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Audient ASP2802 Operating Manual Download Page 11

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© Audient Ltd

ASP2802 has many features including 8 channels of Class-A 
hybrid discrete microphone preamplifier as used in our time 
honoured ASP8024 console and ASP008 8-channel microphone        
preamplifier, guaranteeing outstanding sonic transparency and 
detail. 

When combined with useful LED bargraph metering, input 
signal conditioning, freely assignable direct outputs and 
comprehensive cue monitoring options, ASP2802 is right at 
home in a small location recording or tracking environment. 

A rear panel full of high quality locking XLR, TRS and 25-pin 
D-Sub connectors (wired to Tascam DA-88 pinout specification, 
page 42) ensures it is simple and quick to integrate your AD/DA 
converters, favourite outboard and existing microphone 
preamplifiers.

ASP2802 is equally comfortable as a hybrid mixing tool - 
featuring a DAW HUI

TM

 control surface combined with 8 

channels of analogue fader automation and up to 30 main 
inputs on mixdown.

The high number of inputs in such a small package is achieved 
via 16 inputs in the channels (alternative cue input used) plus a 
further 14 inputs (4 stereo summing input pairs, 2 stereo FX 
returns and stereo DAW Mix input) in the master section. 

Combined with 2 aux sends (plus stereo cue depending upon 
cue destination or alternative input usage), inserts, dedicated 
DAW returns, mix bus parallel insert mode, classic Audient 
summing, patchable VCA bus compressor and a high quality 
centre section complete with mono, dim, phase and talkback 
communications - any eventuality is covered.

Get ready to unleash the power of this formidable but neatly 
packaged mini console.

Introduction

Summary of Contents for ASP2802

Page 1: ...OPERATING MANUAL Version 1 00 ...

Page 2: ...Set 12 Operational Surface Overview 13 Rear Panel Connections 14 Channel Strip Page 15 Input Conditioning 16 Direct Output Routing 23 Psuedo In Line Functionality 28 Insert Parallel Tip 31 Summing FX Returns Page 41 Aux Cue Masters Page 45 Monitor Section Page 50 Controls Overview 51 Source Select 52 Headphone Output 56 Talkback 57 Solo Modes 58 VCA Bus Compressor Page 60 Controls 62 Example Setti...

Page 3: ...C Page 89 Manual IP Address Assign 91 Automatic IP Address Assign 94 Firmware Updates Page 95 Automation Page 96 Overview 97 Automation Safe 98 Control Surface Overview Page 99 Example Systems Page 101 8 Channel DAW System 104 Hybrid Production System 105 16 Channel Tracking System 106 24 Channel Mixing System 107 Panel Visualisations Page 108 Warranty Page 112 Contact Information Page 113 Content...

Page 4: ...tion system and integrated HUITM control surface and this becomes a very powerful console featuring our all new Dual Layer Technology ASP2802 will adapt to become the centre of your creative workflow ideally suited for use in project studio production spaces location recording or high quality hybrid mixing systems Let s take a look How to use this manual This manual has been divided into sections ...

Page 5: ...Page 5 Audient Ltd Installation ...

Page 6: ...le To prevent electrical shock and fire hazard follow all warnings and instructions marked on the rear of the console 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 2802 utilises an internal switch mode power supply that is very quiet and passively cooled with plenty ...

Page 7: ...ided at the end of this manual for details of your cover 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 flow via these holes to ensure longevity of performance These can be found along the left hand bottom edge on the side panel below the cheek the rear top wrap around venti...

Page 8: ...ation plate Lexan Overlay The front panel at the top of ASP2802 dark section only features a rugged under surface printed polycarbonate overlay Exposure 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 pr...

Page 9: ...Page 9 Audient Ltd Installation Optional Rack Ear Kit Installation ...

Page 10: ...ght depth when racked 13RU plus connector space 15RU ASP2802 Specifications Some general performance figures from the console taken with Prism D Scope test equipment Frequency Response 0 3 dB 20 Hz to 20 kHz THD Noise 0 015 1 kHz Noise Mic EIN 20 Hz to 20 kHz 150 ohm source 127 5 dBu Bus Noise All inputs routed 80 dBu Mic CMRR 70 dB min gain ...

