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Now with 96k sampling rate*, the DigiMAX is the newest member in the award winning
family of Presonus mic preamp's. Combine eight channels of pristine mic preamplification
with 24 simultaneous digital and analog outputs, and the DigiMAX 96k seamlessly fits
into any digital recording situation. The DigiMAX 96k is the perfect front-end for DAW's as
well as adding mic pre's to digital mixers and sound cards.
A MIC PRE WITH HERITAGE
We started with the same design as the MP20, M80 and VXP: Class A Discrete Input Buffers
followed by a dual-servo gain stage giving you 60db of preamp gain with 52db of headroom. The
DigiMAX 96k is electronically balanced and features phase reverse on the first two channels, as
well as a 20dB pad and selectable 48v phantom power on each channel. A unique feature is EQ
Enhance? which contours the EQ curve -4dB centered at 1k from 250Hz to 5kHz. This is especially
helpful on drum overheads and other sources to bring out definition and notch out problem frequencies.
THE COMPRESSOR TRAPPED IN THE BODY OF A LIMITER
What makes a limiter musical? Typically, most limiters use peak detection which actually clips the
signal and can produce nasty artifacts. RMS detection, though commonly used with most compressors,
has the drawback of not being fast enough to catch extremely fast transients. The DigiMAX 96k uses
both RMS and Peak detection to give you the best of both worlds. The DigiMAX 96k uses an RMS style
compressor with a high ratio while the peak portion is used only to protect the input of the A/D converter
from clipping. The end result? Fast, musical, natural and able to catch anything you throw at it.
CONNECTIVITY FOR DAYS
The DigiMAX 96k features more I/O options than any mic pre on the planet! 8 XLR Mic Inputs + 2 1/4"
Instrument Inputs. The outputs consist of 8 balanced TRS analog outputs plus a 24 bit ADAT? lightpipe
output AND (4) stereo RCA SPDIF Digital Ouputs (Unit ships in AES/EBU mode, breakout cable not included).
And here's the best part... They all work simultaneously! The Ultimate Live Recording Preamp! Use the
ADAT? Lightpipe Outputs to feed your recorders digital inputs while you send an identical signal to a FOH
Console via the TRS Analog Outputs. Bye, bye latency! Use the TRS analog outputs to monitor tracks while
you send the Lightpipe to your soundcard or standalone computer interfaces like MOTU 2408 and Digi001.
Mixer Beefer-Upper! Add high gain/low noise quality micpre's to your digital console using either Lightpipe,
AES/EBU, SPDIF, or analog TRS outputs.
* Over AES/EBU or S/PDIF digital output cables ONLY.
Features
? 44.1, 48, 88.2 and 96kHz Sample Rates
? Ultra-Wide Dynamic Range
? Low-Noise Operating Levels
? Dual-Domain Limiter on Every Channel
? EQ Enhance on Every Channel
? -20dB Pad on Every Channel
? 48V Phantom Power on Every Channel
? Instrument Input on Channels One and Two
? Phase Reverse on Channels One and Two
? Eight 24-bit ADC Converters
? ADAT? Lightpipe Output
? S/PDIF Outputs
? AES/EBU Outputs
? 1/4? TRS Balanced Analog Outputs
? BNC Word Clock I/O for Sync
Technical Specifications:
Input
Number of Channels Eight
Input Impedance, XLR Input 1.3k Ohms
Input Impedance, 1/4" Instrument Input 1M Ohms
Connectors
Eight XLR, Two 1/4" Instrument Inputs on Channel One and Two
Panel Controls
Gain 0dB to +40dB
Limiter 0dB to Off
Phase Reverse (Channel One and Two Only) On/Off
EQ Enhance Button On/Off
Meters
Signal Present LED -20dBu
Clip LED +22dBu
Limit LED Limiter Active
Output
1/4" TRS Impedance Balanced 51 Ohms
ADAT? LightPipe Digital Optical 24-bit
AES/EBU (4 Pair, Stereo) 24-bit
S/PDIF (4 Pair, Stereo) 24-bit
Digital
Sampling Rates 44.1, 48, 88.2 and 96kHz
Performance
THD + Noise (Unweighted) 0.009%
Noise Floor -94dBu
Signal to Noise >98dB
Analog Dynamic Range >120dB
Power Supply Rejection >98dB
Amplifier Type Dual Servo
Power Supply
Type Linear, External
Power 80 Watts
Input 100/120/220/240V AC (Factory Configured)
Physical
Size 1U Rack
Dimensions 19" W x 1.75" H x 7" D
Weight 15 lbs./ 6.8 kg
Chassis Steel
Panel Aluminum
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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.
