Channel Strips | VintageKing.com

Results 1-20 of 46

1

Channel Strips

<span style="font-weight: bold;">The Channel Strip</span>, from API, is a
 complete input module with mic pre, dynamics processing, precision EQ 
and output level control. With extensive signal metering, multiple 
balanced insert points and an output mute switch, The Channel Strip 
contains the best features of a large console input channel in a single 
rack space. It's the perfect choice for anyone looking for that 
high-performance API console sound.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">Features</span><br>
<ul><li>API 512c Mic Preamplifier</li><li>API 550A Equalizer</li><li>API 527 Compressor</li><li>API 325 Line Driver</li><li>Complete patching facilities on rear panel</li><li>Two ten segment LED VU displays</li><li>Output clips at +30dBm </li></ul>
The result of thoughtful engineering, The Channel Strip includes 
everything needed to record an audio signal. It all starts with the 
famed 512c Mic Preamplifier, which includes the benefit of additional 
Mic, Line or Instrument input switching. Next is the 527 multi-mode 
Compressor with fully adjustable Threshold, Attack, Release, and Ratio 
controls on detented pots. The patented THRUST® circuit in the 527 gives
 your track the "in-your-face" punch that has made this circuit an award
 winner. Also included in The Channel Strip is probably the most 
recognized and revered API EQ of all time, the 550A three-band Equalizer
 with its switchable frequencies and 12dB of boost or cut. The 550A's 
High and Low frequency bands can be individually switched to be shelving
 EQs, and the "B.P. Filter" switch inserts a 50Hz to 15KHz bandpass 
filter.<br>
<br>
At the output of the unit is the 325 Line Driver, taken directly from 
API console designs with an output level pot and 10 segment meter. The 
meter can also be switched to show the output level of the preamp. Each 
of The Channel Strip's processing pieces can be switched in or bypassed 
individually, while a flip switch internally routes the compressor after
 the EQ if desired. Additional features include a side-chain input and 
the famous API 2520/transformer combination.

API The Channel Strip
Channel strip made up of 512c mic pre, 550a EQ, 527 compressor and 325 line driver

The <span style="font-weight: bold;">Avalon VT-737SP</span> features a combination of TUBE pre-amplifiers, opto-compressor, sweep equalizer, output level and VU metering in a 2U space.
<br><br>
<span style="font-weight: bold;">Preamplifier</span><br>
The VT-737SP has three input selections: 1. The VT-737SP features a higher-performance microphone input transformer with +48v phantom selection. 2. Instrument DI high source input with jack located on front panel. 3. Balanced line input, discrete high-level Class A. The Class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback. A high gain switch boosts the overall gain of the preamplifier. The four high quality tubes are configured as singled ended anode coupled followers. A passive-variable high pass filter and hard-wire relay bypass completes the input signal conditioning. The phase reverse relay is available on all three inputs.
<br><br>
<span style="font-weight: bold;">Opto-Compressor</span><br>
The opto-compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching. The optical attenuator acts as a simple passive level controller. Full dynamic control from soft compression to hard- knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side-chain switch. The EQ section can be flipped pre or post the opto-compressor via a front panel switch for alternate effects and tone shaping. Two VT-737SPs can be linked via a rear panel link cable for stereo tracking. The compressor bypass is a sealed silver relay for the most direct signal path.
<br><br>
<span style="font-weight: bold;">Sweep-Equalizer and Output Level</span><br>
The VT-737SP equalizer utilizes 100% discrete, Class A-high-voltage transistors for optimum sonic performance. The high and low frequency bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection. The enhanced range of the mid bands is extended into the high and low bands by the use of X10 frequency multipliers. The bypass switch incorporates a sealed silver relay for the most direct signal path. When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for "tone enhancement". The output level control provides a variable control of the overall signal path. The output amplifier utilizes another dual triode vacuum tube driving a 100% discrete, Class A, high-current, balanced and DC coupled low noise output amplifier.

<br><br>

<span style="font-weight: bold;">Avalon VT-737SP Features
</span><br>
Vacuum tube triode signal path, transformer balanced microphone input, high-voltage circuits for maximum headroom to +30dB, low noise -92dB, internal discrete power supply with toroidal transformer, soft-start tube life extender, stereo link for compressors, all discrete Class A equalizer with musical passive filter design, sealed silver relays for signal routing, large control knobs with professional conductive plastic potentiometers, VU meter for output level monitoring and compressor gain reduction.

Avalon VT-737sp
Tube mic/instrument preamp, opto compressor and sweep EQ

The <span style="font-weight: bold;">Avalon VT-737SP</span> features a combination of TUBE pre-amplifiers, opto-compressor, sweep equalizer, output level and VU metering in a 2U space.
<br><br>
<span style="font-weight: bold;">Preamplifier</span><br>
The VT-737SP has three input selections: 1. The VT-737SP features a higher-performance microphone input transformer with +48v phantom selection. 2. Instrument DI high source input with jack located on front panel. 3. Balanced line input, discrete high-level Class A. The Class A preamplifier utilizes two cascaded, dual vacuum tube triodes configured with minimum negative feedback. A high gain switch boosts the overall gain of the preamplifier. The four high quality tubes are configured as singled ended anode coupled followers. A passive-variable high pass filter and hard-wire relay bypass completes the input signal conditioning. The phase reverse relay is available on all three inputs.
<br><br>
<span style="font-weight: bold;">Opto-Compressor</span><br>
The opto-compressor features a minimum signal path design with twin Class A vacuum tube triodes for gain matching. The optical attenuator acts as a simple passive level controller. Full dynamic control from soft compression to hard- knee limiting can be achieved with threshold, ratio-compression, attack and release controls plus gain reduction selection on the large VU meter. Special spectral control including de-ess is available with the dual sweep mid EQ to side-chain switch. The EQ section can be flipped pre or post the opto-compressor via a front panel switch for alternate effects and tone shaping. Two VT-737SPs can be linked via a rear panel link cable for stereo tracking. The compressor bypass is a sealed silver relay for the most direct signal path.
<br><br>
<span style="font-weight: bold;">Sweep-Equalizer and Output Level</span><br>
The VT-737SP equalizer utilizes 100% discrete, Class A-high-voltage transistors for optimum sonic performance. The high and low frequency bands provide the smooth characteristics of an all passive design, while the dual mid bands include variable frequency and switched Q-width selection. The enhanced range of the mid bands is extended into the high and low bands by the use of X10 frequency multipliers. The bypass switch incorporates a sealed silver relay for the most direct signal path. When the EQ to sidechain is engaged, the high-low EQ remains in the audio path for "tone enhancement". The output level control provides a variable control of the overall signal path. The output amplifier utilizes another dual triode vacuum tube driving a 100% discrete, Class A, high-current, balanced and DC coupled low noise output amplifier.

