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

Mic Inputs
• Frequency response at minimum gain (0dB): -0.35dB at 20Hz and –3dB at 122kHz
• Frequency response at maximum gain (60dB): –2.5dB at 20Hz and –3dB 103kHz
• Gain range: 0dB to +60dB in 10dB steps, plus 0dB to +20dB continuously variable trim
• Maximum headroom: +7.4dBu
• THD+N: 0.0009% (measured at 1kHz -20dBu input signal, at 30dB gain setting, with a 20Hz/22kHz bandpass filter)
• Noise EIN: -126dB (measured at 60dB of gain with 150Ω termination and 20Hz/22kHz bandpass filter)
• Noise at main output with unity gain: -98dBu (measured with a 20Hz/22kHz bandpass filter)
• SNR: 123dB (relative to max output 25dBu)
• SNR: 120dB (relative to 0dBFS (+22dBu)
• CMRR: 88dB.
• Input Impedance, variable: 600Ω, 1400Ω, 2400Ω, 6800Ω

Line Inputs
• Frequency Response at unity gain (0dB): -0.3dB at 20Hz and –3dB at 94kHz
• Gain range: -20dB to +10dB in 10dB steps, plus 0dB to +20dB continuously variable trim
• Maximum headroom: +25.4dBu
• THD+N: 0.002% (measured with +4dBu input signal, 0dB gain setting, with a 20Hz/22kHz bandpass filter)
• Noise at main output with unity gain: -91dBu (measured with a 20Hz/22kHz bandpass filter)
• SNR: 116dB (relative to max output 25dBu)
• SNR: 113dB (relative to 0dBFS +22dBu). Input Impedance: 10kΩ

Instrument Inputs
• Frequency Response at +10dB gain: -0.2dB at 20Hz and 0dB at 200kHz
• Frequency Response at +40dB gain: -3dB at 20Hz and –3dB at 38.4kHz
• Gain range: +10dB to +40dB continuously variable
• Maximum headroom: +11.5dBu
• THD+N: 0.006% (measured with –20dBu input signal, at minimum gain (+10dB), with a 20Hz/22kHz bandpass filter)
• Noise at main output with minimum gain (+10dB): -95dBu (measured with a 20Hz/22kHz bandpass filter)
• Input Impedance = >1MΩ

High Pass Filter
• Roll off = 18dB per octave 3 pole filter
• Frequency range: 16Hz to 420Hz (continuously variable, measured at the 3dB down point)

Meters
• 6 LED meter is calibrated 0dBFS = +22dBu (the maximum level which can be correctly converted by the optional internal A/D converter before overload occurs). The meter calibration points are as follows:

Meter panel calibration value in dBFS / Equivalent dBu value
0dBFS / +22dBu
-2dBFS / +20dBu
-6dBFS / +16dBu
-12dBFS / +10dBu
-18dBFS / +4dBu
-42dBFS / -20dBu



Front and rear connectivity

Analogue Channel Inputs (Inputs 1-4)
• 4 instrument 1⁄4” TS jack inputs on front panel
• 4 microphone XLR inputs on rear panel
• 4 line 1⁄4” TRS jacks on rear panel
• 4 insert return 1⁄4” TRS jacks on rear panel
• 4 ADC XLR inputs on rear panel

Analogue Audio Outputs (Outputs 1-4)
• 4 line XLR outputs on rear panel
• 4 insert send 1⁄4” TRS jacks on rear panel

Other I/O
• IEC power input connector 100Vac – 240Vac

Front Panel Indicators
• 8 output meters, 6 segment
• 4 30-60 mic gain range selection indicator
• 4 +48V phantom power indicator
• 4 Phase indicator
• 4 Insert In indicator
• 4 Filter In indicator
• 4 Input selection indicators (Mic, Line, Inst)
• 4 Z In microphone input impedance selection indicators (Low, ISA110, Med, High) Clock select indicators (44.1, 48, 88.2, 96, 176.4, 192)
• Ext clock indicators (Lock, Word clock, 256X)

Weight
5.5kg
12.2lbs

Dimensions (W x H x D)
480mm (W) x 88mm (H) x 280mm (D)
19" (W) x 3.5" (H) x 11" (D)

• • 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

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 .