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Overview:
The ISA 220 Session Pack provides all you need to record your session with
precision and Focusrite sonic performance. It features many of the original
circuits of the flagship ISA 430 Producer Pack along with some new features
of its own. It also features the same digital option as the ISA 430, providing you
with a high quality digital route direct from the 220 into your digital recording system.
Precision VU metering of input level or compressor gain reduction (switched)
16 LED Digital Output meters for both internal and external inputs
Classic Focusrite transformer based Mic pre
Switched High and Low pass filter controls
Switched High and Low shelving filter frequency controls
Optional Stereo A/D ? 24 bit 96 KHz Delta Sigma converter running at 128kHz
oversampling: dithers down to 20- or 16-bit
Proprietory Focusrite discrete Class A VCA Compressor side chain design for
lower distortion and Noise performance
Illuminated push button for switching the compressor between pre and post EQ
New Blend feature for adding dynamics into the compressed signal path
New De-esser design based on optical technology for lower distortion and
transparency
'De-esser Listen' for precise control over sibilance
Frequency adaptive limiter to avoid critical digital overs
Specifications
Inst. Hi Z I/P
Noise: -96dBu
THD: 0.003% with 0dBu
Mic I/P
Noise: 123dB EIN with 150 Ohm input resistance at 60dB of gain
THD: 0.0008%
Compressor
Threshold Range: -28dB to +12dB
Ratio: 1.5:1 to 10:1
Slope: Soft knee
Attack: 500ms to 25ms
Release: 100ms to 4s, variable or auto (program dependent)
De-Esser
Threshold Range: 22dB
Frequency Range: 2k2 to 9k2
Ratio at Centre Frequency: 2:1
Limiter
Threshold Range: 20dBu
Ratio: infinite (Brick Wall)
Attack: Frequency dependent
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EWI PDI-100 PARA ACOUSTIC DI Box
This is a medium grade professional application Para Acoustic Active DI, which will work well on instruments with passive pickups or active pickups.
The construction is reasonably rugged and the components are well suited for the application yielding results that are typically acceptable for all but the most discerning artists.
The on-board tone and volume controls give the operator a lot of choices in shaping their sound prior to sending the signal to the mix console. This allows an artist to use this device in-place of or in addition to a traditional stage amp for their instrument. This is an excellent choice for IEM bands, or bands that like to keep their stage volume low.
This item is typically used to split the instrument signal going to a stage amp so a feed can be sent also to the mix board, or be used as a stand-alone instrument pre-amp. It is equipped with a ¼” jack for input, a 1/4" jack for output to a stage amp, one XLR jack for the send to the board and a TRS jack for inserting an FX device.Since this is an active D.I. box, it needs to be powered which can be done either with Phantom Power from the mix board, or with the supplied internal 9v battery. The battery is fairly easy to change by removing one screw in the bottom of the case.
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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 |
- 1 microphone, XLR (bal.) or 6.3 mm jack (unbal.)
- Gain control, 10 steps (6-50 dB)
- Phantom power can be switched on
- Clip LED
- 1 line output, XLR (bal.) or 6.3 mm (unbal.)
- Operation via supplied power unit
| Power supply: | 12 V DC, 150 mA | | Input impedance: | 10 kohms bal./unbal. | | Max. input level: | +4 dB bal./+10 dB unbal. | | Gain: | 50 dB XLR/44 dB jack | | T.H.D.: | 0.01 % | | Frequency range: | 25 Hz - 16 kHz | | S/N ratio: | >75 dB | | Dimensions: | 143 x 93 x 45 mm | | Weight: | 350 g |
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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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The OctaMic II provides 8-Channel 192 kHz / 24 bit AD conversion with eight hi-class microphone and line pre-amplification channels, featuring a combination of sophisticated components and approved RME technology.
Lowest distortion, excellent signal to noise ratio and perfectly linear frequency response transmit and amplify the microphone signals truly unchanged.
The OctaMic II includes some significant enhancements compared to the OctaMic:
The balanced TRS inputs of the Neutrik Combo XLR jacks are phantom power-free and can be operated as real line inputs too. The improved design of the input circuits allows for a maximum input level of +21 dBu with a convenient gain range from 6 dB up to 60 dB.