<br><br>

<span style="font-weight: bold;">Avalon VT-737SP Features
</span><br>
Vacuum tube triode signal path, transformer balanced microphone input, high-voltage circuits for maximum headroom to +30dB, low noise -92dB, internal discrete power supply with toroidal transformer, soft-start tube life extender, stereo link for compressors, all discrete Class A equalizer with musical passive filter design, sealed silver relays for signal routing, large control knobs with professional conductive plastic potentiometers, VU meter for output level monitoring and compressor gain reduction.

Avalon VT-737sp 10th Anniversary Edition
Anniversary Edition channel strip with black faceplate

The <B>Buzz Audio A-Rack</B> 8+1 is the result of many requests for a multi channel mic preamplifier system with the same specification as the venerable MA-2.2 True Class A preamp. To this end, we have designed a system that not only carries mic preamps, but can fitted with other modules when they come available. Planned additional modules include a Class A Compressor and Stereo Direct Box, initially we offer the MA-1.5 Mic Pre module. 
<P>The standard rack bin is 3 units high and includes the power supply regulator and monitor module on the right. Due to the high amounts of heat generated by the True Class A circuitry utilized in this design, adequate ventilation should be provided and it is suggested that 1/2U rack space is provided above and below the A-RACK if the unit will be covered with other equipment. Alternatively, the system can be supplied in a 4 unit high frame with built in 1/2 unit ventilation areas front and rear. In addition to the rack mount chassis, the A-RACK can also be supplied in an attractive 4U ventilated desk top enclosure.</P>

Buzz Audio A-Rack
8+1 Modular Recording System - microphone preamp modules are additional

Buzz Audio ARC1.1 Channel Strip
Single solid state recording channel with mic pre, EQ and compressor

Chandler Mini Module Frame
Mini Module Frame

The <span style="font-weight: bold;">Chandler Limited TG Channel MKII</span> is a recreation of several classic EMI circuits. It combines a TG2 pre amp section with an equilizer that was adapted from a circuit in the TG12410 Transfer console. This console was the mastering counterpart to the original "Beatles desks" installed at Abbey Road.

<P>
The active portions of the unit use the same discrete amplifiers and transformers as in the TG1 Limiter and TG2 pre amp. The passive equalizer portion of the EQ is an all inductor design and offers sweet high frequencies with large inductor based lows, and a very high"Q" mid cut section. Although not designed as such, due to its passive inductor design the unit will inevitably draw comparisons to the Pultec EQP-1a3, a VERY simple description would be to call it an EMI Pultec with an EMI pre amp thrown in...
</p><p><span style="font-weight: bold;">Input -</span> Combines 600ohm mic input and a 10k line input which is selectable with the line switch. The fifteen position switch attenuates mic and line and gives a large range of control for normal and not so normal uses.mic gain -15db to +55dbline gain -25db to +45db
</p><p><span style="font-weight: bold;">Output -</span> Functioning as a console fader, this control is placed after the input stage and before the out put stage.This allows for trimming of ther input signal, as well as allowing the user to run the input very hot (for extra coloration)without distorting the recorder.
</p><p><span style="font-weight: bold;">High EQ</span> - A high boost control with 18dbof gain and a select switch that combine's shelf and peak settings. Peak characteristic is resistor capacitor based and the peak types are inductor style.16k, 12k, 8.1k, 6.8k shelf.5.8 k, 3.9k, 2.2k, 1.8k, 1.2k peak.Mid EQ- A mid frequency EQ with 20db of cut with six points set at very sharp "Q". Specially designed to fix problem areas. All inductor based.300, 400, 800, 1.7k, 3.3k, 6.8k
</p><p>Low EQ- A low boost control with20db of gain and a select switch thatcombines shelf and peak settings. Both peak and shelf characteristicsare inductor based. Also, On the peak settings"Q" gets sharper with more boost.30, 65, 165 shelf.50, 70, 100, 200 peak.
</p><p>Low cut at 50hz.Hi "Q" for mid peak frequencies.48 voltphase reverse.
</p><p><b>Chandler PSU-1 is needed to power unit. </b></p>

Chandler TG Channel MKII
Classic EMI-style mic pre/EQ in 1U rack-mount chassis with external PSU (not included)

The <span style="font-weight: bold;">dbx 286s'</span> Mic Preamp and Five processors can be used independently or in any combination. Why mic up vocals and instruments through a noisy, blurry mixer? The dbx 286s's sonically pristine Mic Preamp has all the features you need, including wide-ranging input gain control, switchable 48V phantom power and an 80Hz high-pass filter. Use the 286s' newly designed and patented OverEasy® Compressor to transparently smooth out uneven acoustic tracks or deliver that classic "in your face" rock vocal. Take out vocal sibilance and high frequency distortion in cymbals with the 286s' frequency tunable De-Esser. Fine-tune the Enhancer's HF Detail control to add sparkle and crispness to tracks. LF Detail control adds fullness and depth to vocals and bass instruments while simultaneously cleaning up muddy low midrange frequencies. And, the Expander/Gate's separate threshold and ratio controls allow you to subtly reduce headphone leakage or radically gate noisy guitar amps

DBX 286s
Complete with phantom power, 80Hz HPF, compressor, de-esser, enhancer and expander/gate

