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The Studio Channel is a professional channel strip combining Class A tube preamplifier, VCA-based compressor and three-band parametric equalizer perfect for the professional and project studio. Great for all types of microphones, instruments, keyboards and synths, the Studio Channel has the sonic power and flexibility to achieve any tone you can dream of – luscious in your face vocals, crystal clear acoustic guitars, fat solid bass guitar, dynamic acoustic piano, cracking snare, punchy bass, huge MPC tracks and more.
Enhance your signal path
The Studio Channel noticeably outperforms preamplifiers that are built-in to most recording interfaces and affordable mixers. Add a VCA-based compressor and studio-grade equalizer to the class A tube preamp and you get not only big fat tube tonality but also complete control of your tone and sounds. Since much of the recording process is accomplished one track at a time, you need a signal path that can deliver a variety of high quality tones and sounds, which is why the Studio Channel is the perfect tool for any studio.
Class A Tube Preamplifier
The Studio Channel has everything needed to deliver big tone. The preamplifier stage of the Studio Channel is based on the award winning BlueTube preamplifier with a high output 12AX7 vacuum tube operating on voltages double than all other preamplifiers in its class delivering high headroom and big tone. Dual control Gain and Tube Drive enables a wide range of sounds from transparent and clear to edgy and overdriven.
Full Featured VCA Compressor
The compressor in the Studio Channel is a fully variable ultra-fast and smooth VCA-based circuit with all of the controls needed for a wide range of compression settings: ratio, threshold, attack, release and gain make up. The VCA-based compressor is known for musicality as well as ultra fast attack with the ability to tame the fastest transients. From slap bass, to snare drum, to vocals, the Studio Channelʼs compressor stage allows you to record as hot as needed without clipping giving you total dynamic control.
Three Band Parametric EQ
The equalizer in the Studio Channel is like a Swiss Army pocket knife, with the ability to carve out unwanted frequencies as well as tailor your tone to enhance your sound. The custom-designed amplifiers in the EQ deliver sweet-sounding gain/cut for ultra smooth highs, deep solid lows and clear midrange. The mid-band of the EQ section has variable Q for controlling the width around the center point of the selected frequency. High and low frequency bands give you the option for selecting peak/dip or shelving frequencies.
Technical Specification
Channels
One
Dynamic Range
>115 dB
Frequency Response
10 Hz to 50 kHz
Internal Operating Level
0 dBu = 0 dB
Microphone Preamp
Gain
-6 dB to +66 dB (+/- 10dB trim on line input)
Noise Floor
-96 dBu
EIN
-126 dB
THD + Noise (0% Tube Drive)
THD + Noise (100% Tube Drive)
Microphone Input Connector
XLR
Microphone Input Impedance
1.3 kΩ
Instrument Input Connector
¼” TS
Instrument Input Impedance
1 MΩ
Line Input Connector
¼” TRS
Line Input Impedance
10 kΩ
Phantom Power (switchable)
+48V
Pad (switchable)
0 dB / -20dB
Phase (switchable)
0°, 180°
Hi-pass filter (switchable)
-3 dB at 80 Hz
Compressor
Threshold (variable)
-40 dBu to +2- dBu
Ratio (variable)
1-10 (1:1 to 10:1)
Attack (variable)
0.1 to 200 ms
Release (variable)
0.05 ms to 3 S
Gain Make Up
-10 dB to +10 dB
Metering
Analog VU (Gain Reduction / Output)
Equalizer
LF Band Controls:
Frequency
Variable from 40 Hz to 500 kHz
Gain
Variable between ±10 dB
Q
0.7 (on ʽpeakʼ setting)
MF Band Controls:
Frequency
Variable from 200 Hz to 3 kHz
Gain
Variable from -10 dB to +10 dB
Q
Variable from 0.7 to 2.5
HF Band Controls:
Frequency
Variable from 2 kHz to 20 kHz
Gain
Variable between ±10 dB
Q
0.7 (on ʽpeakʼ setting)
Master
Output Fader
-80 dB to +10 dB
Output Connectors
XLR Balanced and ¼” TRS Balanced/Unbalanced
Output Impedance
51 Ω
Metering (Output level)
Analog VU (-20 dBu to +6 dBu)
Metering (Gain Reduction)
Analog VU -20 dB to 0 dB
Output Headroom
+22 dBu
Power Supply
Type
Linear
Input
16 VAC / 1000mA
Power Requirements (Continuous)
16W
Transformer
External (country specific)
Physical
Size
1U Rack
Dimensions
19” x 1.75” x 5.5”
Weight
5 lbs
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The PRE-73 Mk2 pre-amp and the FC3 condenser microphone in one bundle. The bundle also includes Golden Age P1 Pop Filter, Proel RSM180 mic stand and Proel CHL250 5m cable. | Highly versatile and portable, Sound Devices' MM-1 is a single-channel, portable microphone preamplifier with a powerful headphone monitoring function. Proven in mission-critical applications, the high-performance microphone preamplifier uses a transformer-balanced input and output with a bipolar ±15 volt power supply to produce low-noise, low-distortion gain at all switch positions. It features an "unclippable" dual-stage limiter and two-position high-pass filter. Flexible microphone powering provides phantom power at 48 volts or 12 volts and 12-volt T-power. It is powered from two-AA batteries or external 5-18 VDC.
