FOCUSRITE PLATINUM V-MAST. PRO VOICE PRE-AMP. CHANNEL STRIP

PLATINUM V/MAST PRO

With every project, you need to capture that perfect vocal and make the sound your
own. VoiceMaster Pro represents a new generation of voice recording equipment.
Many of the elements from the award-winning VoiceMaster have been innovated upon.
In addition, the unit features a whole host of new processors designed to ensure you
have all you require to make the most of the artist you're recording.
The award-winning Class A preamp captures every nuance from any source, whilst
latency-free monitoring ensures direct and delay-free mix control. Tools such as the
voice-optimised EQ, Vintage Harmonics and Tube Sound allow you to get creative
with a touch of class, putting your own stamp on every recording.
All of this, combined with the optional 24 bit, 96 kHz digital output board means that
VoiceMaster Pro is the perfect interface between your microphone and your DAW or
other recording media, placing the ultimate tracking solution firmly within your grasp.

Specifications
Mic Input Response
    * Gain range = 0dB to 60dB continuously variable
    * Input Impedance = 1k4 Ohms from 10Hz to 200kHz
    * EIN = 128dB measured at 60dB of gain with 150 Ohm terminating impedance
      and 20Hz/22KHz bandpass filter
    * THD at minimum gain (0dB) = .0004% measured with +16dBu input signal and
       with a 20Hz/22KHz bandpass filter
    * THD at maximum gain (60dB) = .003% measured with a ?36dBu input signal
      and with a 20Hz/22KHz bandpass filter
    * THD at maximum Input level (26.5dBu) = .005% measured with a 20Hz/22KHz
      bandpass filter
    * Frequency response at minimum gain (0dB) = flat at 10Hz and ?2dB down at 200kHz
    * Frequency response at maximum gain (60dB) = ?2dB down at 10Hz and 200kHz
    * CMRR at full gain (60dB) = 80dB

Line Input Response
    * Gain range = -10dB to +10dB continuously variable
    * Input Impedance = 10k Ohms from 10Hz to 200kHz
    * Noise at main output with gain and fader set to unity (0dB) = -94dBu measured
      with a 20Hz/22kHz bandpass filter
    * Signal to noise ratio relative to max headroom (27dBu) = 121dB
    * Signal to noise ratio relative to 0dBfs (+22dBu) = 116dB
    * THD at unity gain (0dB) = .0006% measured with 0dBFS (+22dBu)
    * Input signal with a 20Hz/22kHz bandpass filter
    * Frequency Response at unity gain (0dB) = 0.25dB down at 10Hz and ?3dB
      down at 200kHz

Instrument Input Response
    * Gain range = 0dB to 40dB continuously variable
    * Input Impedance >1MOhm
    * Noise at minimum gain (0dB) = -90dBu measured with a 20Hz/22kHz bandpass filter
    * Noise at maximum gain (40dB) = -78dBu measured with a 20Hz/22kHz bandpass filter
    * THD at minimum gain (0dB) = .006% measured with ?10dBu input signal and
      with a 20Hz/22kHz bandpass filter
    * Frequency Response at unity gain (0dB) = 0.5dB down at 10Hz and ?1dB down at 200kHz
    * Frequency Response at maximum gain (60dB) = 6dB down at 10Hz and ?1dB down at 200kHz

Input Meter
      6 LED meter is calibrated relative to 0dBfs where 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:
    * O/L dBFS (converter overload) = +22.4dBu (equivalent value)
    *  0dBFS = +22dBu
    * -3dBFS = +19dBu
    * -6dBFS = +16dBu
    * -10dBFS = +12dBu
    * -20dBFS = +2dBu (average level to allow 20dB of headroom for EQ and Dynamics

High Pass Filter
    * Roll off = 18dB per octave 3 pole filter
    * Frequency Range = continuously variable from 30Hz to 400Hz measured
      at the 3dB down point