<b>It's time to change the channel!</b><br>The                        standard of excellence for channel strip processors has                        just been raised once again. From the world leader in digital                        signal processing comes the new <span style="font-weight: bold;">dbx 376</span> Tube Channel Processor                        with digital output capabilities. dbx Professional                        Products has been paving the way for audio excellence for                        more than 25 years, and with the creation of the 376, the                        drive continues. The 376 has taken the essential tools needed                        for channel strip processors and has greatly added to the                        feature list, making it an all inclusive toolbox that offers                        all of the effects required. With an effect menu list that                        includes such standard features as: a tube preamp section,                        3-Band parametric EQ section, Compressor, De-Esser and digital                        outputs, the 376 is the perfect companion piece for recording                        and tracking vocals and mic applications in the analog                        and digital domain.                                              <p>The 376 Tube Channel Strip w/Digital Output is the latest                        addition to the Silver Series family. The 376 puts the best                        of both worlds into one affordable package by combining                        the warmth of the vacuum tube, with the proprietary dbx                        Type IV conversion system. The 376 boasts many of the                        same features as other products in the Silver Series, such                        as +48V phantom power, a phase invert switch, and low cut                        filtering. In addition, the 376 also offers digital output                        capabilities in both AES/EBU, and S/PDIF formats as standard                        features. The high impedance, 1/4" instrument input                        located on the front panel, as well as the mic/line switch,                        and 20 dB pad show our dedication to providing convenience                        in the studio. The LED meters provide a clear and concise                        visual of the signal processing at a glance. The rear panel                        includes both mic and line inputs and outputs, word clock                        sync input and output, insertion jack and digital outputs.                        Add selectable sampling rates of 44.1 kHz, 48 kHz, 88.2                        kHz, or 96 kHz; selectable dithering and noise shaping;                        and separate analog and digital output controls to this                        already impressive list of features, and we think you. l                        agree that the 376 lives up to the uncompromising standards                        of dbx Professional Products.                                            </p><p>- Tube microphone pre-amp <br>- 200V tube plate voltage <br>-  Selectable mic/line switch <br>-  +48 Volt phantom power <br>-  3-Band Parametric EQ <br>-  Compressor <br>-  De-Esser <br>-  Front panel instrument input <br>-  Drive meter LEDs <br>-  Threshold and De-Esser meters <br>-  8 segment analog or digital meter <br>-  Type IV conversion system <br>-  Selectable sampling rate (96, 88.2, 48, 44.1kHz) <br>-  24, 20 and 16 bit wordlengths <br>-  AES/EBU and S/PDIF digital outputs <br>-  Selectable dither and noise-shaping algorithms <br>-  Word clock sync input and output</p>

DBX 376
Channel strip with digital output

The <B>Drawmer 1969 Mercenary Edition </B>is a new product that derives from a collaboration between two of the audio industry's most established names, Drawmer (UK) and Mercenary Audio (USA). <BR><BR>When Ivor Drawmer rose to the challenge of outspoken US producer/engineer Fletcher of Mercenary Audio to build a special version of the famed Drawmer 1960 (used by Eric Clapton, Madonna, Sheryl Crow, Stevie Wonder, Bryan Adams and thousands of artists around the world) - both sides joined forces and the 1969 Mercenary Edition was born! <BR><BR><B>Main Features:</B> 
<UL>
<LI>2 mic/line pre-amps with variable gain, 48V phantom power, filters and phase reverse. 
<LI>Instrument tube pre-amp with variable gain, EQ, phase reverse and brightness boost. 
<LI>2 soft-knee tube compressors with variable threshold, attack, release and output gain. 
<LI>True stereo link operation with BIG position for retaining bass frequencies. 
<LI>Side chain access and side chain listen facility. 
<LI>VU metering of gain reduction and output levels. 
<LI>Individual +4dB/-10dB inserts / Balanced +4dB XLR input/output connectors. </LI></UL>Based on Drawmer's original 1960 Mic Pre-Amp/Tube Compressor (itself inspired by the classic Fairchild 670), the 1969 offers a host of new features, and more impressively - a completely new sound! <BR><BR>Retaining the concept of twin mic pre-amps, the 1969 uses "Burr-Brown" op amps for a silkier sound - and a Phase Reverse switch available in Instrument, Mic and Line modes increases versatility. The 1969 employs true Stereo Link operation with channel one?s Threshold, Attack and Release controls becoming master to both channels. Stereo Link also offers a BIG position which retains bass frequencies by rolling off the detection signal at 100Hz minimizing undesirable pumping during compression. Output Gain make-up can be independently controlled on each channel. The 1969 Mercenary Edition incorporates new tube circuits designed to add warmth to mic/line signals, and the instrument (DI) pre-amp has its own tube stage enabling classic overdrive effects when inserting guitar, bass and other instruments - true to the original Drawmer 1960 design.

Drawmer 1969
2 Channel 101 style 66dB Mic Pres, Valve DI, JFET compressors, Valve output stage, Stereo "Big" feature

The <B>Drawmer DS501</B> is a sophisticated dual channel noise gate with fully tuneable 'Peak Punch' incorporating a number of features pioneered by Drawmer, which are invaluable to the sound engineer, and not found on conventional noise gates. 
<UL>
<LI>'Tuneable' Peak Punch 
<LI>variable high pass and low pass filters for "frequency conscious" gating 
<LI>comprehensive envelope control, attack, hold, decay, and range 
<LI>key input for external triggering 
<LI>"key listen" facility 
<LI>extremely fast attack time, to preserve the natural attack of the sound 
<LI>balanced inputs and outputs 
<LI>stereo linkable 
<LI>can be used for "Gating" or "Ducking" 
<LI>high audio specification </LI></UL>Positioned in the Drawmer range over the industry standard DS201 Dual Gate, the DS501 Power Gate features a new dual mode ?tuneable? Peak Punch processing section on each channel. In tuneable mode a fully variable frequency selector with a range from 75Hz to 16kHz allows the user to shape the transients of the gated signal and ?tune-in? to the particular area of the audio spectrum where the Peak Punch is to be active. In addition a variable more control allows the user to tailor the amount of processing. A secondary Full Band Peak Punch mode is also available.<BR><BR>Designed principally for drum and percussive gating applications, tuneable Peak Punch makes it possible to add transient punch to frequencies lacking in individual drum sounds, adding greater definition and presence to the gated signal. Using low frequency Peak Punch adds depth to thin drums, whilst higher frequency Peak Punch can dynamically emphasise rim shots or the crack of a snare drum. Setting up noise gates can be tedious and unrewarding. For example, when attempting to separate a signal from unwanted noise or crosstalk that is relatively high in level, spurious triggering of the gate by unwanted components within the sound can be a serious problem. This can often be experienced in the studio when recording a drum kit. If a gate is used to clean up the snare drum sound it is quite likely that the nearby hi-hats will spill into the snare drum microphone and cause the gate to open. Increasing the threshold level may cure this problem, but then there is a very real danger that any quieter snare drum beats may not cause the gate to open at all and the performance can easily be ruined.<BR><BR>The DRAWMER solution to this problem is the inclusion of two variable filters, one high-pass and one low-pass, which act upon the side-chain keying circuitry. By setting the output switch to key listen the user can hear the action of the filters and adjust them to reject high frequency spillage from the hi-hats. This now enables the gate to only open on the lower frequencies present in the snare drum.<BR><BR>The very fast attack of the DS501 means that it can open in a matter of micro seconds, thus preserving the natural attack of whatever sound is being gated and the comprehensive envelope controls mean that the gain can be changed at whatever rate best suits the material being processed. With vocals for example, a fairly fast attack is needed so as not to clip the leading consonants but a slower release time will prevent the end of words being clipped off and will also fade out any noise gradually rather than cutting it off abruptly. This latter point is very important as the human ear is far more sensitive to rapidly changing noise levels than to a constant low level noise.<BR><BR>Another important role played by the gate is in the reshaping of existing sounds.

