First stage gain is set from +6 to +63 dB by a 12 position Grayhill switch. Another 20dB of gain is available after the output level potentiometer. Polarity reversal and high pass switches on the two channels are complimented by operating and overload LED metering.
The A2D analog section consists of the circuitry contained in two API 312 mic preamps, or one half of the popular 3124 quad mic preamp rack product. A level control pot with an expanded 20-segment metering system shows precise mic gain levels. Control switches include polarity, 48v phantom power, input pad, 2:1 transformer routing, and Mic/Line select. Each analog input contains a balanced low-level XLR connector and a high-level line input on a 1/4 inch jack.
The Digital section of the A2D includes two level pots to adjust the feed to the A/D converters, each with a corresponding 20-segment calibrated meter. A multi-position switch selects the desired sample frequency. The External Sync LED will light when an external clock signal is used.
Rear panel Analog connectors include an XLR input and output for each channel, as well as a balanced 1/4" TRS insert to the A/D converter. This allows the A2D to have external analog processing devices inserted in the audio chain (EQ, compression, etc.)
Digital interface connectors provided are SPDIF single ended RCA connector and AES digital out on XLR. A coaxial BNC accepts external "Super Clock" which will illuminate the front panel EXT SYNC LED when locked.
In addition, there are a pair of 9-pin D-sub connectors which allow the linking of multiple A2D units, all operating off the first sample-rate clock in the chain.
2 Year Warranty (labor) 5 Year Warranty (parts) We double the standard API one year warranty (parts and labor) on this item.
The BAE (formerly Brent Averill Enterprises) 312A mic preamps, made using the new Avedis 1122™ opamps, are punchy, have great bass and have a clear, extended top end. The sound is in your face and they don't compress transients. The low end is tight with good attack. They are excellent for drums and percussion. These pres are very cost effective. Many people buy racks of 6 or 11 to cover the entire drum kit. Features:
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.
This pre features the same discrete transformer balanced amplifiers as the TG series limiter and offers a creamy, smooth tone with a surprisingly open, clear top end (dare we say nicer than Neve....) The sound, as explained by many users, has a familiar Neve "warmth" and punch, but with a "nicer" expanded top end. In fact the unit does have a small rise in its top end frequency response and some warmth inducing distortion which contribute to its sound.
Front panel mounted gain controls for each channel provide 44 dB of adjustment in 2 dB steps. This combined with a switchable 10dB attenuator enables the EAR 824 to accept signals from 1mV to line level. 48V phantom powering is provided as standard, however other configurations are available to order, including 130V power for B & K line level microphones and a custom EAR 60dB transformer for use with ribbon microphones.
The Earthworks 1022 belongs to the ZDT series. The ZDT preamplifier series is based on all new discrete circuitry designed by David Blackmer, establishing a new standard of sonic excellence in electronics. This exacting new standard provides frequency response from 1Hz to 200kHz +0.5dB, an incredible rise time of 0.27 microseconds and distortion of less than 1 part per million (0.0001%) - eliminating all possibility of sonic degradation. These preamps are so fast, so clean and so transparent that you don't even know they are there. It is like plugging your microphone into a "piece of wire with gain." You will hear clarity and detail with the ZDT preamps that is not available in any other preamp at any price. Check one out for your studio or other applications that demand the highest quality electronics.