GRP OUTPUTS. 32
TALKBACK 33
AUX MASTERS 34
BUS MASTER TRIM 35
MASTER FADER 36
CONTROL ROOM CONNECTORS 37
 STUDIO/FOLDBACKCONNECTORS  38
AUX CONNECTORS 39
SUB-GRP INSERT/ 17-24 CONNECTORS 40
STEREO INPUT CONNECTORS 41
MONITOR INPUTS 42
MIX OUTPUTS 43
BUS, SUB-GROUP/LINE 17-24 OUTPUT CONNECTORS 44
MASTER METERS 45
SUB-GROUP/LINE INPUT 17/24 METERS 46
BLOCK DIAGRAMS 47
WARRANTY. 51

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© Audient Ltd
Introduction.
Thank you for selecting this Audient product.
We hope that your new ASP4816 console will provide an intuitive, ergonomic and tactile path to ana-
logue enlightenment.
ASP4816 is a small format analogue console with a big heart. Small in stature, yet not in functionality,
it provides an impressive array of connectivity, signal conditioning, routing, summing, processing and
monitoring capability in one beautiful, tidy package.
ASP4816 will adapt to become the centre of your creative workow, equally suited to the project stu-
dio or high-end professional environment.
Lets take a look!
How to use this manual.
This manual has been divided into sections for your convenience.
The rst section introduces ASP4816 and provides an overview of the control surface and where to
nd things. The following sections provide detailed information regarding each function, operation of
controls and how they relate to each other. Along the way a number of handy tips and suggestions will
offer up possible uses and applications for the console during creative use.

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Introduction.
Unpacking
Your Audient ASP4816 Console has been carefully and meticulously tested and inspected before dis-
patch.
Please check for any signs of transit damage. If any signs of mishandling are found please notify the
carrier and inform your dealer immediately. The packaging should include the console, an IEC power
cord and this manual.
IMPORTANT SAFETY INSTRUCTIONS
Please read all of these instructions and save them for later reference before connecting ASP4816 to
the mains and powering up the console. To prevent electrical shock and re hazard follow all warnings
and instructions marked on the ASP4816.
This unit is connected via its IEC power cord to the mains safety earth.
NEVER OPERATE THIS CONSOLE WITH THIS EARTH CONNECTION REMOVED.
Internal Switch Mode Power Supply & Mains Fuse
ASP4816 utilises an internal switch-mode power supply that is very quiet and passively cooled with
plenty of current capability and headroom. This switch-mode design will accept any A.C line voltage
from 90V to 264V. Please ensure your A.C mains line voltage is within this specication. Consult a
qualied technician if you suspect difculties.
DO NOT ATTEMPT TO TAMPER WITH THE POWER SUPPLY OR MAINS VOLTAGES
- HAZARDOUS TO HEALTH.
Always replace the mains fuse with the correct value - T2A slow blow.

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Service and Repair
The console uses a complex internal pcb sandwich arrangement making eld service only possible by
a qualied technician. If any technical issues do arise with your console, please contact your dealer as
soon as possible to arrange for technical support. Do not attempt to x the console unless qualied to
do so. See the warranty section provided at the end of this manual for details of your cover.
However, if you do need to access the inside of the console, the mechanical design allows for easy
entry. If you do need to access the inside of the console for any reason please power down the device
and disconnect the IEC power cord before proceeding.
All audio path PCBs are panel mounted to the control surface, with the I/O connector PCBs mounted
to the rear of the chassis base. The switch mode power supply, and power distribution PCB are mount-
ed to the chassis base. PCBs are linked via ribbon cables or small cable runs. As such the console can
be opened without stress or strain on internal wiring or components.
4 x M6 bolts located underneath the armrest allow this to be lifted off. The control surface module is
also held in place with 4 M6 bolts located on the underside of the chassis. Once these are removed the
control surface module can be hinged up using the hand hold cut-outs in the front surfce of the mod-
ule. (just like a car bonnet!). A 45cm long prop is recommended to support the control-surface module,
freeing both hands for whatever issue you may be attempting to solve!
Ventilation
Care should be taken not to obstruct the series of ventilation holes in the metalwork of the console.
The desk is designed to release heat and take adequate air ow via these holes to ensure longevity of
performance. These are located underneath the armrest, in the sides of the console and meterbridge.
If mounting the console into some form of studio furniture or desk, please ensure a sufcient air gap at
these locations.
Lexan overlay
The front panel of the ASP4816 features a rugged under-surface printed polycarbonate overlay. Expo-
sure to direct sunlight for extended periods of time should be avoided as this can have a detrimental
effect on the overlay panel and the control knobs. However at least the panel legending will not wear
off like some of the silk screened or engraved products of yesteryear!
Power-up
On power up, please check that the power rail indicators for +48v d.c
and +/-18v d.c light on the right hand side of the console.
Introduction.