Drawmer DS501
Dual-channel noise gate

<p>The <strong>Drawmer MX Pro 60 Front End One</strong> is a unique mic/line/instrument input channel in a single rack space providing high quality Drawmer processing prior to tape/hard disc recording. The MX60 is also ideally suited to project studio and live sound applications. Functioning as a studio grade mic pre-amp, Program Adaptive gate, de-esser, compressor, limiter, three band EQ and multi band tube saturation stage, the MX60 offers the user more options than competitive units currently available. <br><br>Grass Roots - The MX60 draws its technology from the most successful of Drawmer products. The mic pre-amp features the same discrete component design found in the legendary Drawmer 1960, the de-esser is derived from the MX50, the VCA based compressor is similar to the MX30, while the peak limiter and gate can be tracked back to the DL241 compressor/limiter. <br><br><strong>Controls:</strong></p>
<ul>
<li><strong>Input Stage:</strong> The input stage may be switched to accept mic, line, or instrument level signals - the XLR mic input has switchable 48V phantom power and phase reverse, while the line input is on both a balanced +4dB TRS jack and an unbalanced -10dB jack. A high impedance Instrument jack is located on the front panel for use with electric guitars, basses, synths and drum machines. </li>
<li><strong>Program Adaptive Gate:</strong> Drawmer's proprietary Program Adaptive circuitry means that all the time constants are automatically optimized for the material being processed. This enables stable gating and eliminates 'chatter' around threshold. Controls via a single variable threshold and switchable fast/slow auto release. </li>
<li><strong>De-Esser:</strong> Floating threshold de-ess operation where the de-esser automatically and continually readjusts its own threshold level. The MX60 de-esser is almost completely automatic requiring the user only to select a switchable male or female setting and to adjust the amount of de-essing required. Only the sibilant sounds are subjected to gain reduction so that the lisping effect of simpler de-essers is avoided. </li>
<li><strong>EQ:</strong> High and low shelving sections as well as fully parametric mid range EQ with variable frequency, 'Q', and ±18dB cut/boost. </li>
<li>Compressor: High quality VCA compressor based on that of the MX30 and DL241. Both the attack and release times are Program Adaptive leaving the user with only ratio, threshold and make-up gain to adjust. </li>
<li><strong>Tube sound:</strong> Multi band 'tube saturation' allows users to create subtle warming, high frequency effects or out-and-out obvious effects via three separate, independently adjustable audio bands. Low settings on all bands enable replication of classic tube mic sounds. </li>
<li><strong>Output:</strong> The output stage includes a limiter with a preset threshold (+16dB) and a variable master fader with output bargraph metering which sets the overall output level from OFF to +15dB. A two stage soft/hard limiting approach has been adopted with yellow and red LEDs signifying soft (approaching limit point) and hard limiting (hitting limit point). </li>
</ul>

Drawmer MXPRO-60 Front End One
Single recording channel with mic pre, EQ, compressor/limite, de-esser and more

The <span style="font-weight: bold;">Empirical Labs Mike-E™</span> is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor/limiter.<br><br>Mike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise.<br>The one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile ‘coloring’, and classic knee compression.

<br>
<br>

<span style="font-weight: bold;">Mic Preamp Section</span><br>This is a super low noise transformer input amplifier section, with the gain digitally controlled. This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also.<br><br>The signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches.
<br><br>Counting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed.<br>A 48 Volt Phantom power is provided for condenser mikes.<br><br><span style="font-weight: bold;">Exclusive CompSat™ Section</span><br>This unique circuitry sets the Mike-E apart from all other mic preamplifiers. It has four sections:<br><ol><li><span style="font-weight: bold;">Saturator</span> – This is a multi-stage soft clipping circuit. At lower levels, a triode type saturation affects the signal. As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks. An LED named “BAD!” indicates harder un-musical clipping.</li><li><span style="font-weight: bold;">Compressor</span> – This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor. In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry. Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack & release shape.</li><li><span style="font-weight: bold;">Emphasis</span> - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram. The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.</li><li><span style="font-weight: bold;">Mix Control</span> - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal. This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal. As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation).</li></ol><span style="font-weight: bold;">Mike-E's Seven circuits</span><br><ol><li>Mic Preamplifier with super low noise & stepped gain switching.</li><li>Built in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments.</li><li>‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers.</li><li>Phase Switch to invert the audio signal 180 degrees.</li><li>CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit.</li><li>Emphasis high-frequency emphasis system softens high</li><li>frequency ‘pile-ups’ and further the creamy color of the Mike-E.</li><li>Mix Control allows the blending of the Compressed/Saturated signal with the clean unprocessed “Dry” signal.</li></ol><span style="font-weight: bold;">Specifications</span><br><ul><li>Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz.</li><li>Signal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.</li><li>Distortion Ranges between .0006% and 15% depending on mode and settings.</li><li>Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally.</li><li>Input Impedance is 600 Ohms. Output impedance is less than 38 ohms.</li><li>Attack/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec.</li><li>Power Consumption – 15 Watts Max.</li></ul>

Empirical Labs Mike-E Channel Strip
Digitally controlled mic pre with several functions for musical coloration and dynamic control

The <span style="font-weight: bold;">Empirical Labs Mike-E™</span> is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor/limiter.<br><br>Mike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise.<br>The one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile ‘coloring’, and classic knee compression.

