It aint cheap, but when you consider how much it would cost to buy 8 API mic preamps, 2 API comps, an API summing box, and a top-quality monitor controller, THE BOX 8 a real bargain. Build quality is great, and by using the 24 channel insert returns as DAW or tape returns, it is actually possible to do a full 24-input session with 24-track return monitoring with three mono cue mixes. API customer support continues to be outstanding, and they even included a box of spare parts. Also - this thing has THE LOWEST noise-floor I have ever heard in 30 years of studio work.

I have owned this console for about a year and a half. I have posted quite a few YouTube videos that if you're considering this console, you might want to check out.

The first thing to say is, this is not a prosumer piece offering to "sound like" the big consoles. It is exactly the same preamps, opamps and transformers, and it is exactly the same sound. So for $, you're getting 24 channels of the most premium analog mixer you possibly could. In fact, what could be characterized as missing features can also be characterized as more streamlined circuitry. I can't emphasize enough how the thing that really matters is that you're getting the API sound for $. Everything after that.... is much less important.

OK, so first off this is a summing mixer that has generously included 8 channels for recording. Expecting it to be a full featured 24 channel recording console is not taking into account the quality and the cost involved in that. It has 8 API preamps with fantastic metering, high pass filters, inserts and output faders, as well as 500 series slots built in. that's extremely high quality recording, also 4 direct inputs. If you have a patchbay, which you should if you're going to have a mixer of this size, your channels after the built-in preamps is a no-brainer, just do it on the patchbay. If you're worried about having preamps within arms reach at the desk just get a desk with side buckets. There's a new company making one specifically for this mixer.

One of the biggest issues is that this mixer does not have groups or effects returns. This is a legitimate complaint, and I can only assume API didn't include the returns to encourage people to bump up to the 1608.

what they did include is a summing input on the master channel which can be used to return a Reverb, or to bring in a separate mixer.

what I have done is purchased a used SSL X-Desk, which has added eight more channels, and two more stereo effects. I use this as a drum sub mixer and bring it in through the summing input on the API. This was a very inexpensive way to add some of the missing features at the same level of quality. So I now have 32 channels +2 stereo returns - still well under $.

when I first got this console, I thought the idea of bypassing the faders on the summing side was really cool, but the longer I had the board the more I realized I wasn't utilizing it to its full extent, and eventually I started using the faders. This is a big workflow decision. You can take pictures and document but at the end of the day I've just found once you get into a groove with what gear you like on what instruments it's easier to just mix something again if you need to recall it. If I have the same compressors on Kick and snare and guitars and vocals etc, the amount that the settings change from song to song is really not that much which makes rebuilding a mix pretty quick and easy. The real issue here is getting proper gain staging. Making sure that your signal coming from your d/a converter is optimized which is also your levels going to any analog inserts, if all of your faders are set to unity, then when you actually start mixing, you're going to be pulling down the levels from the DAW and screwing up your converter/analog levels. It just isn't practical. Using a mixer like this purely for summing is crazy, it's like using a Ferrari for a paper route. so with that in mind, if you're going to buy this console, you should either already have a lot of analog process and gear or plan on buying it. Pure summing just doesn't add that much to the sound. You have to put it in gear and start really mixing. When you do that.... assuming you're using equally high quality EQs and compressors.... then you start to hear the depth, sweetness and professionalism that this mixer is capable of.

The 527 compressors on the master channel are fantastic. They sound great on the mix bus, but the heartbreak is they also sound fantastic on the channels. So, I'm looking to buy more 527's.

it's important to remember that the 16 channels on the summing side all have inserts, aux sends, pans, mutes, faders... if you have the processing gear, they are functionally no different from the left side of the board when mixing.

I had some preconceived notions about the "API Sound" as being particularly aggressive before I actually owned my own. That is entirely based on how you drive it. Like any other transformers, if you push the main output, the sound will get compressed (by the transformers), for certain music that can be great. But you don't have to drive it that way. If you pull the master fader down a little what you're left with is fantastic headroom, a clean, punchy low end, etc. this mixer has a rich, sweet and clear sound that you expect from the highest quality analog equipment. If all you do is measure features on a spec sheet, you will find some others that have more, but none of them will sound like an API.

Every day that I sit down in front of this console I feel great about it, I feel confident that I am delivering a sound that's truly special. My sincere advice though is if you're going to go this way, don't go halfway. Embrace analog mixing and this board will deliver.

if you're starting from scratch and don't have a lot of Mic preamps or analog EQs, there is a case to be made for just jumping in with a 1608, but personally as a producer, I like having a wide variety of flavors. I have quite a few rack-based preamps, so eight APIs was plenty.

my videos on YouTube can be found at hopetownsound

good luck!

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I'm a little early into my ownership of this console to do a comprehensive review but I must say that I'm REALLY pumped about it so far. After spending over a year comparing a variety of mixers and control surfaces, and with some help from my sales engineer Ted Hunter, I finally settled in on this being the best choice for my situation and personal taste.

It arrived in a large wooden crate, incredibly well packed. To my pleasant surprise, API included a T-shirt and a small box of spare parts for the console. Very cool.

I promptly installed (2) 500 series EQs (and can't wait to install 6 more!). This is a very cool feature that really allows you to tailor the sonic signature, workflow, and functionality of the console.

The layout of the console is very thoughtful. Everything is easily accessible and easy to understand. Faders are light and smooth. Knobs feel a bit cheap for a console of this price, but are also smooth.

The amount of flexibility with the connectivity and routing is impressive - particularly on the first 8 channels. From a functionality and connectivity perspective the only thing that really feels missing on this console is an aux return. I get it - you can just use some of the summing channels for this, and that does work fine. There is a cool feature called PGM Sum that could also be used as an aux return - but it's primary purpose is as a way to expand your console. (ex: add an RND Satellite summing mixer to add 16 more channels with inserts, and then bring the outputs of that into the PGM sum inputs on the console.) This is a great feature for those who want to grow your studio or simply have a little extra routing flexibility.

Sonically, this sounds every bit as good as you would expect. Running some very familiar audio through the desk, I was pleased with what I heard. The console adds a subtle but tasteful sonic fingerprint on everything it touches. A nice balance of warmth, clarity, and punch.

The included compressor really exceeded my expectations. It's very flexible, and sounds great. I really like it used lightly to "glue" the mix, but it also works quite well in a variety of settings.

Overall, I'm very happy with the desk. It sounds, feels, and looks great, is very flexible, and gives me room to grow/expand. It's worth every penny.

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