Audient’s ‘British Sound’ Lands at India’s Mondosonic Studios
Describing himself as a ‘recording purist’, music producer and composer Varun Krrishna is very impressed by his new Audient ASP8024 Heritage Edition.
“This console is the best decision I’ve made in my career,” he says, having recently installed it in his new Mondosonic Studios in Kerala, India.
The result of five years’ hard work, Varun’s recording space is inspired by his experience in London. As a student of Advanced Music Production, he fell in love with what he calls ‘the British sound’ back in 2014.
“I used to go to many studios whilst I was studying,” he explains. “I found out that even though there is a digital revolution going on, the analogue domain still has that sound that is missing in plug-ins. I know it’s subjective, but analogue has worked way better for me in my production workflows.”
So, when kitting out his new studio, the first item on his shopping list was an analogue console.
“As I use very coloured analogue outboard, I wanted a clean, yet punchy sounding console with great routing options. That’s how I landed on Audient.”
Enter the ASP8024-HE with 36 channels, patchbay and DLC, supplied by Tanseer at The Inventory.
Despite a full demo at The Bridge Studios, London, he still manages to find more to appreciate about his console as he works with it.
“I had a great time exploring the features; the sound was huge, wide and smooth,” he enthused. “These preamps are phenomenal. I have many outboard preamps with different colours, but I’m more fond of using the console’s built-in preamps. It feels great when I can do things all within the range of the console.
“Activating the built-in Retro-Iron, the subtle harmonics take my mixes to another level. I am also really blown away by the low noise floor of the console.”
For Varun, recording is the most important part of production.
“I spend more time recording than mixing and mastering,” he says. “Without an incredible recording, I feel songs just lose their soul. That’s why I got myself an analogue desk, so that I can get that very detailed recording in an intuitive way.
“I use microphones as a tool for natural EQ. By trying out various mic positions, I can get the sound I am looking for without using much EQ post recording. It’s an art of exploring and learning – and the most fun part!”
Varun utilises the in-line architecture of the desk to start mixing whilst he’s tracking, which helps give him an idea of how it will end up in the final stages of song production. The Dual Layer Control (DLC) is earning its keep, too.
“I can switch between the DAW control and analogue automation so easily and I can patch anything into the DLC.”
Currently developing his own in-house record label, Varun says having this level of control throughout the production process is proving invaluable.
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