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Designed for high-definition field production environments, the studio-quality MP-1 is an ideal line-driver for critical radio, television, and film applications.
The MP-1 is extremely durable and easy to use. With rugged mechanical and electrical construction and high-quality components it will provide years of superb audio performance under the most punishing field conditions.
MP-1 Key Features - Superb audio specifications
- 66 dB of gain, in eleven discrete steps
- Transformer-balanced input and output
- Phantom power - 48 volt or 12 volt
- High pass filter @ 80 Hz or 160 Hz, 6 dB/octave
- Limiter makes unit virtually "unclippable“
- High current line output drive
- Excellent immunity to RF interference.
- Battery power (two x AA)
- Durable mechanical construction
| • Road proof housing
• High quality components
• Professional balanced XLR outputs
• Level control
The ASC-202 converts consumer level stereo RCA signals to balanced XLR professional line level, and back. One side of the unit, has two XLR inputs and stereo RCA outputs. The other side has stereo RCA inputs and two XLR outputs. Each side has stereo level controls. A possible application of the SC-13 is to use it as a level control in balanced audio lines.
The DAP Pro Audio Solutions are a complete line-up of audio tools for the professional musician or audio engineer. It is a series of audio modifying tools like mini-mixers, pre-amps and converters available in active or passive models. All audio solutions are designed to meet the highest stage and audio demands and feature a metal road proof housing with rubber feet and easy accessible controls. The units also have a small footprint which make them ideal to be used and placed in any environment where space is critical.
Specifications Frequency Response: 20Hz-20KHz
Inputs: XLR/Jack Combo, RCA
Outputs: XLR male, RCA
Input sensitivity RCA in: -10 dBv
Input Impedance RCA in: 10 kOhm
Input sensitivity XLR/Jack in: +4 dBu
Input Impedance XLR/Jack in: 20 kOhm
Output voltage RCA Out: -10 dBV
Output Impedance XLR Out: 100 Ohm
Output voltage XLR Out: +4 dBu
Output Impedance XLR Out: 200 Ohm
Power supply: 18V AC (adapter included)
Dimensions: 53 x 158 x 135 mm (HxWxD)
Weight: 0,65 Kg | ISA OneClassic Single-channel Microphone Pre-amplifier with Independent D.I.
Key Features
ISA Series Transformer-based Pre-amplifier
Encased in a rugged and portable chassis, ISA One offers the classic Focusrite microphone pre-amplifier at its lowest cost to date.
Flexible Independent D.I. Channel
ISA One is ideal for both engineers and demanding performers alike, featuring independent gain control, an output for routing to an amp, an independent XLR output on the rear and routing to the optional ADC.
Switchable Impedance
Choose one of four carefully selected input impedances, including the original ISA 110 setting, to suit any microphone.
Optional Stereo 192kHz ADC
This optional card embodies cutting-edge conversion technology, incorporating Focusrite analogue circuitry to deliver the best A-D performance in its class (Dynamic range of 119dB).
Rugged Custom Flight Case
Built to protect your ISA One from the rigors of the road. Rugged plywood construction with a solid polypropylene exterior and reinforced corners.
Headphone Output with Volume Control
ISA One can feed either a sum of the two inputs to the headphones output, or an external stereo cue mix (such as a stereo mix feed from an interface) via two TRS Jack inputs on the rear of the unit.
Dedicated Insert Point
Allows you to place extra processing between the pre-amplifi er or D.I. and the optional converter, such as an EQ or compressor.
