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The TUBE ULTRAGAIN MIC200 from Behringer is a single channel, low voltage plate tube based microphone/instrument preamplifier, housed in a compact, desktop enclosure. With switchable phantom power available, the unit will work with all types of microphones. Additionally, the preamp features a 20dB pad, phase reverse switch, low-cut filter and balanced inputs and outputs. When used as a high-end DI-box, the preamp provides outstanding signal integrity.
The preamp has 2 interesting features, the first being the inclusion of flexible preamp modeling. This allows the user to optimize recordings by selecting one of the 16 preamp settings that matches their needs, be it for vocals, or acoustic and electric guitars, bass guitars, keyboards, drums and more. The second is an integrated limiter that prevents distortion on the output of the MIC200. Various fixed limiter settings are available within some of the 16 preamp models.
Tube based preamp for all microphone, instrument and line-level sources Perfectly matches a studio or live hard disk recording set-up Preamp modeling with 16 presets designed for electric and acoustic guitars, keyboards, bass guitars, drums, vocals and more that allows for quick setup Hand-selected 12AX7 vacuum tube Provides optimum signal transparency when used as a DI box Built-in output limiter that prevents the output signal from being distorted Low-cut filter eliminates unwanted noise Dedicated switches for +48 V phantom power, phase reverse and a 20dB pad Highly accurate 8-segment LED level meter Number of Channels | Single | Inputs | 1 x XLR Microphone
1 x 1/4" TRS phone Instrument/Line
(Both inputs cannot be used simultaneously) | Output | 1 x XLR Microphone
1 x 1/4" TRS phone Instrument/Line
(Both outputs can be used simultaneously) | Phantom Power | +48V | Multi Function | Limiter | Gain Range | +26dB to +60dB | Maximum Output Level | +26dBu @ 100kΩ | Frequency Response | Mic: 10Hz to 47kHz, +/-3.0dB
Line: 10Hz to 55kHz, +/-3.0dB | Noise | Not specified by manufacturer | Power Requirements | 9VAC/1300mA external power supply | Dimensions (WxDxH) | 5.25 x 5.25 x 2.5" (135 x 135 x 64mm) | Weight | 1.1 lbs (0.5kg) | Specialties | Preamp mode control provides selection of various preamp settings for microphones and instruments | Balanced inputs and outputs
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The AD2022 is Avalon's fourth generation of fully discrete, symmetrical Pure Class A microphone preamplifiers. The dual mono AD2022 includes the original sonic capabilities and transparency of the M2, M22 and M5 preamplifiers plus several additional features, including selectable microphone source loading for optimized cable/mic matching, improved high-voltage Class A regulated power supplies, two high Z instrument inputs, variable-passive high pass filter, teflon/ silver wiring and doubled plated circuit boards for superior low level signal transfer. AD2022 FEATURES Symmetrical Pure Class A design, two channels Microphone and hi-Z instrument inputs Gain switched 4dB steps plus +/- 3dB fine output trim Selectable microphone input impedance matching Low noise -126dB EIN Ultra high quality, low-ratio, balanced input transformer Balanced, high-current Class A output to +36dB Large illuminated analog VU meters and twin peak LED's Regulated phantom power supply +48v Input polarity phase reverse High headroom +36dB input before overload Input -20dB pad for high level signals Sealed silver relays for all signal routing External AC 150w toroidal power chassis Fully discrete Class A regulated audio power supplies Deep, musical sound-stage, transparent amplification
MICROPHONE INPUT The AD2022 incorporates the most advanced high-performance microphone transformer available. Split low-ratio primary windings are carefully combined within a custom mu-metal core for extended smooth frequency response and very low distortion. Sealer silver relays are used for minimal signal invasion. The input signal selector, high pass filter, polarity-phase reverse, +48v power and the 20dB input attenuator all utilize local sealed relay operation. A variable passive high pass filter provides a minimum phase shift design while eliminating low frequency rumble, wind noise and mechanical vibration at sub sonic frequencies.
SYMMETRICAL PURE CLASS A DESIGN Two 100% discrete, high-voltage, symmetrical Pure Class A signal amplifiers are utilized per channel. The first operates in a cascaded-cascode FET configuration while the second stage amplifier is fully bipolar. The twin amplifiers share the total available gain requirement. This shared architecture increases the high level headroom capability, improves transient response and doubles the internal bandwidth of the ultra-high performance pure Class A signal amplifiers. OUTPUT and METERING High-current DC coupled, Class A discrete amplifiers are utilized for the output drive interface with +36dB capability into all known loads. Two large, high-quality analog VU meters indicate accurate signal readings while bi-color LED's offers peak indication at 0dB and +20dB.
