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The MP20 was designed to enhance the performance of any console or digital audio workstation by providing two very high-end microphone preamplifiers. The MP20 affords you an amazing choice for the front-end of any analog to digital converter. The MP20 was created utilizing the very best in design parameters and components with a friendly user interface. FeaturesTop ? Class-A Discrete, Dual Servo Microphone Preamplifier ? 20dB Pad ? 48V Phantom ? 80Hz Roll-Off Filter ? Polarity Reverse ? IDSS Control - Creates Vintage Warmth by Adjusting Even Harmonic Distortion. ? 12 Segment Level Meter ? High Output Headphone Amplifier ? Identical Technical Specifications as the M80 ? Low Impedance Stereo Mix Bus can be used for Full Control Over Stereo Imaging ? Fully Loaded Back Panel Featuring XLR Balanced I/O Connectors as well as Separate Send and Return Jacks for Inserting Dynamics Processors (such as the ACP22) ? 1/4“, High Z Input on the Front Panel for Instrument Preamplification ? Mix Output Connectors are XLR Balanced Providing Connectivity for Professional Recording Systems
Technical Specifications Number of Channels Two Dynamic Range >120dB Noise Floor @ Bus -90.2dBu Noise Floor @ Main Output -96.4dBu Noise Floor @ Channel Output +24dB gain, -88.2dBu Headroom +24dBu Frequency Response +/- 0.5dB, 10Hz - 60kHz Crosstalk |
The PRE-73 Mk2 pre-amp and the FC3 condenser microphone in one bundle. The bundle also includes Golden Age P1 Pop Filter, Proel RSM180 mic stand and Proel CHL250 5m cable. |
The PreSonus HP60 is the most flexible and advanced headphone amplifier system available for professional and project recording studios as well as live sound in-ear monitoring systems. Loaded with six independent,
loud and clear headphone amplifiers, the HP60 features dual stereo inputs as well as external input, for each
channel allowing you to mix between three stereo audio streams (mix A, mix B, and external input). Stereo output is also available on each channel to send line level headphone channel mixes to additional headphone amplifiers or monitor systems. Each channel features headphone level, mix control between A and B inputs, external input volume, mute and mono. The HP60 also features talkback via external XLR microphone input. Common set up of the HP60 in a recording session is to send the main control room mix to input A. Send the click track to input B. Send the each band member direct recording input to each channelʼs external input (more me). This will allow each band member to create a mix between the main mix, the click track and themselves. The HP60 is the ultimate headphone amplification system delivering loud and clear headphone mixes for real-world recording situations.
Features:
-Six independent ultra low noise, high output headphone amplifiers (150 mW per channel)
-Two sets of stereo inputs (A and B) with balanced TRS connectors
-Stereo external input point on each channel for "more me” with trim control
-Mix control between inputs A and B
-Talkback with external XLR microphone with control
-Direct stereo line output on each channel
Input A
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(2) ¼” TRS balanced 10 Ohms
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Input B
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(2) ¼” TRS balanced 10 Ohms
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External input
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TRS stereo unbalanced 10 Ohms
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Headphone amplifier output power
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150 mW RMS (60 Ohms) per channel
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Audio outputs
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¼” TRS stereo unbalanced per channel
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Master controls
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Talk button, Talkback volume, Input A, Input B
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Channel controls
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Headphone level, Mix A/B control, External input level, Mono, Mute
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External talkback
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XLR with TS external control jack
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Power
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IEC 110V-240V internal switching
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Two channel classic Focusrite ISA transformer-based preamps Front panel, per channel: - 1/4" instrument input
- Variable input impedance - Low, ISA 110, Medium, High
- Input selection - Mic, Line, Instrument
- 0 - 30 dB/30 - 60 dB gain switch
- Phantom power switch
- Phase invert switch
- 0 - 60 dB gain in 10 dB steps
- 0 - +20 dB continuously variable trim
- Variable high-pass filter with on/off switch