Optical Expander
    * Threshold hold range = -20dBFS (0dBu) to ?60dBFS (-40dBu)
    * Expander ratio = 2:1
    * Attack time = 750us
    * Release time = 0.25s to 4s
    * Noise with maximum expansion = -96dBu measured with a 20Hz/22KHz
      bandpass filter
    * Signal to noise ratio relative to max headroom (27dBu) = 123dB
    * Signal to noise ratio relative to 0dBfs (+22dBu) = 118dB
    * 6 LED meter shows downward expansion calibrated in dB increments

Vintage Harmonics
    * Threshold range = -10dBFS (+12dBu) to ?40dBFS (-18dBu)
    * Compression ratio Depth switch out = 1:1.5
    * Compression ratio Depth switch in = 1:3
    * Mid band centre frequency = 3.5kHz
    * High band centre frequency = 20kHz
    * Band Q = 0.2
    * 6 LED meters show the amount of boost at the centre frequency of the band,
      meter calibrated in dB increments

Optical Compressor
    * Threshold hold range = -15dBFS (7dBu) to ?40dBFS (-18dBu)
    * Compressor ratio Hard Ratio switch out = 2.5:1
    * Compressor ratio Hard Ratio switch in = 6:1
    * Attack time Slow Attack switch out = 0.5ms
    * Attack time Slow Attack switch in = 5ms
    * Release time = 100ms to 1s and then auto release mode when
      the release knob is turned fully clockwise. Auto release creates
      a release time dependent upon the average level of the incoming signal
    * Noise = -94dBu measured with a 20Hz/22KHz bandpass filter
    * Makeup gain = 0 to +18dB

Tube Sound
    * Harmonic generation = 2nd, 3rd and 5th harmonics generated from
      fundamental frequency of the incoming signal relative to position of
      the Drive knob
    * THD with Drive knob at cool = 0.6% with a ?10dBFS (+12dBu) 1kHz
       input signal measured with a 20Hz/22kHz bandpass filter
    * THD with Drive knob at warm = 6% with a ?10dBFS (+12dBu) 1kHz
       input signal measured with a 20Hz/22kHz bandpass filter
    * The effect can be monitored visually using the drive led as follows: Blue
       to Green = Mostly 2nd with some 3rd, Yellow to Orange = More 3rd and 5th,
       Orange to Red = Large amounts of all harmonics above the fundamental frequency
    * Tone = 6dB per octave roll off low pass filter
    * Tone frequency Range = continuously variable from 4.5kHz to 30kHz
      measured at the 3dB down point

Voice Optimised EQ
Breath
    * EQ shape = Shelving
    * Peak frequency Shift switch out = 10kHz
    * Peak frequency Shift switch in = 16kHz
    * Gain range = +/-8dB

Mid
    * EQ shape = Peak
    * Centre frequency = 1.3kHz
    * Q in boost mode = 0.5
    * Q in cut mode = 2
    * Gain range = +8 to -12dB

Absence
    * EQ shape = Peak
    * Centre frequency = 3.9kHz
    * Q = 3.5
    * Gain range = 0dB to -10dB

Warmth
    * EQ shape = Peak
    * Centre frequency range = 120Hz to 600Hz
    * Q in boost mode = 0.5
    * Q in cut mode = 2
    * Gain range = +8 to -12dB

De-esser
    * Threshold hold range = -10dBFS (+12dBu) to ?40dBFS (-18dBu)
    * De-esser ratio at centre frequency = 2:1
    * Centre frequency range = 2.2kHz to 10kHz
    * Q of cut = 3.5
    * Attack time = 0.5ms
    * Release time = 100ms
    * Noise = -94dBu measured with a 20Hz/22KHz bandpass filter

Output Meter
    * Calibrated for 0dBFS = +22dBu and indicates the level after the
      output fader being sent to both the internal AD converter and the
      VoiceMaster Pro XLR output
    * O/L LED = is lit when any section of the unit (including the cans output)
      reaches a level greater than 0dBFS (actual level is +22.4dBu)

The U5 high-voltage DI-preamp combines a unique passive tone selector with a variable
gain preamp and filter. The high input impedance accepts a wide variety of signal levels
and instruments from acoustic guitars to high-output active bass guitars and keyboards.
The U5 direct box is loaded with sonic character and user features professionals demand.