AD2022 PREAMPLIFIER SPECIFICATIONS Circuit Topology: Twin cascode FET and bipolar low level signal amplifiers, high-voltage, 100% discrete, symmetrical Pure Class A Input Type and Load: Transformer balanced low-ratio, 50, 150, 600 and 1k5 ohm input load selection Maximum Mic Level: +36dB balanced XLR pin 2 hot (with -20dB passive attenuator) Maximum Instrument Level +18dB at 100k ohms instrument input level, standard mono 1/4 inch jack Input Attenuator: -20dB resistive pre transformer primary, sealed silver relay Phantom Power: +48v regulated 50mA capability, sealed silver relay High Pass Filter: Passive, variable from 30Hz to 185Hz @ 6dB per octave, sealed silver relay. Polarity Reverse: Sealed silver relay on microphone input Gain Range Input: +20dB to +64dB in 4dB steps Gain Output Range: +/- 3dB variable conductive plastic potentiometer Maximum Output Level: +36dB balanced 600 ohms, DC coupled, discrete symmetrical Pure Class A Output Type: XLR connector, pin 2 hot Noise EIN Unweighted: -126dB 150 ohm Noise 20kHz Unweighted: -102dB Distortion THD, IMD: 0.05% nominal Frequency Response -3dB: 1Hz to 120kHz transformer limit System Bandwidth: DC to 1MHz Output Meter: High quality, illuminated analog VU meter 0dB = +4dB. Peak Meter: Bi-color LED's 0dB and +20dB peak detection circuit. AC power supply B2T: External toroidal 100V to 240V, 50-60Hz selectable, 150 watts maximum. Cables: 90V ac, 4 pin male power input connector, B2T required, internal DC regulation Dimensions: 19 x 12 x 3.5 in (482 x 305 x 89mm) Weight: 15lbs (6.8kg) Dimensions - Shipping Carton: 24 x 21.5 x 7.5 in (610 x 546 x 190mm) Weight - Packed: 25lbs (11.4kg) |
The PRE-73 MKIII is a one-channel vintage style microphone-, line- and instrument preamplifier. The signal path uses only discrete components like resistors, capacitors and transistors. The in- and output is transformer balanced, using two different transformers, each one optimized for its purpose. This is the way audio components were built before integrated circuits became available.
The circuit used in the PRE-73 MKIII is similar to the preamp section in the classical 1073 module with a corresponding sound character that is warm, punchy, sweet and musical. These classic characteristics have been heard on countless recordings through the years and it is a versatile sound that works very well on most sound sources and in most genres.
The essence of this sound is now available at a surprisingly low cost, making it available to nearly everyone.
Features :
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Vintage Style electronics. No intergrated circuits in the signal path.
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Maximum gain in MIC mode is 80 dB, enough to handle passive ribbon mics with quiet sound sources.
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GAIN switch range 20 - 80 dB. GAIN/LINE mode switch, gain is reduced by 30 dB in LINE mode.
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Selectable two position high frequency AIR boost eq, 3 or 6 dB @ 30 kHz.
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Selectable 6 dB/octave two frequency high pass filter at around 40 (HP1) and 170 Hz (HP2).
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Tantalum capacitors in the signal path.
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Switchable impedance in MIC mode, 1200 or 300 Ohms, will change the tone of most mics. The input impedance in LINE mode is 10 kohm.
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Switchable phantom power and absolute phase.
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A high-impedance instrument input for any sound module, electric guitar or bass.
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A simple but effective 4-step LED output level meter.
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The output level control makes it possible to make fine gain adjustments and also to overload the main gain stage(s) for more character and then lower the signal to a suitable level before the output stage.
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Combo XLR/TRS input jack and separate output XLR and TRS jacks for flexible connections.
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Insert jack for inserting EQ´s and other units.
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Selectable 600 ohm output termination.
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The pcb is prepared for the Carnhill input transformer.
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External power supply to avoid interaction with the audio circuits and transformers.
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A solid build quality that will last many years of normal use.
The MKIII has the following new features compared to the MKII:
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Tantalum capacitors in the signal path.
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Selectable two position high frequency AIR boost eq, 3 or 6 dB @ 30 kHz.
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Selectable two frequency high pass filter, 6 dB/octave at 40 or 170Hz.
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The pcb is prepared for the Carnhill input transformer.
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Revised and less complicated GAIN switch with a separate switch for MIC/LINE selection.
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All GAIN settings can also be used in LINE mode .
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The CPR12 is an easy to use, flexible and multifunctional 10 channel pre-amplifier. Six of these input channels are selectable between Mic / Line level and equipped with a 3 band tone control. The first two can be switched to priority and phantom power. The other four channels are direct line inputs. Every input channel has its own gain and fader volume control with PFL button which makes it possible to pre-listen each input or output channel with the built-in pre-listening speaker, and can be routed to one or both output channels. This makes the CPR12 a full two-zone system. Other present features are a priority input, a recording output, separate sub-out channels and the 24 V DC emergency power connection. This last feature makes it possible to power the CPR12 with emergency power when the main power is shut down. In this case, the priority input will automatically mute all input signals, and a evacuation message will be announced. The steel 19" housing has a height of 2 HE. - 10 audio input sources
- 6 Mic / Line inputs with 3 band EQ
- 4 Direct Line Inputs
- Fader volume control
- Two output zones
- Built-in pre-listening speaker
- Priority input for emergency situations
- + 15 V DC Phantom power
- Works on 24 V DC emergency power
Specifications - Model Name / Type: CPR12 / 10 channel 2 zone pre-amplifier
- THD+N:
- Signal/Noise: > 90 dB
- Frequency Response: 20 Hz - 20 kHz
- Phantom Power: + 15 V DC
- Emergency Power: + 24 V DC
- Power Supply: 100 - 240 V AC / 50 - 60 Hz
- Dimensions (W x H x D): 420 x 88 x 320 mm
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Having had great success with the PRE-73 preamp, we have received many requests for a version for the 500 eries rack format. We are therefore happy to present the PRE-573, expected to start shipping in late September.