Improved signal to noise ratio (SNR) ADC 107.5 dB
Improved THD, especially at higher gains
Optimised heat dissipation by a new and larger housing with improved convection
Internal wide range power supply with line filter, insensitive to voltage fluctuations
Super-stable, short circuit proof 48 V phantom power
Features
OctaMic II offers 8 balanced XLR mic / line inputs via Neutrik XLR/TRS combo jacks. Each channel contains switches for 48V phantom power, a low cut filter and phase reversal. Amplification can be set between 6 and 60 dB. LEDs for signal, clip, and activated phantom power give a complete overview on the unit's status. When the special Clip Hold mode is activated, any detected clip-state will cause the corresponding LED to flash once per second. With this, the user gets a long-term peak detection, and no longer needs to constantly watch the LEDs. At the same time momentary overloads are still displayed correctly.
Frontside switches include power on/off and output level, for a choice of -10 dBV, +4 dBu or Hi Gain (+19 dBu) as reference level. This unusual feature offers two advantages. First, the reference level can be easily switched to match any of RME's current interface devices, from HDSP 9632 through Multiface up to the renowned ADI-8 series converters. Second, the Signal to Noise ratio is optimized, and the Clip-LED will exactly match the ones of the ADI-8 (2 dB below 0 dBFS).
The balanced line level output signal is available at the back of the unit via 8 stereo TRS jacks. The specially developed, internal hi-performance switch mode power supply lets the OctaMic II operate in the range of 100V to 240V AC. It is short-circuit-proof, has an integrated line-filter, is fully regulated against voltage fluctuations, and suppresses mains interference.
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AD-Conversion
The 8-Channel AD-conversion of the OctaMic II operates at up to 192 kHz. The digitized signal is available simultaneously at the double ADAT output (S/MUX, up to 96 kHz), and at a DB-25 connector (4 AES/EBU outputs, up to 192 kHz). The digital part can be clocked internally (master) and externally via word clock, AES/EBU and SPDIF.
RME's outstanding SteadyClock(TM) ensures perfect AD-conversion, as jitter on the external sync-sources is nearly completely removed. All settings are done via DIP-switches on the back of the OctaMic II. Analog outputs and both digital outputs operate fully simultaneously. The choice of reference level affects the analog outputs only, the signal/clip indication and the AD-conversion will react only to the Gain-pots.
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Tech Specs
8 balanced XLR/TRS mic/line inputs
54 dB gain range
Input impedance: XLR 2 kOhm, TRS 5 kOhm
Analog input level: from -40 dBu up to +21 dBu
Maximum output level: +21 dBu
Output impedance: 75 Ohm
Output level switchable Hi Gain / +4 dBu / -10 dBV
Signal to noise ratio (SNR): 129 dB EIN @ 150 Ohm
THD:
Large frequency range (200 kHz) with special EMI input filtering
Frequency response -0.5 dB: 5 Hz - 200 kHz
Hi-pass filter: 80 Hz, 18 dB/oct.
Line Out: 1/4" TRS (6.3 mm stereo jack), servo-balanced
Phantom power: +48 Volt switchable per channel
Internal wide range switching power supply 100-240 Volt AC
Unbeatable price/performance ratio!
AD conversion
SNR: >110 dB(A)
Supported sample rates: 28 kHz - 200 kHz
THD:
Sync Sources: AES/EBU (also SPDIF coaxial), wordclock, internal
SteadyClock(TM) ensures best sound quality even with jittery external clocks
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Accessories
Digital breakout cable Pro, AES/EBU, D-sub25 to 4x XLR-3 female + 4x XLR-3 male, 1m/3m/6m (ALVA Audio)
Digital D-sub cable, AES/EBU, D-sub25 male to D-Sub25 male, 1m/3m/6m (ALVA Audio)
Optical ADAT Toslink cable 1m/2m/3m/5m/10m (ALVA Audio)
Word Clock cable, 1 x BNC male to 1 x BNC male, 1m/5m/10m (ALVA Audio)
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Add-On
BOB-32 Universal Breakout Box with 2 x 8 XLR to 2 D-sub connectors (supports TASCAM and YAMAHA format), flip-frame case
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