Page 11: ... outboard and existing microphone preamplifiers ASP2802 is equally comfortable as a hybrid mixing tool featuring a DAW HUITM control surface combined with 8 channels of analogue fader automation and up to 30 main inputs on mixdown The high number of inputs in such a small package is achieved via 16 inputs in the channels alternative cue input used plus a further 14 inputs 4 stereo summing input pa...

Page 12: ...ts from 8 to 16 Flexible cue section with summed source selection built in talkback communications with provision for an external talkback microphone and 48V phantom power if desired Fully featured 8 fader HUITM based control surface with jog shuttle wheel transport panel 4 rotary encoders and OLED channel display On board VCA bus compressor with wet dry blend and patchable inputs outputs 2 Stereo...

Page 13: ...Page 13 Audient Ltd Operational Surface Overview Introduction ...

Page 14: ...Page 14 Audient Ltd Rear Panel Connections Overview Introduction ...

Page 15: ...Channel Strip Overview ...

Page 16: ...reamplifier provides 6 to 60 dB of clean gain delivered from our classic hybrid discrete class A transistor and integrated circuit design 48v phantom power and an input impedance of 2k5 ohms ensure that you will get the most from your microphones Two features that should be very useful during tracking are available on either the microphone preamplifier or line input paths if using boutique externa...

Page 17: ... psuedo in line functionality is entirely possible with the direct output options It is possible to monitor the post record path commonly referred to as tape via the DAW input when assigned to the alternative cue input providing a psuedo in line short and long fader style of operation for those familiar with traditional in line consoles With two line inputs per channel DAW and line and a flexible ...

Page 18: ...Page 18 Audient Ltd Channel Strip ...

Page 19: ...U calibration of 18 dBu 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 ASP2802 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...

Page 20: ... be overridden if using the meters to display DAW channel metering values in control surface operation DAW Meters function In the UP position the channel input path feeds the meter taken before the channel trim control 9 but after the mic line and DAW flip 4 8 routing selections When engaged into the DOWN position the meter takes its feed from the the direct output feed Thus its exact location is ...

Page 21: ... each channel you have total control over which microphones receive power Rest assured that the powerful switch mode power supply can deliver all of the current needed for the hungriest microphones Phantom power wiring Microphone Preamplifier Gain The microphone preamplifier fitted to ASP2802 is the same class A low noise hybrid design made popular with the ASP8024 large format in line console and...

Page 22: ...eful ways for tracking Line Input Select Engaging this switch overrides the microphone preamplifer input with the line input this is the channel source which can later be swapped for the DAW input Polarity Invert A 180o polarity invert function available for the microphone preamplifier or line input useful for checking phase when tracking with multiple microphones or flipping an existing track dur...

Page 23: ...Output Routing This section is probably the most flexible element in the channel strip providing 4 different signal path configurations for the entire channel strip switched on a per channel basis There are 4 modes to remember here and they will seriously aid your workflow POST PRE INS PRE FDR CH The first mode POST requires both switches in the direct output routing section to be in the UP positi...

Page 24: ...FADER This mode configures the direct output as follows This mode is useful when you want to take a clean feed during tracking yet still monitor your signal with processing via the insert and set balances in real time perhaps for headphone mix purposes with the processed signal on aux sends or the channel fader This mode also provides extra gain during tracking via the channel trim control a conve...

Page 25: ...ourth mode CHANNEL requires both switches in the direct output routing section to be in the DOWN position This is quite possibly the most useful mode for tracking if you are used to working with an in line console architecture In normal use CHANNEL mode allows the direct output to be taken direct from the microphone preamplifier HPF and polarity inverter stage with no added gain stages such as cha...

Page 26: ...irect output the channel can be reconfigured to allow monitoring of the signal pre recording device and or post One possible path is via the alternative cue input 14 which allows the signal to be recorded to be monitored prior to reaching its destination by sending the channel input line or mic signal to the cue level and pan control 11 13 and finally summing the cue bus into the main mix bus via ...

Page 27: ...hannel input Meanwhile use the cue alternative input to feed a balance of the undelayed signal to your artist s headphone cue mix whilst at the same time monitoring the main fader path fed from tape or disk so you can hear the colouration provided by your recording medium see diagram on the next page Here are several other useful ways of setting up the console and direct outputs for monitoring dur...

