Multi Channel Mic Preamps | VintageKing.com

Multi Channel

Both the <span style="font-weight: bold;">API 3124+</span> and the 3124M+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124M+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124M+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.
<p>The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.</p>
<p>The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</p>
<p>The model 3124M+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.</p>
<p><B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR>
We double the standard API one year warranty (parts and labor) on this item.</p>

API 3124+
Discrete 4 Channel Mic/Line Pre, plus DI

Both the <span style="font-weight: bold;">API 3124MB+</span> and the 3124+ are designed with the professional engineer in mind, giving the highest possible quality 4 channel mic preamp and with the 3124MB+, an audio mixer, while keeping the size and price at a reasonable level. Several 3124MB+ mixers can be linked to increase the number of bussed channels. Both models are equally at home in the control room, the studio, and news or recording truck, at the house console, on the stage, direct-to-DAT, or at the artist's disposal for the source of his music.
<p>The model 3124+ utilizes the same microphone preamp circuit that is used in all API consoles. It uses the RE-115 K mic input transformer and the same output transformer that is used in all API equalizers. All four mic inputs of the 3124+ and the 3124M+ are powered by an internal 48 volt phantom power supply, front panel switchable for each channel. Also provided is a front panel 20 dB pad switch that effects both the Mic and Line in.</p>
<p>The model 3124+ can provide up to 65 dB of gain to an output clip level of +30 dBm. The Hi-Z front panel input goes directly to the op-amp, allowing a low level input such as a guitar or bass to be amplified without a matching transformer or direct box. This Hi-Z input can take input levels as high as +22, making it perfect for keyboards and other high level devices. The rear output is an XLR connector.</p>
<p>The model 3124MB+ is a 3124+ with the addition of a complete stereo mixer. In conjunction with the gain control of the 3124+, the 3124M+ adds a stereo panner with a level control, and a post "fader" aux send. The stereo panners and the aux sends are bussed to master output controls and then to the rear panel jacks. A stereo AUX return is provided to return effects or cascade additional mixers for more inputs. The unique aux return pot acts like a panner to balance the left/right signal, yet staying stereo. It can also be used as a mono return. A standard 3124+ can be further expanded to an "m" at the factory. Several options for the "M" include a discrete unbalanced stereo output or a discrete balanced stereo output.</p><br><b>Features</b> <br>
<ul>
<li>Uses API 2520 Op-Amp 
</li><li>Classic Console Circuit 
</li><li>Four XLR Mic Inputs 
</li><li>Four 1/4" Un-Balanced Inputs 
</li><li>Front Panel Polarity Switch 
</li><li>Front Panel 20 dB PadSwitch 
</li><li>Front Panel Mic/Line Switch 
</li><li>Front Panel 48V Power Switch 
</li><li>Output Clips at +30 dBm</li></ul>
<B>2 Year Warranty (labor) 5 Year Warranty (parts)</B><BR>
We double the standard API one year warranty (parts and labor) on this item.</api_warranty>

API 3124MB+
Discrete 4 Channel Mic/Line Pre with Stereo Mixer plus Transformer Balanced Outputs

The <B>ASP008</B> is a compact, 1U rack mount unit featuring eight ultra high quality mic preamplifiers developed from the renowned mic-pre design used in the acclaimed ASP8024 recording console. </FONT>
<P>The design uses an 8 transistor discrete Class A front end with extended band-width and a noise floor close to the theoretical Johnson limit. Carefully chosen close tolerance components are used to achieve high CMRR at all gain settings and distortion is minimised to less than 0.001% at 20dB gain and +10dBu output. This outstanding technical performance delivers a mic amp with incredible transparency and detail without colouration or other unwanted artefacts. </FONT></P>
<P>Each Mic amp also features switchable input impedance, allowing the user to explore the subtle variations in microphone character that are determined by output termination. </FONT></P>
<P>All channels include an XLR input, ?soft start? 48V phantom power, switchable input impedance, 25-250Hz hi-pass filter as well as line input selection. Channels 1 and 2 also feature a -20dB attenuator and a high-impedance Instrument/DI input on a front panel mounted jack. LEDs provide indication of signal present and overload. </FONT></P>
<P>Two digital output option cards are available - one with ADAT optical interface, the other with AES/EBU and ADAT.</FONT></P>

Audient ASP008 - AES
Eight-channel mic pre with AES/SPDIF option - now SMUX compatible!

