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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Separate gain reduction metering is provided for each processor, giving instant visual feedback. For additional flexibility, the first two channel pairs can be switched to mono, handling, for example, Kick, Snare, Bass, and Lead Vocal as opposed to two stereo pairs. Why do I need to login to see this item? He’s the owner of Audio Upgrades, 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 With the Sumo, mixing was quicker and a bit more intuitive, as there was always a bit more room for more signal.

The main portion of the on-screen interface is divided 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. Separate mix and monitor outputs are provided using balanced XLR connectors. 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’ll definitely miss it when it’s gone. Many people seem to have issues with digital mix busses, and the M-3 is one of several 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.

Cakewalk’s Scratchpad is their first foray into iOS apps and is exactly what it sounds like. 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 clarity of analog summing.

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The Sumo’s infrastructure begins at the right point with a fully-balanced mix buss with tons and tons of headroom. Based on the heart and guts of their flagship ASP console, the Sumo is a “just what you need” type of box for those of us working solely with DAW’s.

Each Sumo unit delivers a dB dynamic range while providing an extremely low noise and low distortion environment. The converter is definitely the “dark horse” winner of this unit.

I asked Mackie to send the U. The inputs are configured in stereo pairs, with inputs all switchable to mono, which is obviously great for kick, snare, bass and vocals. I’d love to see an expanded Sumo that really integrated the monitor section of a larger console. On the downside, 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.

Tape Op is a bi-monthly magazine devoted to the art of record making. 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. When one hears the name SSL, the first thing that comes to mind is a big bucks console.

All user reviews for the Audient Sumo

The meters were very “fuzzy,” so it was hard to really get much focused detail outside of just RMS level. Sumo summing amplifier Reviewed by Thom Monahan. The LED ladders have a tremendous amount of light spill, so signal in one channel would light up the other channel so much so that it would seem as if there was signal present when there was none.

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.

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. Audient Sumo allows computer-based studios to mix in the analog domain to get the best of both worlds.

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Balanced stereo mix bus as found in the best studio consoles and master compressor 16 paired input channels with added flexibility Expandable to 64 analog inputs Balanced Stereo Mix The Sumo Summing Amplifier gives you a balanced stereo mix bus — as found in only the best studio consoles — the stereo master compressor from the acclaimed Audient ASP recording console, a peak limiter, monitor controller and kHz digital output option.

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 or overdub session. In he rejoined with Gareth Davies to form Audient, whose products are typified by high performance, intelligent ergonomics, and transparent sound quality.

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.

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

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. Audieent seem to stay clean, wide, and open; and the buss exhibits none of the “pinched” nature of some uadient busses whereby the image starts to close down as maximum level is reached. Audient Company History While British-based Audient is fairly new on the scenethe company’s founders have quite a respectable pedigree.

Summing in the analog domain ensures no reduction in resolution, making your mixes fuller, clearer and more musically coherent. 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.