Page 28: ... into the console either via the alternative cue inputs or if using the cue to feed external artist cues or fx devices the DAW Mix and DAW FB stereo rear panel XLR inputs which can be combined in the monitor and cue section to provide hybrid headphone mixes containing some live feeds from console auxiliaries along with DAW foldback mixes which may include backing or click tracks for example This w...

Page 29: ...o turn the cue into an extra input with level pan and global bus routing When the switch is engaged into the DOWN position the sources to each section flip over therefore the mic line input will feed the cue section alternative input and the DAW input will feed the main channel path DAW channel flip can be used to transform the console from a tracking arrangement where the mic line source feeds th...

Page 30: ...WN this switch engages the insert send and return loop for each channel insert send and return balanced 1 4 TRS jack connectors found on the rear panel This is a great place to insert your favourite outboard processors into the channel path Please bear in mind that with no TRS connectors plugged into the insert points rear of the console the send and return jacks are normalled to prevent loss of s...

Page 31: ...g a processed version of the signal such as a distorted or heavily compressed version into another channel line input or for simplicity the alternative input on each channel depending upon DAW channel flip status this could either be the line input or DAW input The diagram below illustrates how to connect such a path in this example the main channel path input is taken from the DAW input typical m...

Page 32: ...ign Engaging this switch feeds the cue section with a post fader signal With the switch in the UP position a pre fader signal is used Primarily it is expected this will be used during mixdown where the cue section may be sent to feed a reverb in which case you will want the reverb level to drop relative to the main fader position During tracking it is likely you will use the send as a pre fade fee...

Page 33: ...n pan and level controls effectively increasing the channel count from 8 to 16 As already mentioned in this manual there are many uses for this extra input path from expanding your input quota when summing to returning effects processors and compressors Cue Bus Assign NOTE GLOBALLY ASSIGNED In order to fully utilise the alternative cue input as extra channels to the main mix bus the output of the ...

Page 34: ...ed to feed extra cue mixes and or reverb units etc during tracking or mixing For this reason as with most consoles ASP2802 includes the option of a pre fade feed however please note that the pre fade and post fade buses are both fed simultaneously from the send potentiometer The pre post switch located in the master section determines which of these buses is fed to the actual auxiliary output thus...

Page 35: ...allowing auditioning of headphone mixes direct in the control room however to monitor the cue bus it must be summed into the main mix bus via the assign control located above the master fader For more information about how to achieve this please read the aux and cue masters section of this manual Mix Bus Assign In order to feed any of the 8 main channels output of the VCA fader and pan pot into th...

Page 36: ...d to provide D C control voltages which are processed by the on board microprocessors providing DAW HUITM control surface functionality and fader automation The level control devices used in ASP2802 provide a clean accurate and repeatable automation platform with very fine resolution and are also used to provide a click free mute system for each channel The level control system used can vary the a...

Page 37: ...cale when in DAW control surface mode is dictated by the host workstation For example Logic is 6 dBFS above unity yet Pro Tools is 12 dBFS therefore the resultant scale and in particular the range of motion at the top of the fader will differ depending upon which host platform is in use This is a limitation of the HUITM protocol For more information please see the platform specific control surface...

Page 38: ... for isolating channels from any automation control data ideal for trying out a new ride before recording the pass of automation Unity used in the analogue layer to provide a quick and easy way to position the channel fader at the unity gain 0 dB position This is very useful if you are setting up a stem session for analogue summing etc Automation Mode although used to control the analogue automati...

Page 39: ...hannel Cut The cut switch is used to provide click free silent muting in conjunction with the channel fader control system Mutes can be automated from a MIDI controller capable host DAW for more information concerning this matter please see the separate automation control surfaces manuals provided online at www audient com The channel cut is also activated when using the solo in place system allow...

Page 40: ... places the channel into SOLO either AFL or PFL after fade or pre fade listen or Solo In Place depending upon master section settings For more information concerning these solo modes please see the section in this manual outlining the monitor section functionality page 50 onwards ...

Page 41: ...Summing Input FX Returns ...

Page 42: ... a rear panel DB25 connection that conveniently allows easy integration with a D SUB based patchbay system or any DB25 capable device including many AD DA converters that are available on the market The summing input conforms to the Tascam DA 88 wiring specification for 8 channel balanced analogue 25 pin D Sub connectivity This 8 channel balanced input is configured as four stereo pairs feeding a ...

