If budgets allow I prefer to mix in stems and sum in the analogue domain, the ASP works really well in this context.īrendan Williams at Low Four Photo: Adrian Lambert The pre’s are great and the EQ is really musical. Both from a user and educator’s point of view, they’re really intuitive and uncluttered. “What I really value is the way that they are laid out physically. No stranger to Audient, Williams has taught a generation of music tech students using the British consoles for over ten years at the University of Salford. Both from a user and educator’s point of view, they’re really intuitive and uncluttered.” Currently the group outputs are normalized to the AD inputs as you might expect (for multi-track capture) but I’m going to play around with using the inserts as balanced direct outputs, as it will free up the group faders for both the live to 2-track mix and better workflow with the TV style shows.” “What I really value is the way that they are laid out physically. This is happening stage by stage, so we can keep recording as we go. “Bringing in the ASP8024 has improved the workflow dramatically, so we’re just in the process of putting everything we need on the bays in an intuitive fashion. So how far have they got? “We are up and running,” confirms Williams. “Over time we’ve stripped pretty much everything out and established 12 more lines between the booth and the Control Room and lines to the gallery for the Low Four TV shows.” When partially removing the floor in the control room, they were met with “a writhing mass of both audio and coaxial cables” so clearly it was a mammoth task. “One of the on-site electricians (who’d been employed previously by Granada Studios) joked about how new technology had been literally piled on top of old in some parts of the building – that seemed to be the case here too.” Williams enlisted the help of a few university colleagues & students, to see if any of the technological infrastructure was still usable. Untangling…īy the 1990s the studio was decommissioned, and relegated to occasional green room for visiting artists, so sifting through the archaeology of half a century’s worth of wiring was a huge job. Originally built in 1956 the facility was acoustically refurbished in 1979, and was where the orchestral music for UK television behemoths such as Jewel In The Crown and Brideshead Revisited was recorded. “I had no idea that there had been such a high spec purpose built music facility in Granada,” confesses Williams, whose recent work includes releases from Gogo Penguin (Blue Note Records) and Dutch Uncles (Memphis Industries). He likened the space to BBC’s Maida Vale studios. “Bringing in the ASP8024 has improved the workflow dramatically”įast forward to today: the space, which comprises a large live room with a viewing gallery and a control booth, has an Audient ASP8024 at its heart and is run as a commercial recording studio, a bespoke events space and even streams live tv-style programming.ĭan Parrott & Brendan Williams at Low Four. Programme leader of Creative Music Technology at the University of Salford by day, and producer/engineer the rest of the time, Williams saw huge potential in this surprisingly large, forgotten space, and together with Dan Parrott and Katie Popperwell they not only resurrected, but reinvented it to create Low Four. When an old recording room was unearthed in the recently vacated central Manchester ITV/Granada buildings, it immediately sparked Brendan Williams’ curiosity.
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