Specifications
Analogue Channel Inputs
- XLR Mic input
- One XLR and one TRS line input
- XLR Instrument input TRS Jack
- External ADC input TRS Jack
- TRS jack return
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Analogue Channel Outputs
- TRS jack send
- XLR balanced line output
- XLR DI output
- TS jack DI through
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Analogue Channel Additional I/O
- TRS Jack cue mix left input
- TRS Jack cue mix right input
- 1/4” TRS Jack headphones output
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Mic Input Response
| Gain range |
0dB to 60dB in 10dB steps + 20 dB of variable gain |
| Input Impedance |
Switched Impedance setting Equivalent Input Impedance at 1kHz |
Low = 600 Ohms
ISA110 = 1400 Ohms
Med = 2400 Ohms
High = 6800 Ohms |
| EIN (Equivalent Input Noise) |
-126dB measured at 60dB of gain with 150 Ohm terminating impedance and 22Hz/22kHz band-pass filter |
| Noise |
Noise at output with unity gain (0 dB) and 22 Hz-22 kHz band pass filter |
-97 dBu |
| Signal-to-Noise Ratio |
106 dB relative to max headroom (9dBu) |
| Total Harmonic Distortion + Noise |
Measured at medium gain (30dB) with a 1kHz -20dBu input signal and with a 22Hz/22kHz band-pass filter |
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| Frequency Response |
At minimum gain (0 dB) |
-0.5dB down at 10Hz and -3dB down at 125kHz |
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At maximum gain (60dB) |
-3dB down at 16Hz and -3dB down 118kHz |
| CMRR (Common Mode Rejection Ratio) |
98dB (Channel 1, 1kHz, maximum gain with +24 dBu input) |
| Crosstalk Channel to Channel |
With 10dB@1kHz input to chA, chB output =104dBrA. With 10dB@10kHz input to chA, chB output = 84dBrA |
Line Input Response
| Gain range |
-20dB to +10dB in 10dB steps + 20 dB of variable gain |
| Input Impedance |
10 kΩ from 10 Hz to 200 kHz |
| Noise |
Noise at main output with gain at unity (0 dB) measured with 50 Ω source impedance and a 22Hz - 22 kHz band pass filter |
-96 dBu |
| Signal-to-Noise Ratio |
Measured with a 22 Hz-22 kHz band pass filter |
120 dB relative to max headroom (24 dBu)
118dB relative to 0dBFS (+22dBu) |
| Total Harmonic Distortion + Noise |
Measured with a 0 dBu input signal, and a 22 Hz-22 kHz band pass filter |
0.0001% |
| Frequency Response |
At unity gain (0 dB) |
-0.3dB down at 10Hz and -3dB down at 200kHz |
Instrument Input Response
| Gain range |
10dB to 40dB continuously variable |
| Input Impedance |
High = greater than 1M
Low =greater than 300k |
| Noise |
Measured with 22 Hz-22 kHz band pass filter |
Minimum gain (+10 dB): -92 dBu
Maximum gain (+40dB): -62dBu |
| THD |
At minimum gain (+10) |
| Frequency Response |
At minimum gain (+10 dB) |
-10dB input: 10Hz-100kHz +/- 0.6dB |
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At maximum gain (+40 dB) |
-40dB input: -2.5dB down at 10Hz and 0dB at 100kHz |
Meters
| Moving Coil (MC) Meter |
factory calibrated to 0VU = +4dBu with 1kHz sinewave. With the VU Cal button pressed the meter can be adjusted on the rear panel to allow 0VU to equal +10dBu to +26dBu with the centre detent being equal to +22dBu. |
| Peak LED Meters |
Calibrated in the detent position for 0dBFS = +22dBu, calibration is adjustable on the rear panel to allow 0dBFS to equal +10dBu to +26dBu |
| Routing for MC and Peak1 meter is after the HPF, pre insert send or switched post insert return. Peak2 is always pre ADC channel 2, which can be fed by external input or Instrument input. |
| LED Levels |
As follows, when peak calibration is set to center detent on the rear panel. (This is when using the internal ADC). |
0 = +22dBu
-2 = +20dBu
-6 = +16dBu
-12 = +10dBu
-18 = +4dBu
-42 = -20dBu |
| Frequency Response |
At minimum gain (+10 dB) |
-10dB input: 10Hz-100kHz +/- 0.6dB |
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At maximum gain (+40 dB) |
-40dB input: -2.5dB down at 10Hz and 0dB at 100kHz |
High-Pass Filter
| Roll-Off |
18 dB per octave (3 pole filter) |
| Frequency |
Fixed 75Hz measured at the 3dB down point |
Weight and Dimensions
| W x D x H |
220mm (W) x 104mm (H) x 254 - 290mm (D - top to bottom) |
8.66" (W) x 4.1" (H) x 10" - 11.4" (D - top to bottom) |
| Weight |
3.9 kg |
8.6 lbs |
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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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