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PLATINUM TWIN TRACK
Designed principally as an affordable, high-specification dual mono/stereo tracking device, TT Pro (as it's affectionately known) also boasts comprehensive latency-free monitoring, unmatched digital connectivity, and all within a sturdy 2U 19" rack-mount chassis. Each channel features Focusrite's award-winning Platinum pre amp, embellished with the option of instant 'air' and variable input impedance for improved microphone performance and extended creativity. A mid-scoop EQ follows, and provides variable frequency and depth of cut for vocal problem solving and miked-up cabinet ambience In pride of place is TT Pro's powerful dual mono/stereo optical compressor. This optical compressor features Focusrite's custom fast-acting optos, alongside side-chain inputs and the ability to operate as a true 'twinned' stereo pair. These circuit design innovations are complemented by a comprehensive set of focussed controls. TT Pro is the first Platinum to feature a D/A converter as standard, alongside its optional analogue to digital converter. The D/A converter enables the user to feed mono or stereo digital signals into TT Pro. These signals can be fed either into the stereo latency-free monitoring section, or via line inputs (post- the pre amp stage) for further processing. The signal can then return to the digital audio workstation via Focusrite's established stereo A/D converter option. Together, these facilities make TT Pro the perfect analogue interface for any digital audio workstation, and equally the world's first 'hardware plug-in'.
Features include:
* 2 award-winning Class A discrete transistor-based pre amps * Dual mono/stereo optical compressor, featuring custom fast-acting optos * Latency free monitoring with total control over balance, effects, mix and monitor levels * 24 bit/192 kHz D/A fitted as standard, for processing digital signals or feeding digital signals into the monitoring path * An optional 24 bit/96kHz A/D. Both the A/D and the D/A feature wordclock (BNC) * Inductor-induced "Air" opens up high frequencies like an expensive transformer-balanced pre amp * Variable impedance for improved microphone performance and extended creativity * Mid scoop EQ for correcting problematic mid frequencies * Direct inputs on the front fascia for both instruments (Jack) and microphones (XLR) * Post pre amp inserts and compressor side-chain inserts, for enhanced processing flexibility * 2 ocean blue peak-reading meters, innately beautiful and ideal for catching fast transients
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Features Superlative sound Studio quality mic preamp Total control - Input Gain, EQ contour, Output Gain, Overload indicator Multiple output connectors XLR/jack combo input Switchable 48 V DC Phantom Power for condenser Mics Compact, computer friendly package Needs no external power supply ARX is proud to introduce the e-pre - the ultimate microphone pre-amp for hard disk recording, designed by audio professionals, not computer engineers. The all-new e-pre is so much a part of your system that it fits right into a spare 5?" slot in your computer case! It's the perfect tool for all your day-to-day recording requirements. No equipment racks to plug in, no masses of cabling to connect - the e-pre is ready and waiting when you need it. The e-pre is a studio quality microphone pre-amp using the same internal components as high end mixing consoles, built into a compact, computer friendly package. It has controls for: Input Gain - fully variable from 10dB through to 60dB to suit all types of microphones, plus switchable 48 V Phantom Power to enable condenser microphones to deliver their best. A Contour control for EQ sweetening, providing fast, easy access to a whole range of useful EQ curves Output level control - fully variable to match the e-pre's output to the input of the sound card. From -10dB consumer cards through to +4dB for professional sound cards, the e-pre can handle it. Multiple output connectors match up with any kind of sound card, including mini jacks, standard jack, RCA (phono) plugs, and even a connector to link to the internal CD ROM audio input of your sound card (if fitted). We've even fitted a 12 VDC input connector on the rear to enable the e-pre to run from an external power supply if required (eg for use with notebook computers or stand-alone use).