The PRE-573 is a one width module that has the sound and the features that made the PRE-73 so successful and a few additional ones.
The circuit still uses the preamp and output section from the classic 1073-module, adapted to work in the api rack format. It has a total gain range from -15 to +80 dB. The 10 - 70 dB range is handled by a turn switch and there is a separate toggle switch to select an additional 5 or 10 dB gain. The input can be configured to accept line level signals by another switch, the gain is then lowered by about 25 dB and the input impedance increased to about 15 kohm.
The input impedance of the mic input mode can be switched between 1200 and 300 ohm. Phantom power and phase reverse is also selectable by front panel switches.
An added feature, using the same circuit as in the PRE-73 DLX, is the active DI-input with a high input impedance of about 1,5 Mohm. The output signal from the active DI circuit passes through the input transformer for some extra character.
The DI-input is very flexible since it can be changed to a purely passive one by a front panel switch. The DI input is then exactly the same as in the PRE-73 Mk2 where the signal is feed directly into the second gain stage, bypassing the transformer and with an input impedance of about 100 kohm.
These two DI-options makes it possible to get different tones from electric instruments and the passive DI input mode is more suited for injecting active units like sound modules.
A new feature is the switchable AIR mode that adds a small boost above 10 kHz that peaks at 2 dB at about 35 kHz.
A simple but effective signal and overload indicator is offered by a single LED that starts glowing red at about +4 dBu and then increases its intensity up to the maximum output level.
The PRE-573 has a dedicated insert connector at the back allowing it to interface with other GAP 500 modules. The insert can be activated by removing a jumper connector at the back of the module.
The second Golden Age Project module for the api 500 rack will be the EQ-573, expected to ship in November 2012. The EQ-573 consists of the inductor based high pass filter section and the 3-band eq section from the classic 1073 module with some added frequencies. These two modules together will offer a fully fledged 1073-module in a compact format at a very low cost.
There is a second jumper at the back of the module that selects 600 ohm termination on the output. The standard mode is termination on, since it gives the flattest response when the PRE-573 is used with modern line inputs that typically has an input impedance of 10 kohm or more. The user can chose to remove the jumper and deactivate the termination resistor, this will increase the level above 10 kHz and create a peak in the response for an even more pronounced "Air" effect.
The output is transformer balanced and fully floating and can drive a 600 ohm load up to level of about 28 dBu.
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The PreSonus HP60 is the most flexible and advanced headphone amplifier system available for professional and project recording studios as well as live sound in-ear monitoring systems. Loaded with six independent,
loud and clear headphone amplifiers, the HP60 features dual stereo inputs as well as external input, for each
channel allowing you to mix between three stereo audio streams (mix A, mix B, and external input). Stereo output is also available on each channel to send line level headphone channel mixes to additional headphone amplifiers or monitor systems. Each channel features headphone level, mix control between A and B inputs, external input volume, mute and mono. The HP60 also features talkback via external XLR microphone input. Common set up of the HP60 in a recording session is to send the main control room mix to input A. Send the click track to input B. Send the each band member direct recording input to each channelʼs external input (more me). This will allow each band member to create a mix between the main mix, the click track and themselves. The HP60 is the ultimate headphone amplification system delivering loud and clear headphone mixes for real-world recording situations.
Features:
-Six independent ultra low noise, high output headphone amplifiers (150 mW per channel)
-Two sets of stereo inputs (A and B) with balanced TRS connectors
-Stereo external input point on each channel for "more me” with trim control
-Mix control between inputs A and B
-Talkback with external XLR microphone with control
-Direct stereo line output on each channel
Input A
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(2) ¼” TRS balanced 10 Ohms
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Input B
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(2) ¼” TRS balanced 10 Ohms
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External input
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TRS stereo unbalanced 10 Ohms
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Headphone amplifier output power
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150 mW RMS (60 Ohms) per channel
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Audio outputs
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¼” TRS stereo unbalanced per channel
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Master controls
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Talk button, Talkback volume, Input A, Input B
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Channel controls
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Headphone level, Mix A/B control, External input level, Mono, Mute
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External talkback
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XLR with TS external control jack
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Power
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IEC 110V-240V internal switching
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