U5 FEATURES
Pure Class A, 100% discrete design
Smooth musical detail and sonic excellence
Variable gain preamp to +30dB.
Dual microphone and line outputs
Hi-Z   3,000,000 ohm input impedance
Very low noise -100dB
High headroom +30dB
Six tone bank selections.
DC coupled Class A output for superior bass
High cut switch eliminates noise
LED active signal indicator
Headphone monitor output jack
Low distortion less than 0.5% THD and IMD
High level 400 watt speaker input
Active to thru selector - ground isolation switch
100% discrete power supplies for audio path
Internal toroidal power supply for low noise
Long lasting, stainless steel hardware
 
SONIC EXCELLENCE
The Avalon U5 Pure Class A instrument DI & preamplifier is the most powerful direct box
available today.  Designed to optimize absolute signal integrity and musical performance,
the U5 includes many features and sonic excellence unequaled by lesser designs. The
U5 is ideal for bass guitar and acoustic instruments, electric guitars, keyboards, synthesizers
and low output pickups. 
Features include state-of-the-art, high input impedance input stage for zero load effect on
sensitive pickups and keyboards, 100% discrete, Pure Class A signal amplifiers, practical
user features and rugged hardware designed to deliver true high performance audio for many
years. 
DESIGNED FOR DEEP & CONTROLLED BASS
Avalon U5 DI-preamps have been in use around the world since 1995. They have found their way
into the world's leading musicians rigs and recording sessions and been featured on thousands
of the best selling (and sounding) albums and live performances.
MINIMUM SIGNAL PATH DESIGN
The U5 includes a variable gain Class A preamplifier to boost low level pickup signals and a high
level speaker input for capturing the live sound of the instruments amplifier. Six passive tone-EQ
curves are also included to enhance a variety of acoustic and electric instruments. A high-cut switch
eliminates unwanted acoustic pickup and high frequency noise, while a  headphone monitor amp
has been included for personal listening. Twin DC coupled Class A output amplifiers drive both low
level microphone preamp inputs and high level +4dB inputs for direct to tape recording or processing.
The active-to-thru switch selects either the instrument input directly or sends the boosted-equalized
signal to the amplifier via the front panel jack. A ground isolation switch eliminates any possible earth
loop or AC buzz problems with complete safety.

U5 SPECIFICATIONS
Circuit Topology:  100% discrete, high-voltage Class A 
Gain:  Switched 3dB steps, maximum gain +30dB 
Input Impedance:  3 ,000,000 ohm unbalanced (single ended) 
Maximum Input Level  +24dBu unbalanced, 400w speaker input 
Output Connectors (2):  XLR type, pin 2 hot electronic balanced 
Maximum Output Level (Class A):  +30dBu DC coupled, balanced 600 ohms (mic and line out) 
Headphone Output:  0.5w into 600 ohms 
Noise 20kHz Unweighted:  -100dBu minimum gain position 
Distortion THD, IMD:  0.1% at +10dB 
Frequency Response, -/+0.5dB:  5Hz to 100kHz 
Frequency Response, -3dB:  1Hz to 500kHz (input band limited) 
High Cut Filter:  -3dB at 8kHz minimum phase design 
Tone Selector:  Six position rotary switch, all passive filters 
AC Power:  Internal toroidal AC supply 
Dimensions:  8.5 x 3.5 x 12 in (216 x 88 x 305mm) 
Weight-Packed:  12lbs (5.4kg) 
Rack mount kit (1) RM-1:  Single U5 19 inch rack mount kit (holds one half rack unit) 
Rack mount kit (2) RM-2:  Dual U5 19 inch rack mount kit (holds two half rack units) 

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 .

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 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.