<br>
<br>

<span style="font-weight: bold;">Mic Preamp Section</span><br>This is a super low noise transformer input amplifier section, with the gain digitally controlled. This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also.<br><br>The signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches.
<br><br>Counting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed.<br>A 48 Volt Phantom power is provided for condenser mikes.<br><br><span style="font-weight: bold;">Exclusive CompSat™ Section</span><br>This unique circuitry sets the Mike-E apart from all other mic preamplifiers. It has four sections:<br><ol><li><span style="font-weight: bold;">Saturator</span> – This is a multi-stage soft clipping circuit. At lower levels, a triode type saturation affects the signal. As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks. An LED named “BAD!” indicates harder un-musical clipping.</li><li><span style="font-weight: bold;">Compressor</span> – This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor. In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry. Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack & release shape.</li><li><span style="font-weight: bold;">Emphasis</span> - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram. The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.</li><li><span style="font-weight: bold;">Mix Control</span> - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal. This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal. As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation).</li></ol><span style="font-weight: bold;">Mike-E's Seven circuits</span><br><ol><li>Mic Preamplifier with super low noise & stepped gain switching.</li><li>Built in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments.</li><li>‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers.</li><li>Phase Switch to invert the audio signal 180 degrees.</li><li>CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit.</li><li>Emphasis high-frequency emphasis system softens high</li><li>frequency ‘pile-ups’ and further the creamy color of the Mike-E.</li><li>Mix Control allows the blending of the Compressed/Saturated signal with the clean unprocessed “Dry” signal.</li></ol><span style="font-weight: bold;">Specifications</span><br><ul><li>Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz.</li><li>Signal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.</li><li>Distortion Ranges between .0006% and 15% depending on mode and settings.</li><li>Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally.</li><li>Input Impedance is 600 Ohms. Output impedance is less than 38 ohms.</li><li>Attack/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec.</li><li>Power Consumption – 15 Watts Max.</li></ul>
The <B>Empirical Labs Lil FrEQ</B> delivers complete, precise, professional EQ control in a compact, 1U rack box. The Lil FrEQ offers "colored" low frequency shaping, smooth shelving, and four bands of the surgical Parametric EQ that engineers depend on time after time. All of this power comes with nothng but the absolute highest performance.

<P><B>The EQ Sections</B> 
<B>HP</B> - The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies. Empirical Labs calls this particular filter a "colored" filter since it is very steep and has a special shape that prevents thinning out frequencies just above the :cutoff" frequency. The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. As with all the EQ section in the Lil FrEQ, there is a dedicated bypass switch. 
<P><B>High and Low Shelving</B> - These are very similar to your standard "Tone Control", but extremely high performance, providing exceptionally smooth boost and cut on the "bass" and "treble" frequencies. 
<P><B>Parametric EQ Sections</B> - There are four sections of fully parametric EQ... possible the cleanest parametric EQ section ever produced - operating below 0.0007% THD at extremely high audio levels.
<P><B>Dynamic EQ Section</B> - The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content. There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1dB, -4dB, -8dB, -12dB. The Ds section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft-knee High Frequency Limiter.</P>

Empirical Labs Track Pack
Combination pack which includes 1x EL9 Mike-E mic pre with 1x ELQ Lil FrEQ, effectively creating an Empirical Labs channel strip.

The <span style="font-weight: bold;">Empirical Labs Mike-E™</span> is a modern digitally controlled Microphone Preamplifier chocked with unusual features to warm and soften the source, along with an excellent compressor/limiter.<br><br>Mike-E offers an incredible performance transformer-coupled mic preamp, whose noise floor is far below any microphone’s self noise.<br>The one-of-a-kind ‘CompSat’ section is an uncompromising compressor and saturator circuit that offers versatile ‘coloring’, and classic knee compression.