The <b>Audient ASP008 </b>offers 8 channels of Audient’s premium mic pres packaged in a convenient 1U rack with digital output option for AES/ADAT. This provides the perfect upgrade for any user looking to step up to a world class quality of recording. Audient’s mic pres and A/D converters will bypass the mic pres and converters in your multi channel interface and bring warmth, clarity and punch to everything you record. Don’t take our word for it, get down to your local dealer and ask for a demo.<br><br>For a quick test, plug a bass guitar into the DI input and check out the solid bottom end, then plug in a decent mic, try out some quick vocals and listen to the dynamic subtleties you can capture with the ASP008 plus the amazing crispness of the top end. There is a fantastic smoothness to s and f sounds recorded through ASP008 and they are distinctly different from each other. Many traditional designs suffer from a blurring between s and f sounds making vocals much less present and distinct. <br><br><b>Controls:</b><br><ul><li>48V: Phantom Power ON/OFF with 'soft start' feature to avoid thumps</li><li>INST/DI: CH 1&2 only. Selects jack instrument input with input impedance 1 MΩ</li><li>-20dB: 20dB Pad (CH1&2 ONLY)</li><li>LINE: Selects Line level input with input impedance of 10 kΩ</li><li>Polarity: Polarity invert</li><li>Filter: Selects 12 dB/octave Hi-Pass filter - range 25 Hz to 250 Hz</li><li>PK: Indicates signal levels within 4 dB of clipping</li><li>SIG: Indicates signal levels above -25 dBu</li><li>I/P Z: Input impedance select 200/1200/5000 Ω</li><li>GAIN: MIC/DI 0 to 60 dB. LINE -20 to 40 dB</li><li>Sample Rate: Selectable 44.1/48/88.2/96 kHz</li><li>Dither: Selectable 16/20/24 bit</li></ul><b>Interfaces:</b><br><ul><li>MIC Input: Electronically balanced XLR with variable input impedance</li><li>LINE Input: Electronically balanced 25 pin D wired to DA88 standard</li><li>INST/DI Input: Unbalanced front panel mounted jack</li><li>LINE Output: Electronically balanced 25 pin D wired to DA88 standard</li><li>Digital output: Optional 48/96 kHz AES, S/PDIF and 48kHz ADAT light-pipe</li><li>Ext Word Clock: BNC</li></ul><b>Performance:</b><br><ul><li>Maximum input/output level: +21.5 dBu</li><li>THD: Typically better than 0.007% at 1 kHz any gain setting</li><li>EIN: Better than -127.5 dB @ 60d B gain/ref 150 Ω</li><li>Frequency Response: -0.3 dB @10 Hz to -3 dB @300 kHz at unity gain</li><li>CMRR: Better than 75 dB at 1 kHz and 60 dB gain</li></ul>Power consumption: 40 watts

Audient ASP008-AES/ADAT96
Eight-channel mic pre with digital option

<span style="font-weight: bold;">Manufacturers Description</span><br>
We wanted to build a new mic preamplifier that exhibited the qualities 
of our Class A range but at reduced price to the end user. By packing 
four preamps into one chassis with one power supply, the per channel 
cost is significantly reduced. But you won't find any cut corners here, 
each channel uses two of our Class A amplifiers at the input and a 
Lundahl* audio transformer at the output. The excellent sound produced 
by this combination has been well proven in our 500 Series products. If 
the QSP-20 is the only preamp you may own, we guarantee it will sound 
great - no matter what you throw at it.<br>
<br>
Like most of our microphone preamplifiers, the <span style="font-weight: bold;">Buzz Audio QSP-20</span> does not use a transformer at the 
input. Instead we couple direct to the Class A (BE41) amplifier modules 
with hi-quality WIMA capacitors. This approach presents a much less 
reactive load to the microphone and allows it breathe better. In other 
words, the QSP is like an extension to the microphone and this means you
 can clearly hear the differences between all microphone types and 
brands. The HI Z - LO Z switch allows you change the load the microphone
 sees, and this can produce subtle tonal changes depending on the type 
of microphone.<br>
<br>
Another advantage of the direct coupled input is noise - or lack of it. 
You will discover the QSP has an extremely low noise floor making it 
useful for low output microphones such as ribbons. The low noise plus 
the high output headroom results in a preamp with 92dB dynamic range at 
full gain of 70dB.<br>
<br>
In addition to the four mic inputs, you also have four high impedance 
instrument inputs on the front panel. These inputs can be used for 
keyboards and instruments with unbalanced pickups. Both the mic and line
 inputs benefit from the sound of the Lundahl* output transformer which 
exhibits an incredible frequency response right out to 250kHz, whilst 
adding a subtle amount of harmonic distortion at the lower frequencies. 
Transients are preserved and the bottom end sounds full making the 
QSP-20 the perfect choice for all music styles.<br>
<br>
<span style="font-weight: bold;">Applications</span><br>
<ul><li>Modern music recording</li><li>Acoustic music recording</li><li>Mobile recording set ups</li><li>Drums!</li></ul>
<span style="font-weight: bold;">Features</span><br>
<ul><li>The vivid sound of discrete Class A amplifiers in the signal path</li><li>The lush tone of Lundahl* audio output transformers</li><li>Up to 70dB of gain</li><li>+28dBu output headroom</li><li>Culmination of 20 years design experience</li><li>Robust chassis construction</li><li>On board linear power supplies - no wall warts!</li><li>Easy to use control layouts</li><li>Competitive pricing</li></ul>