Page 43: ...inputs from external synthesisers and samplers and feeding to the cue section for practice sessions Returning the analogue outputs of 4 stereo or dual mono FX processors which you may send to digitally from your DAW using your workstation auxiliary sends typically for riding into vocal delays and reverbs etc assuming said processors have an output level control so you can balance into the summing ...

Page 44: ...ts from aux sends 1 and 2 and returning them here Again as with the summing input the two stereo fx returns offer level control balance or pan depending upon stereo or mono sum operation mono sum and assigns for both the mix and cue buses Therefore it is feasible to place your reverb returns into artist headphone mixes ensuring a comfortable performance as many prefer a little reverb for inspirati...

Page 45: ...Aux Cue Masters ...

Page 46: ...vintage digital reverb processors that may be connected here Each of the two aux masters can be globally switched to pick up either the pre fade or post fade auxiliary buses from the channels The following flow diagram illustrates how the signal arrives at the aux master bus from each channel and how the global selection works at the aux master location The signal leaves after the master level con...

Page 47: ...lect the desired source in the monitor source panel If you wish to monitor one of these sources in the control room make sure you depress the MIX SRC switch to allow the source selection to feed the monitor path of ASP2802 Please be aware that these sources sum when more than one is selected Cue Master ASP2802 features a very flexible cue section located in the top right or the master section The ...

Page 48: ...W submixes and the analogue layer of ASP2802 Along with the two external DAW inputs both of which are also suitable for use as two track returns the cue master section offers the ability to send the output of the AUX 1 and AUX 2 master summing stages to the cue outputs This is useful if you are using the last option C RM control room as your main cue mix A scenario that may often be encountered wh...

Page 49: ...x bus The CUE FB sources can also be monitored directly via the built in headphone output located on the rear panel of ASP2802 This headphone output can be used by the engineer to audition cue mixes on headphones the most likely playback medium for the performer therefore allowing cue mix balance judgements to be made in the confidence that they will translate to headphones After all a great cue m...

Page 50: ...Monitor Section ...

Page 51: ...Page 51 Audient Ltd Monitor Section ...

Page 52: ...audition in the box mixes quickly and can also be fed into the main mix bus for more inputs at mixdown time Useful DAW Foldback a 2nd stereo line input found as rear panel balanced XLR connectors You may find this input very useful for auditioning headphone mixes that are created in the DAW EXT Stereo a 3rd dedicated external stereo input found as balanced rear panel XLR connectors Intended for us...

Page 53: ... your studio monitors that is not harmful or fatiguing for long listening periods This should also ensure the human hearing system is listening at a level where our natural frequen cy response is flattest Monitor Calibration By setting your studio monitor amplifers to produce approximately 83 to 85 dBSPL for a known and typical source level it is possible to achieve a listening level that should e...

Page 54: ... dB Polarity Invert Engaging the polarity invert function inverts the polarity of the left channel of the mix allowing you to check for stereo difference content when summed to mono essentially creating a L R instead of a L R sum The switch is momentary to ensure it is not left on by accident Mono Sum Engaging this function sums the left and right signals in the monitor section to produce a mono o...

Page 55: ...ically when utilising the on board talkback communication system to prevent howl round feedback loops Main Monitor Cut A global main monitor cut that disconnects both the main and alternative loudspeaker outputs Alt Monitor Output Trim Level ASP2802 features two monitor outputs typically used to feed a nearfield and either a mini grot box style monitor set a large farfield arrangement or public ad...

Page 56: ... of the console and thus its source is determined by the source select panel found in the monitor section of the console However the headphone output can be fed alternatively with the Cue FB signal by depressing the Cue FB to Phones switch 21 Please note that the cue signal provided here is determined by the cue source select panel and therefore can be made up of several different combinations if ...

Page 57: ...reamplifier which has a gain range of 20 to 55 dB An external talkback microphone can be selected with a separate XLR input found on the rear panel To select this microphone and override the small electret in the compressor panel engage the small recessed switch located above the talkback level control by using a long thin non conductive object to depress the switch To engage 48v d c phantom power...