The MM-1 is at home in high-definition television production, corporate/industrial environments, radio/television announce booths, and music production. Its headphone monitor is an advantage in applications where communications channels or mix-minus feeds need to be monitored in headphones. The user can monitor both microphone audio and external audio sources in headphones with level control.
The MM-1 is designed to be durable. Its aluminum chassis, oversized end panels, machined knobs, and panel mounted connectors assure reliable mechanical operation.
- Maximum of 66 dB of gain, in eleven discrete steps
- Dynamic range exceeding 120 dB
- 10 Hz to 50 kHz audio bandwidth
- High immunity to RF interference
- High current line output driver
- Transformer-balanced input and output
- Extended range peak limiter via dual opto-isolators makes preamplifier virtually "unclippable“
- Selectable 48-volt / 12-volt phantom power or 12-volt "T" power
- High-pass filter @ 80 or 160 Hz, 6 dB per octave
- Headphone monitoring of microphone audio, monitor audio, or a mix of both
- Monitor input accepts mono, balanced or unbalanced line-level inputs on 1/4-inch tip-ring-sleeve connector
- Separate level control of Monitor gain and overall headphone gain
- Split ear function via DIP switches
- Internal battery power (two-AA)
- Excellent battery life with alkaline and NiMH rechargeable batteries
- External 5-17 VDC powering (plug included)
- High-strength aluminum chassis with durable belt clip
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Designed for high-definition field production environments, the studio-quality MP-1 is an ideal line-driver for critical radio, television, and film applications.
The MP-1 is extremely durable and easy to use. With rugged mechanical and electrical construction and high-quality components it will provide years of superb audio performance under the most punishing field conditions.
MP-1 Key Features - Superb audio specifications
- 66 dB of gain, in eleven discrete steps
- Transformer-balanced input and output
- Phantom power - 48 volt or 12 volt
- High pass filter @ 80 Hz or 160 Hz, 6 dB/octave
- Limiter makes unit virtually "unclippable“
- High current line output drive
- Excellent immunity to RF interference.
- Battery power (two x AA)
- Durable mechanical construction
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At PreSonus, weʼve been designing preamps for a long time, and we always focus on audio quality first. So when we decided to upgrade our popular TubePre V2, we focused on improving an already high-quality sound—without jacking up the price. Like the originalTubePre, the new version is a fully professional tube preamp, with a dual-servo (no capacitors) gain stage that lets you boost the program signal to smoking hot levels without significantly increasing the background noise. Discrete components and high-voltage operation offer dynamic range and detail not found in other single-channel tube preamps in its class.
Housed in a rugged case, the TubePre V2 rear panel sports separate unbalanced, ¼” instrument and balanced, XLR mic inputs and unbalanced ¼” and balanced XLR line outputs. Weʼve included all of the extras you need for professional operation including a high-pass filter, phantom power for condenser mics, polarity reverse switch, and a backlit VU meter.