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Audio interfaces
The ASP4816 has been designed and developed to provide highly robust system integration interfaces,
allowing worry-free system hook-up under the most demanding situations.
Inputs and outputs are implemented using advanced electronically balanced or ground sensing topolo-
gies and are tted with extensive RFI rejection networks. All signal interfaces are also fully protected
against accidental misuse e.g. by the connection of phantom powered cables.
Pin conventions
Signal interfaces are provided on either metal shell locking XLR, TRS Jack or 25 pin D Sub connec-
tors. XLR Pin 1 is connected to the chassis safety ground. XLR Pin 2 is designated as signal positive
and Pin 3 as signal negative.
To unbalance the outputs of the ASP4816 Pin 3 should be connected to Pin 1 at the output of the con-
sole. Similarly, inputs from unbalanced sources should be connected via twin screened cables with the
Pin 3 connection tied to the screen at the unbalanced source.
Screen connections
In order to maintain optimum EMC performance it is important that screens are properly connected at
both ends of cable runs. In this way the electromagnetic shield provided by the equipment chassis and
the cable screens will be optimised to reject interference.
It is recommended that only high quality braided screen cables are used to avoid compromising EMC
performance.
Dimensions
Introduction.

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Frequency Response
Mic input to Mix output <+0,-0.3dB 20Hz-20kHz @6-40dB gain.
Line input to Mix output <+0,-0.3dB 20Hz-20kHz @0dB gain.
THD AND NOISE AT +20dB OUTPUT
Mic XLR input to any output <0.005% at 1kHz
Line input to any output <0.005% at 1kHz
Tape input to any output < 0.003% at 1kHz
NOISE
Mic EIN (20-20kHz, 150R source) <-127.5dBu
Bus noise (no inputs routed) <-93dBu
Bus noise (36 inputs routed) <-78dBu
CROSSTALK AND MUTE ATTENUATION AT 1kHz
Short fader Mute >90dB
Long fader Mute >90dB
Mix assign >90dB
Bus assign >90dB
MIC CMRR 70dB (Min gain)
75dB (Max gain)
MAXIMUM INPUT
Mic >+21dBu (min gain)
Line +30dBu (min gain)
insert return >+21dBu
MAXIMUM OUTPUT INTO 2K OHMS
Mix output >+26dBu
Bus output >+26dBu
Aux output >+26dBu
Insert send >+20dBu
Monitor, Studio, F/B outputs >+20dBu
Specications

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Overview
ASP4816’s many features include 16 channels of Class-A discrete microphone preampliers as used
in our world renowned ASP8024 console and ASP008 8-channel microphone preamplier, guarantee-
ing outstanding sonic transparency and detail.
When combined with high resolution bargraph metering, input conditioning, comprehensive cue
monitoring options, ASP4816 is right at home in a tracking environment.
A rear panel full of high quality locking XLR and TRS connectors ensures it is simple and quick to
integrate your favourite outboard and existing microphone preampliers.
However, ASP4816 is equally comfortable as a mixing tool - with up to 6 selectable aux sends, inserts
and dedicated DAW returns, 8 sub-groups with switchable inserts, 16 main output buses, classic Audi-
ent summing, VCA bus compressor and a high quality centre section complete with mono, dim, phase
and comprehensive monitoring congurations - any eventuality is covered.

