FOCUSRITE LIQUID CHANNEL MIC.PREAMP and COMPRESSOR CHANNEL STRIP

Overview:

The Liquid Channel is a revolutionary professional channel strip that can emulate any classic
mic-pre and compressor. Combining radical new analogue preamp technology with Dynamic
Convolution? techniques, The Liquid Channel fuses cutting-edge analogue design with lightning
fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid
Channel provides the ultimate fluid vintage collection.
Liquid technology
Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel
samples their sonic behaviour. This is achieved through Dynamic Convolution?; the application of
a nique, level-dependant set of responses to an audio signal. These measured responses, sampled
at numerous levels and with every possible setting combination, are applied to the input stream on a
sample-by-sample basis for accurate emulation.
Liquid preamplification
Mic-pre emulation can?t be achieved with software alone. Hardware is required in addition to account
for the physical interaction with the microphone. As a result, Focusrite invested vast amounts of time
and energy into designing and building the ultimate ?liquid? preamplifier, able to match the input impedance
and signal path (transformer or electronic) of the device being emulated.
Not all vintage units are born equal
Second order harmonic distortion is a beneficial artefact of analogue circuits (especially tube and transformer-
coupled designs) providing the much loved ?warmth?. However, often two units of the same type will vary
in the amount of second order distortion produced, so an additional control for modifying this vintage
property is provided. This allows for precise matching of the Liquid Channel to your own beloved mic-pre.
The best of both worlds - analogue and digital
The Liquid Channel combines a highly complex, massively flexible analogue front-end with Dynamic
Convolution? processing, which utilises lightening fast SHARC chips and runs at sample rates of up
to 192kHz. The front panel controls are digital, with tactile rotary encoders; all parameters can be stored
in one of 99 program memories. At the press of button, you can reload all mic-pre, compressor and EQ
settings for an individual session. If using The Liquid Channel in conjunction with a recording platform
(e.g. Pro Tools), both the session files and The Liquid Channel?s program memory can be sent via standard
data transfer methods, providing a completely mobile recording session. Perfectly emulated vintage classics
with the power and ease of use of the digital domain.
Infinite expansion and remote control
The USB port on the rear panel allows remote control of The Liquid Channel, leaving the processor safely
racked away. But that?s not all. The software application also serves as an archiving system for additional
emulations and program memories, and permits downloads of additional classic units from www.ffliquid.com.
So, The Liquid Channel is infinitely expandable.

Specifications
Converter performance
Sample rate: 44.1, 48, 88.2, 96, 176.4 and 192kHz
Bit depth: 24-bit

ADC
SNR: 120dB measured with 20Hz/22kHz bandpass A-weighted filter
Frequency response: ±0.05dB between 20Hz ? 22 kHz
Maximum input level: +22dBu
THD+N: 0.00035% (-109dB)

DAC
Dynamic range: 116dB measured with 20Hz/22kHz bandpass
A-weighted filter
Frequency response: ±0.05dB between 20Hz ? 22kHz
Maximum output level: +22dBu
THD+N: 0.0007% (-103dB)

Jitter
Internal clock: AES digital output: External clock: Analogue and digital path

Mic pre
Gain range: +6dB to +80dB, switched in 1dB steps
Frequency response: variable, set by pre-amp chosen
THD+N at analogue out: 0.001% measured with a +4dBu 1kHz input signal
with 20Hz/22kHz bandpass filter
THD+N at AES digital out: 0.0005% measured with a +4dBu 1kHz input signal
with 20Hz/22kHz bandpass filter
Mic noise: EIN = -126dB measured at 80dB of gain with 150 Ohm source impedance
and 20Hz/22kHz bandpass filter
Noise at analogue out: -92dBu measured at +6dB gain with 20Hz/22kHz bandpass
A-weighted filter
Noise at AES digital out: -119dBFS measured at + 6dB gain with 20Hz/22kHz bandpass
A-weighted filter
Maximum input level: +16dBu
Input impedance: variable, set by preamp chosen
CMRR: Transformer: 123dB @ 60dB of gain
Electronic: 102dB @ 60dB of gain

Line input
Gain range: ?10dB to +10dB, switched in 1dB steps
Frequency response: 0dB ±0.1dB between 20Hz and 20kHz
THD+N at analogue out: 0.001% measured with a +18dBu 1kHz input signal
with 20Hz/22kHz bandpass filter
THD+N at AES digital out: 0.0004% measured with a +18dBu 1kHz input signal
with 20Hz/22kHz bandpass filter
Noise at analogue out: -92dBu measured at 0dB gain with 20Hz/22kHz bandpass
A-weighted filter
Noise at AES digital out: -120dBfs measured at 0dB gain with 20Hz/22kHz bandpass
A-weighted filter
Maximum input level: +22dBu
High pass filter
Roll off frequency: switchable between 75Hz and 120Hz, frequency measured at ?6dB
down point, 12dB per octave roll-off

Harmonics
Distortion range: 0 to 15 where 15 (maximum) = 10% of 2nd-, 20% of 3rd- and 10%
of 5th-order at 0dBFS (level-dependent distortion)

Compressor
In ?As Original ? mode the parameter ranges will be the same as on the original
unit being emulated. In ?Free? mode the parameter ranges are as follows:
Threshold range: -40dB to 20dB switched in 1dB steps
Ratio range: 1:1 to limit
Attack range: 0.1ms to 2.5s
Release range: 0.1ms to 2.5s
Make-up gain: -20dB to +20dB switched in 0.5dB steps

EQ
High Shelf
Frequency range: 200Hz to 20kHz
Gain: +/-18dB
Mid Band
Frequency range: 100Hz to 10kHz
Gain: +/-18dB
Q: variable between 0.8 and 2.5
Low Shelf
Frequency range: 10Hz to 1kHz
Gain: +/-18dB

Weight 8.6kg

Dimensions
484mm (W) x 85mm (H) x 270mm (D)
2U rackmount

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.

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

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.

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.

• • Ultra-high quality 8-channel A/D and D/A interface for virtually any digital recording/mixing environment
  • 8 state-of-the-art MIDAS designed Mic Preamplifiers
  • Phantom power on all microphone inputs
  • Reference-class Cirrus Logic 24-bit converters for ultimate signal integrity
  • Processes 48 and 44.1 kHz sample rates
  • External sample rate synchronization via word clock or ADAT input

• Optical ADAT in/out interface for ultimate compatibility
• All mic/line inputs routed to the ADAT output
• ADAT input routed to all Line outputs
• “Planet Earth" switching power supply for maximum flexibility (100 - 240 V~), noise-free audio, superior transient response plus low power consumption for energy saving
• High-quality components and exceptionally rugged construction ensure long life
• Conceived and designed by BEHRINGER Germany