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Two channel classic Focusrite ISA transformer-based preamps Front panel, per channel: - 1/4" instrument input
- Variable input impedance - Low, ISA 110, Medium, High
- Input selection - Mic, Line, Instrument
- 0 - 30 dB/30 - 60 dB gain switch
- Phantom power switch
- Phase invert switch
- 0 - 60 dB gain in 10 dB steps
- 0 - +20 dB continuously variable trim
- Variable high-pass filter with on/off switch
- Insert point on/off switch
- Eight-LED user-calibrated level meters
- Single power switch
Rear panel, per channel: - XLR-F mic inputs
- 1/4" TRS line inputs
- 1/4" TRS Sends
- 1/4" TRS Returns
- XLR-M line output
- Single peak meter calibration dial
- Single IEC power socket
Measured Performance | Maximum Input and Output Levels | | Maximum Output Level |
+24 dBu with a THD+N
| | Maximum Microphone Transformer Input Level | +7 dBu with a THD+N | | Mic Input Response | | Gain range | 0 dB to +60 dB in 10 dB steps, plus 0 dB to +20 dB continuously variable trim | |
Input Impedance
| Switched Impedance setting
Equivalent Input Impedance at 1 kHz | Low = 600 Ω
ISA 110 = 1.4 kΩ
Med = 2.4 kΩ
High = 6.8 kΩ | EIN
(Equivalent Input Noise) | Measured at 60 dB of gain with 150 Ω
source impedance and 22 Hz-22 kHz band pass filter | -127 dB | |
Noise
| Noise at output with unity gain (0 dB) and 22 Hz-22 kHz band pass filter | -97 dBu | |
Signal-to-Noise Ratio
| Measured with 150 Ω source impedance and 22 Hz-22 kHz band pass filter | 121 dB relative to max output +24 dBu | |
Total Harmonic Distortion + Noise
| Measured with a -20 dBu input signal at +30 dB of gain and with a 22 Hz-22 kHz band pass filter |
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Frequency Response
| At minimum gain (0 dB) |
-0.5 dB at 10 Hz,
-1 dB at 135 kHz, relative to 1 kHz
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At +60 dB gain
| -6 dB at 10 Hz,
-1 dB at 115 kHz, relative to 1 kHz | |
CMRR (Common Mode Rejection Ratio)
| -94 dB for mic input at 60 Hz for max. output = +24 dBu
-91 dB for mic input at 10 kHz for max. output = +24 dBu | |
Crosstalk Channel to Channel
| Mic input, with I/P = 0 dBu, gain = 0 dB @ 1 kHz input to channel A, channel B output = -85 dB | | Line Input Response | |
Gain Range
| -20 dB to +10 dB in 10 dB steps, plus 0 dB to +20 dB continuously variable trim | |
Input Impedance
| 10 kΩ from 10 Hz to 200 kHz | |
Noise
| Noise at main output with gain at unity (0 dB) measured with 50 Ω source impedance and a 22Hz - 22 kHz band pass filter |
-97 dBu
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Signal-to-Noise Ratio
| Measured with 50 Ω source impedance and a 22 Hz-22 kHz band pass filter |
121 dB relative to max output +24 dBu
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Total Harmonic Distortion + Noise
| Measured with a 0 dBu input signal, +10 dB of gain and a 22 Hz-22 kHz band pass filter |
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Frequency Response
| At unity gain (0 dB) | -0.3 dB at 10 Hz,
-1 dB at 80 kHz, relative to 1 kHz | |
Crosstalk Channel to Channel
| Line input, with I/P = 0 dBu, gain = 0dB
@ 1 kHz input to channel A |
Channel B output
= -91 dB
| | Instrument Input Response | |
Gain Range
| +10 dB to +40 dB continuously variable trim | |
Input Impedance
| > 2 MΩ | |
Noise
| >Measured with 22 Hz-22 kHz band pass filter | Minimum gain (+10 dB) = -95 dBu | |
Frequency Response
| At minimum gain (+10 dB) |
-0.1 dB at 10 Hz,
-1 dB at 115 kHz, relative to 1 kHz
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At maximum gain (+40 dB)
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-2.5 dB at 10 Hz,
-1 dB at 110 kHz, relative to 1 kHz
| | High-Pass Filter | |
Roll-Off
| 18 dB per octave (3 pole filter) | |
Frequency Range
| Continuously variable from 16 Hz to 420 Hz (-3 dB) | | Weight and Dimensions | |
W x D x H
| 480 mm x 280 mm x 44 mm | |
Weight
| 3.7 kg |
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