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aliceinwonderland
Published on 10/11/05 at 05:59
I have the 16 tracks in the 802: it's Quest 2 802 put together. The console is not rack it is even more enormous, like 25-30 kilos ...
It is a very simple table, but very versatile. There is space to lay his hands, feeling the faders and EQ. a pleasure to work.
* 16 mono channels so (8 channels for version 802)
* 2 Stereo output (label 1-3 and 2-4) 1-3 bus leaves in XLR, 2-4 in the TS,
* 1-3 bus allows the insert, eg a compressor, via Y-jacks
* 3 mono aux in jack
* Returns two mono (or stereo) each return a pan. returns are on the bus 1-3 and 2-4, at the same level. ca is NOT detachable.
* One headphone output (assignable to SOLO, at 1-3, at 2-4)
Each has 16 slices:
* A microphone preamp (XLR balanced input) to very good. He rounded the corners well and is very warm.
* A line input (unbalanced input jack in 6.35)
* Insert (used with a Y-cable)
* A direct out (post preamp of course, post fader, post EQ)
* A 20 dB pad
* Setting an input gain vast
* A low-cut shelving very effective in that it does not phase and that it does not remove the oumpf feet and lower cuts well but problems below 60 Hz
* EQ a beautiful bass (shelf) - medium (fully parametric) - Acute (shelf). we play in the yard of Studer & other Amek.
* A large fader 100m super nice Penny & Giles type (but I know if it is).
UTILIZATION
General configuration simple. an immediate feeling vintage!
no manual, but if you shop on the side of AETA is the company that took over the affairs of EAA.
SOUNDS
This is the highlight. Input line, a very transparent. In microwave, a color very "rounded" treble but a magnitude less chiseled sharp in the midrange and depth in the bass.
Apparently, this console was used for Radio France, but also in many studio recordings of classical and jazz in the late 70's and during the 80s. I'm not surprised, considering the price of the bazaar at the time (like 50 000 to 100 000 francs).
Today, we are accustomed to the digital world, my own breath a little, but it's not why we want him. If you want the smoky dub well, that's what matters precisely
The EQ is wonderful: from the special effects (sounds like a resonant filter when Q is very close) to the shimmering colorization, it is pure class. I would not be surprised to see the table become a collector a few years. Confidential and classy are two words that characterize the best!
OVERALL OPINION
I was looking for a small console, old type 'sidecar' studio / broadcast, like Studer 169 or Amek BC2 and BC3 to get into my DAW. This kind of table, we find between 2000 and 5000 euros ... But I think half of this value is due to some hype around these brands. Hype willingly maintained by specialist shops ... Since they are not many you will see who I mean, even though I will not name ...
From what I hear and Amek Studer, the EAA Quest 802 console has nothing to envy the models listed above, and I did not hesitate long. They are found far cheaper than 2000 euros, as EAA not (yet) been subjected to "hype" excessive ... and frankly we play in the same court.
What I like least in this table is that if it makes the soul one day I might be hard to get it fixed ...
It is a very simple table, but very versatile. There is space to lay his hands, feeling the faders and EQ. a pleasure to work.
* 16 mono channels so (8 channels for version 802)
* 2 Stereo output (label 1-3 and 2-4) 1-3 bus leaves in XLR, 2-4 in the TS,
* 1-3 bus allows the insert, eg a compressor, via Y-jacks
* 3 mono aux in jack
* Returns two mono (or stereo) each return a pan. returns are on the bus 1-3 and 2-4, at the same level. ca is NOT detachable.
* One headphone output (assignable to SOLO, at 1-3, at 2-4)
Each has 16 slices:
* A microphone preamp (XLR balanced input) to very good. He rounded the corners well and is very warm.
* A line input (unbalanced input jack in 6.35)
* Insert (used with a Y-cable)
* A direct out (post preamp of course, post fader, post EQ)
* A 20 dB pad
* Setting an input gain vast
* A low-cut shelving very effective in that it does not phase and that it does not remove the oumpf feet and lower cuts well but problems below 60 Hz
* EQ a beautiful bass (shelf) - medium (fully parametric) - Acute (shelf). we play in the yard of Studer & other Amek.
* A large fader 100m super nice Penny & Giles type (but I know if it is).
UTILIZATION
General configuration simple. an immediate feeling vintage!
no manual, but if you shop on the side of AETA is the company that took over the affairs of EAA.
SOUNDS
This is the highlight. Input line, a very transparent. In microwave, a color very "rounded" treble but a magnitude less chiseled sharp in the midrange and depth in the bass.
Apparently, this console was used for Radio France, but also in many studio recordings of classical and jazz in the late 70's and during the 80s. I'm not surprised, considering the price of the bazaar at the time (like 50 000 to 100 000 francs).
Today, we are accustomed to the digital world, my own breath a little, but it's not why we want him. If you want the smoky dub well, that's what matters precisely
The EQ is wonderful: from the special effects (sounds like a resonant filter when Q is very close) to the shimmering colorization, it is pure class. I would not be surprised to see the table become a collector a few years. Confidential and classy are two words that characterize the best!
OVERALL OPINION
I was looking for a small console, old type 'sidecar' studio / broadcast, like Studer 169 or Amek BC2 and BC3 to get into my DAW. This kind of table, we find between 2000 and 5000 euros ... But I think half of this value is due to some hype around these brands. Hype willingly maintained by specialist shops ... Since they are not many you will see who I mean, even though I will not name ...
From what I hear and Amek Studer, the EAA Quest 802 console has nothing to envy the models listed above, and I did not hesitate long. They are found far cheaper than 2000 euros, as EAA not (yet) been subjected to "hype" excessive ... and frankly we play in the same court.
What I like least in this table is that if it makes the soul one day I might be hard to get it fixed ...