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Console layout
Overview

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In-line architecture
ASP4816 has an In-line architecture. This means that the ‘channel path’ and the ‘monitor path’ are both
included in the same physical strip.
Because the two signal paths are integrated in this way, in-line consoles have sometimes been seen as
confusing. However great care has been taken in the cosmetic and ergonomic design of the ASP4816
to make the two paths easily distinguishable from one another. Dark areas of the control surface and
dark switch buttons are associated with the short fader (SF) or channel path while lighter areas of the
control surface are associated with the long fader (LF) or monitoring path.
For the remainder of this manual the signal paths will be referred to as the LF and the SF paths. As a
default condition the Mic/Line input feeds the SF path while the DAW return signal uses the LF path.
This assignnment can be reversed using the FLIP switch. To identify which mode
has been selected back lit legends indicate the signal source for each path.
As just discussed, the ASP4816’s In-Line architecture provides huge operational exibility and power.
The block diagram on the next page shows the SF and LF (short and long fader) paths. The FLIP
switch is at the input of both paths and determines whether the MIC/LINE or the DAW input is used
for a particular path. The normal position for all switches on the console is UP and with the FLIP
switch in this position the DAW signal is routed through the LF path as shown.
By studying the diagram it can be seen that the MIC/LINE input is routed through the SF path but that
when the FLIP switch is pressed this situation is reversed and the DAW signal is now routed through
the SF path.
There are switches labelled SF associated with both the HF/LF equaliser and the MID equaliser. Again
the normal position of these switches is UP, placing the equalisers in the LF path. By pressing the SF
switches the equaliser sections can be moved over to the SF path. Thus it is possible to have the entire
equaliser in either the LF or SF path or one section of the equaliser in each path. This situation could
be useful when both the LF and SF paths are used for mixdown. If recordings are to be made with
equalisation then the equalisers should be placed in the SF path.
Note in this situation that you will hear the effect of the equalisation and it will be recorded. When the
equaliser is in the LF path you will hear the changes but they will not be recorded. They will only be
recorded if a stereo recording is made, as will be the case when mixing the title.
It is possible to source the auxiliaries from the SF path by pressing the SF switch associated with each
pair of auxiliaries. The auxiliaries can further be selected to be either pre or post fader for whichever
path they are in.
Path swapping
Overview

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Overview

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Pressing a solo button on a channel with either PFL or AFL selected allows either the PFL or AFL sig-
nal for that channel to be heard on the monitors and viewed on the stereo output meters.
Associated with the solo switch is the SOLO-IN-FRONT control and this allows the relative level of
the solo’d signal and the stereo mix to be adjusted. It is therefore possible to hear a channel in isolation
or with some amount of the mix behind it. Solo-in-Place is an extension of the AFL and PFL facilities.
If SIP is selected on the master module the signal on the main stereo bus will be replaced by the AFL
(Post Pan) signal of the solo’d channel. This is the equivalent of cutting all other channels except the
one you want to check, but is achieved by just a single button push.
Note that if you are recording when Solo in Place is used this will be recorded !
For this reason the SIP switch is illuminated alerting users to possible danger. The most likely use for
SIP will be just before a mix when equalisation is being set up. It is often easier to adjust the equalisa-
tion on a solo’d channel but it is essential to check how it sounds when in the mix.
Solo
Metering
Metering is extremely important as it can determine whether or not a signal is too low in level, in
which case it may be noisy, or too high in level in which case it may suffer distortion. The aim of the
meters is to assist in setting the signal level between the two extremes of noise and distortion.
A signal level that is too high clips meaning that the smooth waveform abruptly changes when the
electronics runs out of headroom. Normally a visual indication of impending clipping is given before
the audible effects become apparent.
At the other extreme, if there is insufcient signal, any noise present will be amplied along with the
signal when it is eventually brought up to the correct level. There are no indicators warning you of this
condition - only the fact that the signal is not “peaking” to any extent on the meter.
To aid this situation the ASP4816 has input and output meters. DAW input levels can be monitored on
a 20 segment meter, while microphone input levels can be monitored on a 3 segment meter. Provision
is made for the function of these meters to be reversed, as, particularly when tracking, it may be desir-
able to observe the input signal on the large meter.
Overview