Page 58: ...ter section Solo feeds are taken before the channel fader The signal is sent to the mono PFL solo bus and the monitor section switches to listen to this bus SIP Solo In Place This mode does not use the solo bus to listen to channels in solo instead the centre section returns a d c control voltage command back to the channel mutes Using this method engaging solo on a channel still uses the main mix...

Page 59: ...d forth between full mix and soloed channels SIF Solo In Front This mode is very useful as it allows you to listen in isolation or with some of the main mix blended in This ensures that you keep a reference point in ear shot at all times The SIF control is a continuously variable potentiometer that blends the main mix bus back in with the solo bus Please note that SIF does not work in SIP mode ...

Page 60: ...VCA Bus Compressor ...

Page 61: ...external patch capability this compressor really works well on the drum bus among other uses which we are sure you will find Please note that by default it is located after the mix insert points However it can be externally patched and therefore removed from the mix bus path and freely assigned to any new destination via its own balanced rear panel I O This way it is entirely possible to create a ...

Page 62: ...Page 62 Audient Ltd Bus Compressor ...

Page 63: ...gnal has crossed the threshold point set in the sidechain circuitry A ratio of 2 1 indicates that when an input signal crosses the threshold by 2 dB an increase of only 1 dB would be present at the output thus 1 dB of gain reduction would be produced Generally low ratios such as 1 5 1 and 2 1 are used over the main mix bus but feel free to experiment As the ratio increases the compressor acts more...

Page 64: ...erred as they will not mangle transient material or distort low frequency content as much as faster times If the attack or the release time is faster than one cycle of the lowest frequency to be reproduced distortion will occur as the compressor will alter the waveshape during one cycle Remember that the period of one cycle T sec 1 f Hz The following diagram illustrates typical waveshaping at 60Hz...

Page 65: ...us compression On vocal bus or piano longer release times and auto release are very useful However if you want colourful compression on your drum bus faster release times are worth trying Start at 0 1 sec and work backwards until you get a suitably balanced effect Auto release utilises an adapative circuit that alters its release time in a program dependent manner It is fantastically smooth and we...

Page 66: ...simultaneously reducing dynamic range through a form of upward expansion We have added this functionality to the ASP2802 bus compressor where there is a dedicated control however this can also be achieved on the mix bus insert point by using the insert sum mode which places the insert in parallel with the dry signal The wet and dry blend control on the bus compressor allows you to crossfade betwee...

Page 67: ... energy and dynamic colour Compressor In This illuminated push switch engages the compressor and also the gain reduction meter so gain reduction can only be viewed when compression is active External Input The compressor can be patched to its own rear panel balanced I O thus removing it from the main mix bus path and freeing it for use elsewhere in your mix The rear panel compressor I O can be fou...

Page 68: ...r External Connections The compressor can be fed from mono sources if so desired just connect into the left input and output Please see the next page of this manual for some example settings but remember your ears are the best monitors ...

Page 69: ...Page 69 Audient Ltd Bus Compressor Settings ...

Page 70: ...Main Mix Overview ...

Page 71: ...ble insert point The insert send is always active regardless of switch state and therefore can be used a pre master fader pick off point if desired Mix Insert Parallel Mode Using the insert SUM functionality anything inserted into the main mix path will now sit in parallel with the main mix facilitating creation of parallel processing techniques such as subtle colouration enhancing equalisation an...

Page 72: ... in the FX returns section there are 28 inputs available at mixdown or are there If you want to get tricky there are two ways to gain a couple of extra stereo inputs to the main mix bus this may come in handy during a busy mixdown Firstly you can assign the DAW MIX rear panel XLR inputs to the main mix bus therefore providing one further stereo input ASP3002 and secondly you can use the main mix i...

Page 73: ...P2802 is a non automated fully passive high quality ALPS 100mm stereo linear fader There is no gain in hand and the fader is very suitable for fade in and fade out use during final mix printback Feel your fade outs stop drawing them in with a mouse Main Mix Bus ...

Page 74: ...Connections Overview ...

Page 75: ...S with an input impedance of 10k ohms and a maximum operating level of 27 dBu This and all other TRS jacks are wired as Tip ve Ring ve and Sleeve shield The INSERT SEND jack comes next a balanced TRS connector fed from an impedance balanced output with an output impedance of 150 ohms and a drive capability of 21 dBu The INSERT RETURN TRS jack is also fully balanced with a 10k ohm input impedance a...

