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

• 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

Behringer MIC-2200 2-Channel Tube Microphone Preamplifier-Line Driver-DI Box

The MIC2200 is the ideal extension to your console, MIDI setup or hard disk recording system. Its integrated parametric EQ?s give you extra sound-shaping power, while its built-in tube adds warmth and transparency to your signal. In addition, the ULTRAGAIN PRO features direct injection and level conversion functionality.

The PRE-73 Mk2 is the first one-channel low-cost preamp on the market that is using a fully discrete signal path with three separate transformers for the balanced mic input, the line input and the output.

The circuit is very similar to the classical preamp section of the Neve 1073 pre/eq module with a corresponding sound character that is warm, punchy, sweet and musical.
This classical sound has 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 PRE-73 Mk2 has a maximum gain of 80 dB on the mic input and the gain range on the Line input is -20 to + 10 dB. There is also a high-impedance instrument input.

The PRE-73 Mk2 is perfect for almost any signal source, no matter if it's a microphone with a high or low sensitivity (like a passive ribbon mic), a syntheziser or sound module or an electric guitar or bass.

The input impedance of the microphone input can be switched between 300 and 1200 ohms, which makes it possible to affect the tone of most microphones. There is also phase switch and an simple 4-step LED signal level meter.

The output level control makes it possible to make fine gain adjustments and also to overload the main gain stage for more character and then lower the signal to a suitable level before the output stage.

The Mk2 update consists of:
- An unbalanced insert jack (nominal level about 18 dBu) added on the back panel for inserting units like the coming GAP EQ-73, a three band eq.
-  LED meter levels adjusted.
- 600 Ohm termination resistor and jumper added to power supply board (accessible from the inside of the unit).
- Revised Gain switch, turning the know clockwise now increase the gain.
- Reduced noise at high gains by a change to the power supply grounding scheme.

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.