<br>
<br>

<span style="font-weight: bold;">Mic Preamp Section</span><br>This is a super low noise transformer input amplifier section, with the gain digitally controlled. This section comes standard with a shielded Lundahl transformer, but provides for a Jensen transformer also.<br><br>The signal to noise far exceeds any microphone in existence, typically over 130 dB with the input shorted and 40dB of gain. Having used many mic preamps over the years, we have implemented a unique stepped gain control that should be impervious to the normal flakiness that age causes to pots and detented switches.
<br><br>Counting the output gain of 14 dB, a total 74 dB of gain is available to the user with the CompSat section bypassed.<br>A 48 Volt Phantom power is provided for condenser mikes.<br><br><span style="font-weight: bold;">Exclusive CompSat™ Section</span><br>This unique circuitry sets the Mike-E apart from all other mic preamplifiers. It has four sections:<br><ol><li><span style="font-weight: bold;">Saturator</span> – This is a multi-stage soft clipping circuit. At lower levels, a triode type saturation affects the signal. As the level increases, a second unique clip circuit that includes Germanium semiconductors starts to more severely flatten out the peaks. An LED named “BAD!” indicates harder un-musical clipping.</li><li><span style="font-weight: bold;">Compressor</span> – This is an uncompromising compressor/limiter circuit that allows detented control of attack and release for easy repeatability. You adjust the amount of compression with the DRIVE knob, which adjusts the level going into the compressor. In ways it is Distressor-like, but has other differing characteristics including a much longer available attack time, and additional circuitry. Four ratios are provided, 2:1 being the gentlest with a long 20dB knee, good for subtle compression such as while tracking or on the Buss. Ratios 4:1 and 8:1 are steeper but still very smooth with long knees. Nuke is very steep (limiter like) and has a different attack & release shape.</li><li><span style="font-weight: bold;">Emphasis</span> - The Emphasis is actually two circuits that surround the compressor and saturator, as shown in the block diagram. The Pre-emphasis boosts the high frequencies before the compressor and saturator (CompSat), soft clipping them sooner than normal, while a de-emphasis cuts the frequencies complementary after the CompSat. Emphasis has the added perk of improving signal to noise, and is the reason analog tape decks used emphasis to begin with.</li><li><span style="font-weight: bold;">Mix Control</span> - The modern recording engineer often employs the technique of mixing between the compressed and the dry (or uncompressed) signal. This can often help maintain transients and a sense of dynamic range while enhancing the low level nuances. Mike-E has a built in mix control to submix in the uncompressed signal to the compressed signal. As the user rotates the MIX control from full right to full left, he goes from the full compressed signal to the full dry signal (absent of any compression or saturation).</li></ol><span style="font-weight: bold;">Mike-E's Seven circuits</span><br><ol><li>Mic Preamplifier with super low noise & stepped gain switching.</li><li>Built in ‘Direct Box’, called the ‘Inst In’, offers unparalleled distortion, noise, and frequency response when pre-amping instruments.</li><li>‘Colored’ 80Hz High pass filter emulates the warm low frequency cut of our favorite vintage equalizers.</li><li>Phase Switch to invert the audio signal 180 degrees.</li><li>CompSat offers both a musical Compressor/Limiter and a unique tape-like saturation circuit.</li><li>Emphasis high-frequency emphasis system softens high</li><li>frequency ‘pile-ups’ and further the creamy color of the Mike-E.</li><li>Mix Control allows the blending of the Compressed/Saturated signal with the clean unprocessed “Dry” signal.</li></ol><span style="font-weight: bold;">Specifications</span><br><ul><li>Freq. Response is 3 Hz to 200 kHz on (No CompSat). CompSat is 3Hz – 150Khz. Optional Transformer output is 6Hz–80kHz.</li><li>Signal to Noise - 130 dB signal to Noise.at 40dB gain. Maximum output is +28dBu.</li><li>Distortion Ranges between .0006% and 15% depending on mode and settings.</li><li>Transformer coupled Input, Active and Transformer Outputs available. High quality audio caps used internally.</li><li>Input Impedance is 600 Ohms. Output impedance is less than 38 ohms.</li><li>Attack/Decay Ranges - .9 – 100mS attack. .15 – 1 Sec.</li><li>Power Consumption – 15 Watts Max.</li></ul>
The <B>Empirical Labs Lil FrEQ</B> delivers complete, precise, professional EQ control in a compact, 1U rack box. The Lil FrEQ offers "colored" low frequency shaping, smooth shelving, and four bands of the surgical Parametric EQ that engineers depend on time after time. All of this power comes with nothng but the absolute highest performance.

<P><B>The EQ Sections</B> 
<B>HP</B> - The High Pass section is a sharp filter that cuts all content below one of eight pre-selected frequencies. Empirical Labs calls this particular filter a "colored" filter since it is very steep and has a special shape that prevents thinning out frequencies just above the :cutoff" frequency. The corner frequency is indicated by LEDs that glow softly when the section is bypassed, and brightly when the section is engaged. As with all the EQ section in the Lil FrEQ, there is a dedicated bypass switch. 
<P><B>High and Low Shelving</B> - These are very similar to your standard "Tone Control", but extremely high performance, providing exceptionally smooth boost and cut on the "bass" and "treble" frequencies. 
<P><B>Parametric EQ Sections</B> - There are four sections of fully parametric EQ... possible the cleanest parametric EQ section ever produced - operating below 0.0007% THD at extremely high audio levels.
<P><B>Dynamic EQ Section</B> - The DS section combines filters with a compressor-like circuit that can help contain and control excessive high frequency content such as sibilants, especially in the absence of other lower frequency content. There are two modes of operation, with threshold control as well as a frequency select control. There are four LEDs that indicate the amount of Gain Reduction: -1dB, -4dB, -8dB, -12dB. The Ds section provides the highest performance, easiest to use, and most natural De-esser ever built, as well as a one of a kind, soft-knee High Frequency Limiter.</P>

Empirical Labs Track Pack (Demo Deal)
Combination pack which includes 1x EL9 Mike-E mic pre with 1x ELQ Lil FrEQ, effectively creating an Empirical Labs channel strip.

The <span style="font-weight: bold;">Focusrite ISA 430 MKII</span> represents the pinnacle of Focusrite’s analogue channel strip technology, bringing together all the classic designs in one comprehensive production tool. Augmented with additional features and flavours, alongside unmatched internal routing and connectivity, the ISA 430 MKII enables today’s recording professional to enjoy the unique sonic contribution of these heritage designs within one extremely versatile processor. <br>
 <br>
Focusrite’s iconic status as the leading manufacturer of channel strips remains unrivalled. <br>
 <br>
<b>The Focusrite ISA 430 MKII Producer Pack Features</b>: <br>
 <br>
<ul>
<li>Classic Focusrite transformer-based Mic-pre with variable impedance and ‘Air’ feature </li>
<li>Multi format Compressor; switch between Focusrite’s transparent VCA circuit and a vintage optical circuit </li>
<li>Unmatched flexibility with an incredible variety of insert points and variable signal path arrangements</li>
<li>Ability to function as 4 separate modular processors: mic pre, EQ, Dynamics and stereo ADC </li>
<li>Precision VU metering of input level, Insert 1 or 2 Return level, Compressor gain reduction or Sidechain listen level (switched)</li>
<li>Classic Focusrite EQ design; an expanded version of the original ISA 110 </li>
<li>Post mic pre output for the shortest possible signal path </li>
<li>Proprietary Focusrite discrete Class A VCA Gate and Expander designs</li>
<li>‘Listen’ feature for precise control over compression, gating, expansion and de-essing </li>
<li>De-esser design based on optical technology for lower distortion and transparency </li>
<li>Soft Limiter to avoid critical digital overload </li>
<li>Optional Stereo A/D – 24-bit 192 kHz Delta Sigma converter </li></ul>

Focusrite ISA 430 MKII Producer Pack
Producer Pack Single-Channel Microphone Preamplifier / Channel Strip