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Meters are provided for :-
Main Stereo Output (30 segment)
Line Inputs 17-24/Sub-group Outputs (20 segment)
DAW Inputs (20 segment)
MIC/LINE Inputs (3 segments)
0VU is calibrated to a nominal operating level of +4dBu. Which in turn is relative to a typical EBU
calibration of +18dBu = 0 dBFS. 0 dBFS is your absolute maximum digital level (full scale) and
should be avoided at all costs - digital clipping is not a pleasant sound.
As such the bargraph meter scale on ASP4816 is calibrated in dBFS, such that +4 dBu = 0VU = -14
dBFS. Therefore, a nominal
operating level of 0VU will result in 14 dB of headroom in your digital recording platform (providing
your AD/DA converters are aligned to 0 dBFS = +18 dBu.
14 dB of headroom is very useful as most music sources (except for the huge dynamic range of an or-
chestra) have crest factors (the difference between average (RMS) and peak level) of around 12-20 dB.
ASP4816 therefore provides ample headroom for your beautifully crisp transient sources.
Overview
Metering - continued

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Typicalconguration

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AFL
This allows after fade (post fade) signals to be heard on the monitors and viewed on the main stereo
meters.
Auxiliaries
Sometimes known as auxiliary sends these are used as secondary mix buses. The mixes created on
these buses are then used to feed effect units or are fed back to the performers as a Foldback feed.
Every channel has access to the auxiliary mixes and the contribution of any channel can be varied by
using the appropriate auxiliary level control. Auxiliaries can be switched pre or post fader and be al-
located to either the SF or LF signal paths.
Auxiliary Master
Associated with every auxiliary there is an auxiliary master control to give overall level control rather
than having to adjust the contribution from every channel.
Bus Master
Inputs are assigned to bus outputs through a routing matrix, enabling one or many inputs to be as-
signed to the same bus. The bus outputs usually correspond to inputs on the DAW or other recording
device. Each bus then has a mixing amplier whose gain can be controlled by the Bus Master Trim.
This allows the level to a multi-track input to be raised or lowered without having to adjust the individ-
ual level of each channel routed to that track. The faders can still be used to adjust the relative levels of
channels.
Cut
The cut or mute control is used to silence (mute) a signal path when it is not in use. This removes the
noise contribution from that source leading to a quieter mix. There are cut switches in both the SF and
LF signal paths.
Dim
This allows the control room loudspeaker levels to be reduced by a preset amount. Dim will be brought
into action automatically when talkback is used preventing howl round.
Equaliser
Equalisers are what would be referred to as tone controls on consumer equipment. Equalisers are
divided into a number of bands - 4 in this case. There is scope to adjust high and low frequencies and
two bands of middle (mid) frequencies. The high and low frequency sections are shelving and the
turnover frequency is switchable. The middle frequency sections are peaking and the frequency of the
peak (or dip) is adjustable. It is also possible to alter the Q of the mid sections with a pot, making the
Q continuously variable between two values. In-line consoles often have the facility for the equaliser
to be split such that it can be used partly in the channel path and partly in the monitor path. The SF
switches on ASP4816 equalisers allow the HF/LF and MID equalisers to be independently switched
into the SF signal path.
Glossary

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Glossary
Flip
Flip allows the inputs to the signal paths to be swapped. Normally the LF path will carry the DAW
input, however, with FLIP pressed it will carry the MIC/LINE input while the DAW input will travel
through the SF path.
Foldback
Foldback is a mix that is returned to the performers in the studio in order that they can play in time
with what is already recorded. It could simply be the console stereo output although more usually it
is taken from a pair of auxiliary buses allowing a different mix to be created. Talkback may also be
included on the foldback outputs enabling communication with the artists.
In-line
This refers to a type of console which contains two signal paths within a channel stip. The channel
signal path is used to feed a DAW or other recording device while the monitor path is used to carry
the output of the DAW (or other recording device) through to the stereo mix bus. In-line consoles can
be more compact than split consoles or can carry more channels for a given size. The possibility of
switching signals between the two paths and of sharing facilities between the paths makes the in-line
concept a very attractive one.
Insert points
Insert points allow the signal path to be broken allowing the insertion of some signal processing de-
vice. The device inserted is then in series with the signal path. When not required the device can either
be switched out using the INSERT switch or unplugged from the console.
LF
The Long fader is normally used to feed the mix. The lighter areas of the channel strips are areas used
for the LF signal path. There may be a dark switch labelled SF allowing that facility to be switched
into the SF or short fader path.
Line
The line input is a high level, high input impedance input intended for high level sources such as the
outputs of a DAW or other recording device, sampler etc.
Mic
The microhone input is a low level, low impedance input intended for use by low output devices such
as microphones. This contrasts with the line input which is intended for use by equipment with high
output levels, such as a DAW line output for example.
Mix
This allows signal to be routed to the stereo mix bus which is the main output of the console. This rout-
ing can be applied to both the SF and LF signal paths and is particularly useful during mix down when
as many inputs as possible are often required.

