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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. |
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 .
| • Road proof housing
• High quality components
• Professional balanced XLR outputs
• Level control
The ASC-202 converts consumer level stereo RCA signals to balanced XLR professional line level, and back. One side of the unit, has two XLR inputs and stereo RCA outputs. The other side has stereo RCA inputs and two XLR outputs. Each side has stereo level controls. A possible application of the SC-13 is to use it as a level control in balanced audio lines.
The DAP Pro Audio Solutions are a complete line-up of audio tools for the professional musician or audio engineer. It is a series of audio modifying tools like mini-mixers, pre-amps and converters available in active or passive models. All audio solutions are designed to meet the highest stage and audio demands and feature a metal road proof housing with rubber feet and easy accessible controls. The units also have a small footprint which make them ideal to be used and placed in any environment where space is critical.
Specifications Frequency Response: 20Hz-20KHz
Inputs: XLR/Jack Combo, RCA
Outputs: XLR male, RCA
Input sensitivity RCA in: -10 dBv
Input Impedance RCA in: 10 kOhm
Input sensitivity XLR/Jack in: +4 dBu
Input Impedance XLR/Jack in: 20 kOhm
Output voltage RCA Out: -10 dBV
Output Impedance XLR Out: 100 Ohm
Output voltage XLR Out: +4 dBu
Output Impedance XLR Out: 200 Ohm
Power supply: 18V AC (adapter included)
Dimensions: 53 x 158 x 135 mm (HxWxD)
Weight: 0,65 Kg |
Applications
Console input extending for both Digital and Analog mixing consoles in Studio, Live and Broadcast Mic Pre-amps for ADAT/ Hard Disk/ Multitrack Recording Innovation If you love your compact Digital (or Analog) mixing console, but wish it had more microphone inputs, ARX has the solution ? the 8 Pre: eight channels of superb sounding Microphone Pre-amps in a compact 1 RU chassis. The 8 Pre is the ideal console extender for those times when you need more microphone inputs. Now you can put those unused line inputs to good use, and who knows - the 8 Pre pre-amps sound so good that you?ll probably end up using them all the time instead of the ones that came with your mixer! Superb Audio Quality The 8 Pre?s ultra low noise figures come from extensive use of premium components plus care and attention to board design and layout. The result is superb, transparent audio quality and the headroom to handle anything that a mic can throw at it. Gain is adjustable from 20 db through to 60 dB via a trim control on the front panel, plus we?ve included a ?20dB Pad switch to tame the hottest condenser mic output if required. The Clip status LED lights up 1 dB before the onset of clipping, just to warn you you?re getting close.Phantom power is switchable in banks of four channels: 1 through 4, 5 through 8. A Phase reverse switch is also provided on each pre-amp channel to eliminate any close miking problems. In short, the ARX 8 Pre is the mic Pre-amp that you?ll wish the console manufacturer had used. It provides a unique solution to today?s multiple Mic Pre-amp requirements.
T E C H N I C A L S P E C I F I C A T I O N S Input Gain 20dB to 60dB Input Pad ?20dB Input Impedance 4 KOhm Input Headroom +23dB Output Impedance 300 Ohm Output Level (Max) +23dB Frequency Response 20Hz ? 20KHz ±0.2 dB Signal to Noise ratio (Gain set @ 20 dB) ?93dB Unweighted, ?99dB ?A? weighted Distortion @ Unity Gain .004%, 20 Hz ? 10 KHz Dynamic Range 116 dB Phantom Power 48 VDC Input Connectors Balanced XLR Output Connectors Balanced TRS jack Clip Indicator Illuminates 1 dB prior to clipping Power Requirements 100/120 V AC, 220/240 V AC Weight 5 lbs/2.2 Kg Dimensions 19“W x 1?“H x 6“D, 482 x 44 x 155mm |
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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