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Overview:
The ISA 428 Pre Pack is the perfect multi-channel front end for any professional DAW. Four classic Focusrite transformer-based pre amps with switchable impedance and direct instrument inputs. An optional eight channel 192kHz ADC, preceded by the all new proprietory Soft Limiter circuit, provides the perfect path into your Pro Tools HD system. The benefits of the pre amp's topology include superb common-mode rejection, an excellent overload margin and, with its shared gain structure (20dB from the hand-wound transformer and up to 40dB from the amplifier), an extremely low noise floor and super-wide bandwidth (10Hz to 200kHz). This pre amp design is the cornerstone of Focusrite's signature 'warm-yet-transparent' sound and is a point of reference for any discerning audio professional. In addition, the input stage provides enhanced control and creativity allowing you to switch between four carefully selected input impedance settings. The original ISA 110 setting is supplemented by three further impedance settings to either perfectly match the pre amp with any microphone and maximise level, or use different settings creatively to shape the sound of the microphone being used. Should the need arise to place extra processing in between pre amp and conversion, insert points are also featured on every channel. Protecting the ADC, the Soft Limiter opto circuit is a new design from Focusrite, entirely preventing any 'digital overs', whilst minimising the undesirable distortion that standard limiter circuits often generate. Finally, the new ADC embodies cutting-edge conversion technology, encompassed within pristine Focusrite circuitry, providing eight conversion channels of the highest quality, at frequency rates of up to 192kHz. Running at 96kHz allows for up to 16 (2 x 8, parallel) simultaneous digital outputs in addition to the four main analogue outputs. Digital output options include dual AES/EBU, SPDIF and dual ADAT lightpipe. Full digital metering is provided for every channel, alongside new 'moving coil' peak meters, designed to catch even the fastest of transients. A second analogue unit can be connected utilising the four extra ADC input channels on the rear of the unit containing the optional ADC. This makes full use of the eight channels provided on a single optional ADC and expands your front-end capacity from four pre amps and eight digital outputs to eight Pre amps and eight digital outputs. Classic preamp technology, custom Focusrite input and limiting circuits and the very best in A/D conversion technology, the ISA 428 Pre Pack raises the bar for multi-channel recording solutions into Pro Tools HD, or any other professional DAW. Equally, it can be used as an additional set of high quality pre amps for any analogue or digital console or hard disk recorder. Four classic Focusrite transformer-based preamps. 8 channels of cutting-edge A/D conversion, running at up to 192kHz. Protected by proprietory optical Soft Limiter circuit. Switchable Impedance for unparalleled mic matching or extended mic creativity - includes the classic ISA 110 setting. Multiple Front Panel Instrument DI. No separate DI box required. Analogue insert points on every channel. High Pass Filters on every channel. New moving coil peak meters & full digital metering (dBfs).
ADAT is a trademark of Alesis Corp Pro Tools HD is a trademark of Avid Technologies plc. The 192kHz ADC is an extra cost option.
Specifications Inputs Transformer-based ISA design Gain range: Line = +/- 18dB, Mic = 0 to 60dB (both in 6dB steps), Inst = +10 to +40 dB variable Input impedance: Line = 10k ohm, Mic = Variable - 600, 2k4 and 6k8 ohm + original ISA 110 settings, Inst = >1M ohm
Analogue Performance Noise: Line = -96dB, Mic = -128dB (EIN with 150 ohm input resistance at 60dB of gain) THD: Line = 0.003% with 0dBu, 1kHz input and 20Hz to 22kHz band-pass filter, Mic = 0.003%
Analogue Input and Output connectors (balanced) D.I inputs: 1/4 inch Jack (unbalanced) Mic inputs: XLR (balanced) Line: TRS Jack (balanced) Insert Sends and Returns: TRS Jack (balanced) Additional ADC inputs: XLR (balanced) Line level Analogue Outputs: XLR (balanced)
Digital Output Option AES/EBU and S/PDIF dual 9-pin D-types Optical - ADAT Lightpipe Bit depths 16-, 20- or 24-bit Frequency options 44.1, 48, 88.2, 96, 176.4 and 192kHz Clock options Standard or ?256 x? Meter - 0 dBFS = +22dBu Digital Performance SNR - 120dB A-weighted
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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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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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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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| Vacuum Tube Mic Preamp. 12AX7 Vacuum Tube. +48V Phantom Power, 20dB Pad.
This premium tube mic/line preamp features an integrated limiter for studio,
live and hard disk recording applications. It features a carefully-selected
12AX7 vacuum tube with Behringer's UTC technology for exceptional warmth
and lowest noise. Using the MIC100 is a great way to eliminate the "dull"
sound of standard digital recorders & sound cards. Also, it perfectly
complements studio-grade condenser mics. When used as a high-end DI-box,
it ensures outstanding signal integrity. Features also include a phase reverse
switch, +48 V phantom power, a 20 dB pad, and balanced I/O.
The heart of the Tube Untragain is an extremely low-noise microphone preamp
circuitry that uses discrete components and produces a highly trans-parent
sound. In combination with Behringer's tube technology, the operational amplifiers
4580 and a sophisticated circuit topology, the Tube Untragain yields excellent
noise and distortion properties. The innovative UTC circuitry that has been developed
by our engineering team offers an abundance of sound-shaping possibilities.
Absolute musicality was Behringer's major goal when we designed the Tube
Untragain. The result is a device that, thanks to our tube circuitry, lends an
incredible punch to percussion instruments. On the other hand, instruments
that are rich in upper harmonics will receive more transparency. The sound
will be warm, detailed and brilliant.
Technical Description
Specifications
XLR input Connector: Balanced/unbalanced
Type: Transformerless, DC-decoupled input
Impedance: Approx. 2 kOhms
Maximum input level: +7 dBu / 20 dB with pad
1/4 in. TRS input Connector: Balanced/unbalanced
Type: Transformerless, DC-decoupled input
Impedance: Approx. 1 MOhms
Maximum input level: +16 dBu / 20 dB with pad
Audio outputs Connectors: XLR and 1/4 in. TRS connector balanced/unbalanced
Type: Transformerless, DC-decoupled output
Impedance:
Approx. 700 Ohms balanced
Approx. 350 Ohms unbalanced
Maximum output level: Approx. +26 dBu @ 100 k§?
System Frequency Response Mic input: |
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. |
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