PRESONUS Studio Channel

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

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  :

• Vintage Style electronics. No intergrated circuits in the signal path.

• Maximum gain in MIC mode is 80 dB, enough to handle passive ribbon mics with quiet sound sources.

• GAIN switch range 20 - 80 dB. GAIN/LINE mode switch, gain is reduced by 30 dB in LINE mode.

• Selectable two position high frequency AIR boost eq, 3 or 6 dB @ 30 kHz.

• Selectable 6 dB/octave two frequency high pass filter at around 40 (HP1) and 170 Hz (HP2).

• Tantalum capacitors in the signal path.

• 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.

• Switchable phantom power and absolute phase.

• A high-impedance instrument input for any sound module, electric guitar or bass.

• A simple but effective 4-step LED output level meter.

• 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.

• Combo XLR/TRS input jack and separate output XLR and TRS jacks for flexible connections.

• Insert jack for inserting EQ´s and other units.

• Selectable 600 ohm output termination.

• The pcb is prepared for the Carnhill input transformer.

• External power supply to avoid interaction with the audio circuits and transformers.

• A solid build quality that will last many years of normal use.

The MKIII has the following new features compared to the MKII:

• Tantalum capacitors in the signal path.

• Selectable two position high frequency AIR boost eq, 3 or 6 dB @ 30 kHz.

• Selectable two frequency high pass filter, 6 dB/octave at 40 or 170Hz.

• The pcb is prepared for the Carnhill input transformer.

• Revised and less complicated GAIN switch with a separate switch for MIC/LINE selection.

• All GAIN settings can also be used in LINE mode .

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.

The PRE-73 DLX is a one-channel vintage style microphone-, line- and instrument preamplifier. The signal path uses only discrete components like resistors, capacitors and transistors. The line and microphone input and the line output are transformer balanced, using three different transformers, each one optimized for its purpose.
This is the way audio components were built before integrated circuits became available. The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.

The circuit used in the PRE-73 DLX 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

- Vintage Style electronics. No intergrated circuits in the signal path.
- Maximum gain on the mic input is 80 dB, enough to handle passive ribbon mics with quiet sound sources.
- Gain range on the Line input: -20 to + 10 dB.
- Switchable impedance on the mic input, 1200 or 300 Ohms, will change the tone of most mics.
- Switchable phantom power and absolute phase.
- A high-impedance instrument input for any sound module, electric guitar or bass.
- A simple but effective 4-step LED output level meter.
- The output level controls 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.
- Combo XLR/TRS input jacks and separate output XLR and TRS jacks for flexible connections.
- Insert jack for inserting EQ´s and other units.
- External high power power supply to avoid interaction with the audio circuits and transformers.
- A solid build quality that will last many years of normal use.

The PRE-73 DLX has a number of improvement and new features compared to the PRE-73 MKII:
- Tantalum capacitors in the signal path.
- Selectable 1073-style high pass filter, 50Hz, 80Hz, 160Hz and 300Hz.
- Output Attenuator -7, -14, -21 and -28 dB (located after the output transformer) allows overdriving the output stage and the output transformer for added character by lowering the output signal to a suitable level.
- The circuit board is prepared for Carnhill Mic and Line transformer and high pass inductor.
- The Insert jack can be switched in/out from the front panel. An internal jumper can select that the Insert jack always has an output signal.
- Switchable 600 ohm Output Termination and Ground Lift on the back panel.
- Selectable Active or Passive DI input and selectable input impedance in active mode, Hi Z or 100 kohm, by internal jumpers.
- The DI can signal can be selected to pass or bypass the mic input transformer by internal jumpers.
- Relays are used to control internal switching for DI input, Phantom power, Mic Low Z, Insert and Phase for shorter circuit board signal paths. The relays are controlled by front panel switches.
- Revised gain switch for added headroom.
- Circuit board star grounding scheme.
- Revised power supply with separate regulators for the audio circuits and relay and LED circuits.

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