Page 76: ...impedance of 75 ohms and a maximum output level of 27 dBu DB25 Tascam DA 88 Wiring Specification There are 3 DB25 connectors located on the rear of ASP2802 DAW Inputs 1 8 Direct Outputs 1 8 Summing Inputs 1 8 The wiring pinout specification for these connections is as follows ...

Page 77: ...Page 77 Audient Ltd Connections Master Section Connections ...

Page 78: ...put impedance and a maximum input level of 27 dBu Two stereo FX Returns and the External Compressor inputs are provided on balanced 1 4 TRS jack with an input impedance of 10k ohms and a maximum input level of 27 dBu The External Compressor outputs are provided on balanced 1 4 TRS jack and have an output impedance of 75 ohms with a maximum output level of 27 dBu The Main Mix Inserts are also on ba...

Page 79: ... end therefore the ASP2802 line input must be left wired as balanced to preserve some of the common mode rejection performance CMRR of the input stage To unbalance an output from ASP2802 link pin 3 to pin 1 at the output of the console Please note that this can also be achieved in a 1 4 TRS Jack connector by connecting the ring to the sleeve within the jack housing To achieve an unbalanced output ...

Page 80: ... x 1 DAW Input 8 DB25 Female x 1 Summing Input 8 DB25 Female x 1 FX Returns 4 1 4 TRS Jack Ext DAW Monitor Inputs 6 XLR Female Aux Cue Outputs 4 XLR Male Main Mix Outputs 2 XLR Male Main Mix Insert Send 2 1 4 TRS Jack Main Mix Insert Return 2 1 4 TRS Jack Loudspeaker Outputs 4 XLR Male Bus Compressor Input 2 1 4 TRS Jack Bus Compressor Output 2 1 4 TRS Jack External Talkback Input 1 XLR Female Hea...

Page 81: ...Patchbay Layout ...

Page 82: ...Page 82 Audient Ltd Patchbay Layout Possible Patchbay Layout Bantam ...

Page 83: ...is bay will fill very quickly You may notice that the loudspeaker outputs are not on the bay this is quite common as they would typically be hardwired to your monitors however adding them to the patchbay may add flexibility for anyone who likes to switch playback systems around or travel with a pair of their favourite monitors If you need to squeeze a layout onto a single 96 way bay it will fit if...

Page 84: ...AuNet dmg application from www audient com On Apple computers please ensure that AuNet is added to your applications folder via drag and drop Macintosh HD Applications You can enable the application to always boot upon user log in therefore preventing any forgetfulness To achieve this do the following System Preferences Accounts select the account you wish to alter on the left hand side Login Item...

Page 85: ...tudio it is most likely that you will directly connect ASP2802 to your DAW via a direct Ethernet link First you must set your DAW IP address please note if you do have a router this should not be adjusted and you should skip to the next section On Apple computers please do the following System Preferences Network Ethernet Tab Locations Edit Locations Add New Location Button Name ASP2802 Select thi...

Page 86: ...ect the required DAW application Note that once a change has been made the setup switch LED will flash to indicate that a setting has changed If you exit setup by pressing the switch once more and then return by entering setup again you will notice that your setting has been automatically saved Using the page keys page to the right and ensure that Use DHCP is set to NO Page right again to reach th...

Page 87: ...nsure that the AuNet application is running and open on your DAW machine Finally power up the console After the console boots it should be picked up by AuNet you may have to repeat the power down restart process if you are experiencing difficulties AuNet should indicate detection of the console and should also show you the serial number of the console Select the console and click on the connect bu...

Page 88: ...have connected ASP2802 to your DAW computer via a network router you will need to use DHCP to enable automatic configuration of IP address providing fast and smarter networking Ensure that you enable DHCP in your DAW computer system preferences you should already know how to do this if you are running an existing network You will most likely be running DHCP with automatic IP hand out Ensure that t...

Page 89: ...dient com On PC computers please ensure that AuNet is installed using the provided msi package The program will be added to your local system drive C and a folder will be created under C Program Files Audient You can enable the application to always boot upon user log in using the Windows Start Up folder in XP To do this create a new shortcut for AuNet by right clicking on the application icon and...