With eight channels of Focusrite microphone pre-amplification, eight 
VCA-based Red 3-derived compressors and built-in 24-bit / 96 kHz digital
 inputs and outputs, Focusrite OctoPre MkII Dynamic is Focusrite’s 
feature-rich expansion upgrade for any digital audio workstation. It’s 
equally an ideal expansion for any analogue or digital console, or hard 
disk recorder.<br>
<br>
Digital inputs and outputs let you make the most of often-neglected ADAT
 i/o; ideal for expanding the number of mic-pre inputs on your interface
 or for providing analogue monitoring from any digital ADAT feed.<br>
<br>
With this entire package fitting into a single 1U chassis complementing 
Focusrite’s Saffire PRO range, and all controls adjustable from the 
front fascia, OctoPre MkII Dynamic sets the standard for modern, 
compact, multi-channel recording expansions.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<br>
<span style="font-weight: bold;">Eight award-winning Focusrite pre-amps</span><br>
Focusrite's unparalleled pre-amp legacy forms the foundation of this new
 device, with pre-amps optimized to handle extreme levels from sound 
sources like acoustic drums.<br>
<br>
<span style="font-weight: bold;">Eight ‘single-dial’ Focusrite 
Compressors</span><br>
A single dial gets you to the right amount of compression, fast. These 
new VCA-based, feed-forward compressors model the character of the 
celebrated Focusrite Red 3.<br>
<br>
<span style="font-weight: bold;">Compress transparently or with effect</span><br>
The classic soft-knee design achieves beautifully transparent 
compression that caresses your sound. Focusrite’s unique “More” switch 
doubles the ratio to deliver ‘compression with effect’.<br>
<br>
<span style="font-weight: bold;">Built-in eight channel 24-bit / 96 kHz 
digital outputs</span><br>
Make the most of your interface's ADAT input for tracking, with eight 
channels of analogue to digital conversion via ADAT, boasting a ‘real 
world’ dynamic range performance of 110dB.<br>
<br>
Built-in eight channel 24-bit / 96 kHz digital inputs<br>
Switchable from the front panel, digital to analogue conversion via ADAT
 provides analogue monitoring of any digital ADAT feed, as well as the 
ability to clock from any ADAT device.<br>
<br>
<span style="font-weight: bold;">State-of-the-art Clocking Solutions</span><br>
OctoPre MkII Dynamic's internal clock delivers a jitter performance of 
+/- 20 PPM. For external clocks, industry-standard JetPLL™ jitter 
elimination technology is employed<br>
<br>
<span style="font-weight: bold;">Two high-quality instrument inputs</span><br>
OctoPre MkII Dynamic’s first two channels feature DI’s, ready for you to
 plug in your Guitars and Bass. No expensive external DI required.<br>
<br>
<span style="font-weight: bold;">Additional Features</span><br>
<ul><li>Input clip and Compression active LEDs on every channel</li><li>5 LED input metering on every channel</li><li>Phantom power available on every channel  (switched in two groups:
 1-4 and 5-8)</li><li>24-bit resolution, 44.1, 48, 88.2 and 96kHz sampling rates</li><li>Internal clocking, master clocking and external clocking via BNC 
or ADAT</li></ul>
The original ISA mic pre, as featured in the early Focusrite Forte 
console, is still used by many of the industry's greatest producers and 
has contributed to the sound of countless hit records. Today, Focusrite 
design equipment for a far greater audience, from professionals to 
amateur enthusiasts, all with varying budgets.<br>
<br>
As with the Classic ISA mic pre used in both the ISA and Red ranges, the
 Saffire mic pre found in the OctoPre MkII Dynamic is designed to the 
highest possible standards. It upholds the same wide bandwidth 
philosophy featured in the original forté console, back in 1989. As with
 the Classic ISA mic pre, the Saffire mic pre design features custom 
components which have undergone an intense testing and qualification 
process.<br>
<br>
With the facts and figures in, Focusrite designs then have to pass the 
essential listening stage. Any design can measure well on the test bench
 but only a great design can be qualified in the studio. The FET-based 
Saffire mic pre design is no exception. It delivers clarity without 
colouration and exhibits the signature transparency for which Focusrite 
have become famous.<br>
<br>
With the high channel count interfaces (Saffire PRO 40 and Liquid 
Saffire 56) and both the OctoPre MkII and OctoPre MkII Dynamic, the 
Saffire pre-amp has been optimized for drums. The theoretical maximum 
level of a microphone was calculated, and the mic pre was adjusted with 
this in mind so as not to clip with this level present, set to minimum 
gain. As a result, the mic pre won’t clip, even with a high output level
 mic right up close to a snare drum (the mic input will accept signal 
levels up to +16dBU from a microphone).<br>
<br>
The Compressors featured in OctoPre MkII Dynamic are a new VCA-based, 
feed-forward design, derived from the celebrated Focusrite Red 3.<br>
<br>
With just a single dial, these eight 'recording' compressors allow you 
to get to the desired amount of compression for each channel, fast, 
providing a natural but loud sound. The single dial solution decreases 
the threshold, and increases the makeup gain simultaneously, the result 
of which is a sound that gets progressively more compressed but retains a
 good output level.<br>
<br>
The compressors uses a soft-knee progressive compression curve, modeled 
on the properties of the Red 3 compressor, and featuring a fixed Attack 
time of 1.2 ms and Release time of 28ms. The circuit has been tuned by 
ear at Focusrite and these settings were chosen after critical listening
 and analysis of the Red 3. Bass guitar and drums were put through the 
Red 3 compressor, and the threshold, ratio, attack and release envelopes
 were modified until the desired 'controlled' sound was achieved. These 
settings were then applied to the new VCA circuit where the soft knee 
and ratio curve had been duplicated. A further listening then helped to 
tweak the settings and ensure that the compressors behaved as expected.<br>
<br>
The compressor has two modes: Normal and ‘More’, which let you change 
the behavior of the compressor to suit different instruments. Whist the 
Red 3 is well known and loved for its sympathetic approach to 
compression, it’s not regarded as an ‘effect’ compressor. However, with 
the OctoPre MkII Dynamic’s 'More' button, found on each compressor, you 
can bring a bit of aggression to your sound. The More button doubles the
 ratio from 2:1 to 4:1 and shifts the threshold range, so you have more 
sensitivity on control. The threshold is closed down, working across a 
smaller range, as you’re applying threshold control over a much louder 
signal.