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Glossary
Pan
Short for panoramic potentiometer this control places a mono source signal onto the stereo bus. The
proportion of signal fed to the left and right buses is variable (using the pan control) and alters the spa-
tial position of an instrument within the mix. Thus a number of channels can all be panned to different
spatial positions. Generally low frequency instruments such as kick drums are panned centrally as they
are omnidirectional and for a given SPL the speakers are being driven at a lower level leading to less
distortion. Signals can also be panned across odd and even bus outputs allowing them to recorded in
stereo.
Q
Q is an indication of the frequency range or bandwidth over which a peaking equaliser will be effec-
tive. Low Qs affect a wide range of frequencies while high Qs affect a much narrower range of fre-
quencies. It thus allows an equalisation adjustment to be targeted to maximise the effect where re-
quired while at the same time minimising changes where they are not wanted. Generally high Qs sound
less pleasant than low Qs.
Routing
This is the process of selecting to which bus output of the console the signal should be routed. Routing
can be to multiple tracks and if an odd/even combination is selected then panning can be used to record
a stereo signal.
SF
The Short fader is normally used to feed the inputs to a DAW or other recording device. It therefore
controls the recorded level of the signal. When SF appears by a control or group of controls it means
that these functions can be switched into the short fader (or channel fader) path.
Shift
This allows the number of routing switches to be reduced by doubling the function of each switch.
With Shift unpressed routing is possible to tracks 1 through 8. With Shift pressed routing to tracks 9
through 16 is possible.
Solo in place
This is a method of previewing the signal in a channel and works by cutting all the signals feeding the
stereo bus other than the one(s) being solo’d. This is a destructive process and does affect the stereo or
mix output of the console.
Stereo Bus
This is usually the main bus in the console and provides the output to whatever stereo recording device
is in use. The stereo output is also used as the main monitor source allowing the output of the multi-
track to be heard and the balance of the individual tracks in the mix to be adjusted.
Talkback
Talkback is a means of communication from the mixing console to the performer.

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Console functions.

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Console functions.
CHANNEL STRIP
INPUT POD
The input pod is the gateway to
the remainder of the signal pro-
cessing of the console. There are
three inputs, a mutually exclusive
microphone and line input, and a
tape input.
Note the different colouring used
to identify the different signal
paths of the pod. Anything on a
light background is associated
with the LF path while anything
on a dark background is associ-
ated with the SF path.
The mic/line input normally sends
signal to the SF or short fader sig-
nal path of the console while the
DAW input normally sends signal
through the LF or long fader
path of the console unless this is
reversed by the FLIP switch.
There are two meters associated
with the inputs, a 20 segment
0dBFS peak reading meter show-
ing the DAW input signal and a 3
segment peak reading meter gives
an indication of the mic/line level.
Both the MIC/LINE and the DAW
inputs have insert points which
can be switched in and out of
circuit.
The Mic Input has a gain control
range of +6dB to +60dB and the
Line Input has a range of -14dB
to +40dB. Switches allow for
Phantom Power, Polarity Reversal
and High Pass ltering - enabling
rumble and sources alignment is-
sues to be easily dealt with.
The DAW input has a trim control
with a range of ±15dB.
There is a back illuminated num-
ber at the bottom of the pod for
channel identication.
1 20 Segment meter (normally
monitoring the DAW input)
2 3 Segment meter (normally
monitoring the Mic/Line
input).
3 INSERT IN places an insert
point in the DAW path
4 DAW Input TRIM control
5 MIC/LINE switch - press
down to select the line input.
6 MTR - press to show the mic/
line input on the large meter
and the DAW input on the
small meter.
7 INSERT IN - places an insert
point in the MIC/LINE path.
8 Mic/Line GAIN Control
9 O Polarity (Phase) Reverse
Switch
10 48V Phantom Power Switch.
Turn the loudspeakers down
before switching this on or
off!
11 High Pass Filter Switch. A
high pass lter can be used
to get rid of any unwanted
low frequencies that may be
present such as air conditioning
rumble.