Page 90: ... link or through a router and installed AuNet you are ready to set up the networking side of the console Until your console is connected or any other LAN device to your PC the LAN status indicated in Control Panel Network Connections will be unplugged Right click on the Local Area Connection icon and select Properties ...

Page 91: ...o the right Here select the use the following IP address radio button Set the IP address of your PC to 192 168 0 1 Set the subnet mask to 255 255 255 0 Leave the default gateway blank and click OK Your PC may take some time to apply the settings so please be patient Power the console on and once booted check that a connection has been opened in the Network Connections window via the Control Panel ...

Page 92: ...plication Note that once a change has been made the setup switch LED will flash to indicate that a setting has changed If you exit setup by pressing the switch once more and then return by entering setup again you will notice that your setting has been automatically saved Using the page keys page to the right and ensure that Use DHCP is set to NO Page right again to reach the IP address screen and...

Page 93: ...nsure that the AuNet application is running and open on your DAW machine Finally power up the console After the console boots it should be picked up by AuNet you may have to restart your computer if experiencing difficulties and repeat AuNet should indicate detection of the console and should also show you the serial number of the console Select the console and click on the connect button to the b...

Page 94: ...Assign for use with routers If you have more than one device connected to your DAW computer you will most likely be using a network router to talk to all of these devices If you have connected ASP2802 to your DAW computer via a network router you will need to use DHCP to enable automatic configuration of IP address providing fast and smarter networking Ensure that you enable obtain IP addresses au...

Page 95: ...trol surface workflow bug fixes and add new features you will need to update the console firmware To do this please visit www audient com to obtain the latest firmware from the ASP2802 webpage and follow the simple instructions provided along with the firmware download to flash the new upgrade to the console memory If you experience any issues please read the ASP2802 FAQ found online at www audien...

Page 96: ...Fader Automation ...

Page 97: ...ion system and the parameters that can be controlled ASP2802 provides fader and mute automation along side its full DAW control surface layer The sections of most interest when using the console automation are as follows Faders Cut Mute Switches Select Mode Panel Auto Mode Select and Auto Safe DAW Transport ...

Page 98: ...layers are stored and function simultaneously By toggling the select mode switches in conjunction with the large green channel select switches it is possible to obtain rapid control of SIP safe DAW record enable select unity and automation safe channel settings All select mode layers are stored even after a power down so remember to clear them manually if the next session requires a different set ...

Page 99: ...Control Surface Overview ...

Page 100: ... Control Surface Panel Control Surface Operation Please refer to the separate DAW specific control surface manuals found online at www audient com to guide you through the finer points of operation within each DAW platform ...

Page 101: ...Example Systems ...

Page 102: ... channel line inputs to enable monitoring and recording of its outputs Also the cue outputs now feed a headphone distribution system useful for feeding multiple performers a mix Example System 3 16 Channel Tracking Platform In this example a second pair of monitors are added to provide a useful reference for judging midrange and balances In order to provide 16 microphone inputs for tracking an ext...

Page 103: ...m The final example illustrates a heavily connected ASP2802 ready for medium to large scale mixdown purposes There are 24 outputs from the DAW interfaces which are used for mixing line level summing with a few useful tricks The first 8 channels feed the standard DAW Inputs and can be used to access the main automation channels on ASP2802 when selecting DAW input mode These 8 channels can also acce...

Page 104: ...Page 104 Audient Ltd Example System 1 ...

Page 105: ...Page 105 Audient Ltd Example System 2 ...

Page 106: ...Page 106 Audient Ltd Example System 3 ...

Page 107: ...Page 107 Audient Ltd Example System 4 ...

Page 108: ...Panel Visualisations ...

Page 109: ...Page 109 Audient Ltd Panel Visualisations ...

Page 110: ...Page 110 Audient Ltd Panel Visualisations ...

Page 111: ...Page 111 Audient Ltd Panel Visualisations ...

Page 112: ...nt We accept a liability to repair or replace your ASP2802 as described above We do not accept any additional liability This warranty does not affect any legal rights you may have against the person who supplied this product it is additional to those rights Limitations This warranty does not cover damage resulting from accident or misuse The warranty is void unless repairs are carried out by an au...

Page 113: ...www audient com Audient Ltd 1 Stable Court Herriard Park Herriard Hampshire RG25 2PL UK Phone 44 0 1256 381944 Fax 44 0 1256 381906 ...

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