Focusrite OctoPre MKII Dynamic
OctoPre MkII Eight Channel Mic Pre with Compressor on each channel

<b>The sounds of vintage classics with digital ease of use. </b>
<p>The <b style="font-weight: bold;">Focusrite Liquid Channel</b><span style="font-weight: bold;"> </span>is a revolutionary professional channel strip that can precisely replicate any classic mic-pre and compressor. Combining radical new analog preamp technology with Dynamic Convolution techniques. The Liquid Channel fuses cutting-edge analog design with lightening fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid Channel provides the ultimate fluid vintage collection. 
</p><p>Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behavior. This is achieved through Dynamic Convolution, the application of a unique, 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 replication. 
</p><p>Mic-pre replication 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 replicated. 
</p><p>Second order harmonic distortion is a beneficial artifact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved warmth. However, often 2 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. 
</p><p>The Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilizes 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 replicated vintage classics with the power and ease of use of the digital domain. 
</p><p>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 replicas and program memories, and permits downloads of additional classic units from www.ffliquid.com.</p>

Focusrite The Liquid Channel
Modeling channel strip with instant snapshot recall

The GML one-box solution. The <span style="font-weight: bold;">GML 2020</span> is a the reference-quality combination of the legendary 8300 Mic Pre, a 4-band version of the 8200 Parametric EQ, and a complete 8900 Dynamic Range Controller. Additional enhancements not found in the stand-alone units include: Mic, Line, and Direct Instrument input selection, front panel mounted 2-Pole High Pass Filter, Phase Reverse, and Phantom Power switches, as well as fast and accurate LED input metering. Input Gain is adjustable from -10dB attenuation to 70dB of gain in precise 5dB steps. Each source is optimized at all gain settings for best noise performance. One knob optimizes low output ribbon mics to semi-pro keyboards to inserts in super hot mastering chains. Bypass controls are provided for EQ and dynamics independently, while up to eight Model 2020’s may be linked for multi-channel work. A one-knob topology switch re-arranges the 2020 such that the 8200 EQ section can be placed either before or after the 8900 Dynamics section, or conveniently inserted into the Side Chain. The 2020 is housed is a rugged 2U chassis houses and includes 9015 external power supply.

GML 2020
Single-channel mic pre, EQ and dynamics processor. Includes 9015 Power Supply.

<span style="font-weight: bold;">Preliminary Information</span><br>

Channel strip... it doesn’t roll off the tongue or smack of a high
fidelity recording device. Maybe that's why its taken us so long to
build one. But we got over it. All labels aside, the new <span style="font-weight: bold;">Grace Design m103</span> is a powerful tracking tool for virtually any recording scenario.<br>

<br>

It starts with our tried and true m101 transformer-less microphone
preamplifier circuity. Headroom, detail, clarity, musicality – its all
there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V
phantom.<br>

<br>

The 3 band EQ section is built around single stage parallel tuning
architecture, which minimizes circuitry and delivers natural, musical
tonal shaping at all frequencies. Controls include a fully parametric
mid, with shelving and peak modes on the high and low bands.<br>

<br>

The compressor circuit is based on an optical attenuator - the purest,
high fidelity gain control mechanism available. It provides gentle
limiting to fairly heavy compression, while remaining nuetral and
transparent. The perfect way to zip it all up and send it downstream -
clean, intact and alive.<br>

<br>

Comprehensive I/O options allow the mic pre and EQ/COMP sections to be
accessed independently of each other, and the order of the EQ/COMP is
switchable. The compressor controls can be linked for stereo
applications, and 10 segment gain reduction and output meters make
monitoring signal status simple. So there it is, we’ve done it. The
m103 - a channel strip by name, a powerful tool by design. Stay tuned
for complete details.<br>

<br>

<span style="font-weight: bold;">Features</span><br>

<ul><li>Fast and musical transimpedance microphone preamplifier architecture</li><li>Updated audio path with 0.5% precision metal film resistors</li><li>New 12 position gold plated rotary gain switch</li><li>High performance output line driver amplifier and HPF amplifier</li><li>Ribbon mic mode (also great for dynamic mics)-  Relay bypass of
phantom power decoupling capacitors, increased input impedance, and 48V
lockout</li><li>3-band precision EQ, fully parametric mid band, peak and shelf mode for hi and low bands</li><li>Newly designed optical compressor</li><li>Mic amp direct output</li><li>EQ/COMP section line input</li><li>Bombproof laser-etched black anodized front panel<br>
</li><li>Sealed gold contact relay for Hi-Z input switching</li><li>Built in power supply</li><li>Led indicators for +48V, Ribbon mode, and HPF</li><li>Powerful 10 segment meters for gain reduction and output level</li><li>Five year warranty on parts and labor</li><li>Made in the USA</li></ul>

Grace Design m103
Single Channel Preamp/DI/EQ/Compressor

Results 1-20 of 46

1




API Audio Neve Barefoot Sound Shadow Hills Industries Retro Instruments Waves Audio Coles Microphones Endless Analog Clasp		Read what people are saying about Vintage King Audio Sales & Service from around the world. Read them here!		How about recycling your used gear for something different or just a change? When speaking to a sales representative, make sure to indicate that you are interested in trading your gear for a new purchase or please send an email to info@vintageking.com.

SALES		CUSTOMER SERVICE
888.653.1184 ext 3 +1.248.591.9276 ext 3 Sales Hours: M-F 10 to 8 (ET) Sat 12 to 4 (ET) Sun Closed More Information		888.653.1184 ext 2 +1.248.591.9276 ext 2 Customer Service Hours M-F 10 to 6 (ET) Sat Closed Sun Closed More Information

WHY SHOP KING?

Privacy and Security

Satisfaction Guaranteed

Warranty Information

Shipping and Delivery

Lifetime Customer Support

RESOURCES

Frequently Asked Questions

Terms and Conditions

Infrasonic Sound

Article Archives

Tax Exempt Forms

NEWS ROOM

ENTER EMAIL FOR
SPECIAL OFFERS

OUR NETWORKS

CATEGORIES

QUICK LINKS

Producers Corner

Trade Your Gear

Pensado's Place

Facebook Giveaways

OUR NETWORKS