Any way you look at it, the e-pre by ARX is the total professional microphone pre-amp for all your hard disk recording needs
e-pre Benefits Professional Balanced XLR mic input True 48v phantom power Runs into the Line input of ANY sound card - uses the card you've already paid for High headroom = clean recordings Smart EQ Compatible with non-computer audio equipment Professional performance and specs in a user friendly package
T E C H N I C A L S P E C I F I C A T I O N S Input Impedance Mic 2 K Ohms Balanced; XLR type Pin 1 Audio Ground, Pin 2 +, Pin 3- Line 25 K Ohms Balanced, ?" TRS jack Tip +, Ring , Sleeve Audio Ground Phantom Power Voltage Switchable +48 V DC on XLR Pins 2 and 3 Max Input Level Mic +15 dB, Line +20 dB Input Gain 10 dB Minimum, variable to 60 dB Maximum Output Level -10 dB variable through 0 dB to +4 dB Overload Indicator Measured at all Gain points throughout the circuitry Output Noise -90 dB Unweighted, -97 dB 'A' weighted (Measured with Gain nominal 20 dB, Output level -10 dB) Frequency Response 20 - 20 KHz ± 0.25 dB Distortion 100 Hz 0.0085% 1 KHz 0.008% 10 KHz 0.0083% (Measured with Mic Gain 20 dB, Output 0 dB) Power Requirements 12 V DC from either computer supply or external supply (external power supply not included in e-pre package) Size 148mmW x 42mmH x 150mm D (5?“W x 1?H x 6“D) Weight Under 1 Kilo (2.2 lbs) |
PreSonusʼ popular Class A XMAX preamps are widely lauded for their clarity and transparency. Our tube preamps are beloved for their warm, smooth sound. With the Blue Tube DP V2 dual-path mic/instrument preamp, you get both types of high-quality sound in one unit.
Now weʼve improved on the classic unit with the BlueTube DP V2. The solid-state path now feeds PreSonusʼ top-of-the-line Class A XMAX™ mic preamplifier with 80 dB of variable gain—an upgrade from the original BlueTube DPʼs solid-state stage.
You still get all the secondary features you expect in a professional-grade preamp: 48V phantom power, an 80 Hz high-pass filter, -20 dB pad to control hot input signals, and a polarity-reverse switch. Each channel has an illuminated VU meter so you can visually monitor your input levels.
A Tube Drive control provides a wide range of sounds: when itʼs clicked off, youʼre using the solid-state preamp for quiet, transparent amplification; when itʼs engaged, your signals flow through the tube preamp, and you can achieve anything from gentle warmth to edgy distortion.
2 input channels, each with:
High-headroom Class A XMAX™ mic preamplifier with 80 dB gain range
12AX7 vacuum tube gain stage
Tube Drive tube-saturation control
48V phantom power
80 Hz high-pass filter
-20 dB pad to reduce hot input levels
Polarity-reverse switch
Illuminated analog VU input-level meter
Input/Output
2 balanced combo mic/unbalanced instrument inputs
2 balanced XLR main (L/R) line outputs
2 unbalanced ¼” main (L/R) line outputs
Physical
Compact 1/2U chassis
External 12 VDC, 1A power supply
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The PRE-73 DLX is a one-channel vintage style microphone-, line- and instrument preamplifier. The signal path uses only discrete components like resistors, capacitors and transistors. The line and microphone input and the line output are transformer balanced, using three different transformers, each one optimized for its purpose.
This is the way audio components were built before integrated circuits became available. The subjective sound quality delivered by vintage equipment is often prefered over the one delivered by modern units, a situation that is even more obvious now when music is recorded with clean-sounding digital audio equipment.
The circuit used in the PRE-73 DLX 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 on the mic input is 80 dB, enough to handle passive ribbon mics with quiet sound sources.
- Gain range on the Line input: -20 to + 10 dB.
- Switchable impedance on the mic input, 1200 or 300 Ohms, will change the tone of most mics.
- 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 controls 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 jacks and separate output XLR and TRS jacks for flexible connections.
- Insert jack for inserting EQ´s and other units.
- External high power power supply to avoid interaction with the audio circuits and transformers.
- A solid build quality that will last many years of normal use.
The PRE-73 DLX has a number of improvement and new features compared to the PRE-73 MKII:
- Tantalum capacitors in the signal path.
- Selectable 1073-style high pass filter, 50Hz, 80Hz, 160Hz and 300Hz.
- Output Attenuator -7, -14, -21 and -28 dB (located after the output transformer) allows overdriving the output stage and the output transformer for added character by lowering the output signal to a suitable level.
- The circuit board is prepared for Carnhill Mic and Line transformer and high pass inductor.
- The Insert jack can be switched in/out from the front panel. An internal jumper can select that the Insert jack always has an output signal.
- Switchable 600 ohm Output Termination and Ground Lift on the back panel.
- Selectable Active or Passive DI input and selectable input impedance in active mode, Hi Z or 100 kohm, by internal jumpers.
- The DI can signal can be selected to pass or bypass the mic input transformer by internal jumpers.
- Relays are used to control internal switching for DI input, Phantom power, Mic Low Z, Insert and Phase for shorter circuit board signal paths. The relays are controlled by front panel switches.
- Revised gain switch for added headroom.
- Circuit board star grounding scheme.
- Revised power supply with separate regulators for the audio circuits and relay and LED circuits.
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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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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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