- Insert point on/off switch
- Eight-LED user-calibrated level meters
- Single power switch
Rear panel, per channel: - XLR-F mic inputs
- 1/4" TRS line inputs
- 1/4" TRS Sends
- 1/4" TRS Returns
- XLR-M line output
- Single peak meter calibration dial
- Single IEC power socket
Measured Performance Maximum Input and Output Levels | Maximum Output Level |
+24 dBu with a THD+N
| Maximum Microphone Transformer Input Level | +7 dBu with a THD+N | Mic Input Response | Gain range | 0 dB to +60 dB in 10 dB steps, plus 0 dB to +20 dB continuously variable trim |
Input Impedance
| Switched Impedance setting
Equivalent Input Impedance at 1 kHz | Low = 600 Ω
ISA 110 = 1.4 kΩ
Med = 2.4 kΩ
High = 6.8 kΩ | EIN
(Equivalent Input Noise) | Measured at 60 dB of gain with 150 Ω
source impedance and 22 Hz-22 kHz band pass filter | -127 dB |
Noise
| Noise at output with unity gain (0 dB) and 22 Hz-22 kHz band pass filter | -97 dBu |
Signal-to-Noise Ratio
| Measured with 150 Ω source impedance and 22 Hz-22 kHz band pass filter | 121 dB relative to max output +24 dBu |
Total Harmonic Distortion + Noise
| Measured with a -20 dBu input signal at +30 dB of gain and with a 22 Hz-22 kHz band pass filter |
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Frequency Response
| At minimum gain (0 dB) |
-0.5 dB at 10 Hz,
-1 dB at 135 kHz, relative to 1 kHz
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At +60 dB gain
| -6 dB at 10 Hz,
-1 dB at 115 kHz, relative to 1 kHz |
CMRR (Common Mode Rejection Ratio)
| -94 dB for mic input at 60 Hz for max. output = +24 dBu
-91 dB for mic input at 10 kHz for max. output = +24 dBu |
Crosstalk Channel to Channel
| Mic input, with I/P = 0 dBu, gain = 0 dB @ 1 kHz input to channel A, channel B output = -85 dB | Line Input Response |
Gain Range
| -20 dB to +10 dB in 10 dB steps, plus 0 dB to +20 dB continuously variable trim |
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 |
-97 dBu
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Signal-to-Noise Ratio
| Measured with 50 Ω source impedance and a 22 Hz-22 kHz band pass filter |
121 dB relative to max output +24 dBu
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Total Harmonic Distortion + Noise
| Measured with a 0 dBu input signal, +10 dB of gain and a 22 Hz-22 kHz band pass filter |
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Frequency Response
| At unity gain (0 dB) | -0.3 dB at 10 Hz,
-1 dB at 80 kHz, relative to 1 kHz |
Crosstalk Channel to Channel
| Line input, with I/P = 0 dBu, gain = 0dB
@ 1 kHz input to channel A |
Channel B output
= -91 dB
| Instrument Input Response |
Gain Range
| +10 dB to +40 dB continuously variable trim |
Input Impedance
| > 2 MΩ |
Noise
| >Measured with 22 Hz-22 kHz band pass filter | Minimum gain (+10 dB) = -95 dBu |
Frequency Response
| At minimum gain (+10 dB) |
-0.1 dB at 10 Hz,
-1 dB at 115 kHz, relative to 1 kHz
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At maximum gain (+40 dB)
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-2.5 dB at 10 Hz,
-1 dB at 110 kHz, relative to 1 kHz
| High-Pass Filter |
Roll-Off
| 18 dB per octave (3 pole filter) |
Frequency Range
| Continuously variable from 16 Hz to 420 Hz (-3 dB) | Weight and Dimensions |
W x D x H
| 480 mm x 280 mm x 44 mm |
Weight
| 3.7 kg |
| • 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 |
The CPR12 is an easy to use, flexible and multifunctional 10 channel pre-amplifier. Six of these input channels are selectable between Mic / Line level and equipped with a 3 band tone control. The first two can be switched to priority and phantom power. The other four channels are direct line inputs. Every input channel has its own gain and fader volume control with PFL button which makes it possible to pre-listen each input or output channel with the built-in pre-listening speaker, and can be routed to one or both output channels. This makes the CPR12 a full two-zone system. Other present features are a priority input, a recording output, separate sub-out channels and the 24 V DC emergency power connection. This last feature makes it possible to power the CPR12 with emergency power when the main power is shut down. In this case, the priority input will automatically mute all input signals, and a evacuation message will be announced. The steel 19" housing has a height of 2 HE. - 10 audio input sources
- 6 Mic / Line inputs with 3 band EQ
- 4 Direct Line Inputs
- Fader volume control
- Two output zones
- Built-in pre-listening speaker
- Priority input for emergency situations
- + 15 V DC Phantom power
- Works on 24 V DC emergency power
Specifications - Model Name / Type: CPR12 / 10 channel 2 zone pre-amplifier
- THD+N:
- Signal/Noise: > 90 dB
- Frequency Response: 20 Hz - 20 kHz
- Phantom Power: + 15 V DC
- Emergency Power: + 24 V DC
- Power Supply: 100 - 240 V AC / 50 - 60 Hz
- Dimensions (W x H x D): 420 x 88 x 320 mm
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