Buzz Audio QSP-20
Four channels of high end microphone and instrument amplification at a very competitive price

The <span style="font-weight: bold;">Focusrite ISA428 MkII</span> 
provides four of Focusrite’s prestigious transformer based microphone 
preamps. It features the same classic circuitry and renowned audio 
quality found in the original at a new level of affordability. With 
switchable input impedance, direct instrument inputs and an optional 
eight channels of high quality analogue to digital conversion, the 
ISA428 MkII creates the perfect front end for the discerning recording 
professional.<br>
<br>
First introduced in 1985, the ISA microphone preamp holds a reputation 
for outstanding transparency along with subtle warmth contributed by 
transformer core saturation. The addition of a variable impedance 
circuit allows ISA users to perfectly match the preamp with any 
microphone, or to use different settings creatively to shape the sound 
of the microphone. Unchanged for decades, the ISA microphone preamp 
topology offers incredible clarity and the signature Focusrite sound 
that makes it the top choice among many audio professionals today.<br>
<br>
The optional class-leading ISA828 eight channel analogue to digital 
converter is also compatible with the ISA428 MkII. Along with the four 
mic preamp inputs, four additional inputs allow you to route other line 
signals through the converter.  High quality Burr-Brown Pro Audio 
Amplifiers and flagship PCM4220 A-D converter chips seated within 
Focusrite custom analogue circuitry deliver unparalleled performance. 
Specifications include a dynamic range of 122dB and jitter performance 
below 250 picoseconds. The card can be retrofitted at any time. Thanks 
to its convenient 25-pin D-Type connector, it integrates seamlessly with
 Pro Tools HD, as well as other digital workstations and mixing desks.<br>
<br>
Four Instrument inputs, instantly accessible on the front panel, allow 
quick and easy connection without the need for a separate DI box. Extra 
processing can be placed between preamp and conversion via the units 
dedicated insert points, featured on every channel. Finally, accurate 
six-segment LED metering is designed to catch even the fastest 
transients on every channel.<br>
<br>
Over 25 years, Focusrite has earned a reputation for bringing superb 
audio quality and engineering excellence to an array of audio 
professionals. Whether you’re looking to preserve the sound of your 
classic microphones, or searching for the perfect front end for your 
digital studio, the ISA428 MkII brings legendary tools to your studio at
 an exceptional new price.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">Features</span><br>
<ul><li><span style="font-weight: bold;">Four ISA-series transformer-based pre-amps</span> <br>
Over the past three decades, ISA mic preamps have contributed to many of the world’s most significant albums.</li><li><span style="font-weight: bold;">Eight Channel optional A/D converter with 122dB dynamic range</span> <br>
The same cutting-edge analogue to digital converter card used in the 
ISA828. Four additional ADC inputs allow eight channels of high quality 
conversion.</li><li><span style="font-weight: bold;">Switchable Impedance</span><br>
Ideal for mic matching or extended microphone creativity. Settings 
include the ‘Vintage ISA110’ setting, providing the original Focusrite 
signature sound.</li><li><span style="font-weight: bold;">Four front panel instrument inputs</span><br>
Instant access on the front fascia - no separate DI box required.</li><li><span style="font-weight: bold;">Dedicated analogue insert points</span><br>
Switchable insert points are featured on every channel, allowing routing
 (between pre-amp and output) to additional external processing.</li><li><span style="font-weight: bold;">Variable high pass Focusrite filter</span><br>
Provided on every channel, this is the same filter as featured on the original ISA110 and the legendary Focusrite forte console.</li><li><span style="font-weight: bold;">Accurate LED meters for every channel</span><br>
Clear metering designed to catch even the fastest and most elusive of transients.</li></ul>

Focusrite ISA 428 MKII
Four classic preamps with DIs and a premium eight-channel converter option.

With eight channels of Focusrite pre-amplification and a built-in 24-bit / 96 kHz ADAT output, <span style="font-weight: bold;">OctoPre MkII</span>
is Focusrite’s powerful input upgrade for your Pro Tools system, or any
digital audio workstation. It’s also a great expansion for any analogue
or digital console, or hard disk recorder.<br><br>The digital output
allows users to make the most of often-neglected ADAT inputs; ideal for
expanding the number of mic-pre inputs on your interface. Connect
OctoPre MkII to your audio interface’s ADAT input to create a high
quality, multi-channel recording solution, ideal for tracking drums, as
well guitars, keyboards, vocals and more.<br><br><span style="font-weight: bold;">Features</span><br>
<ul><li><span style="font-weight: bold;">Eight High Quality Award-winning Focusrite Pre-amps </span><br>
The best sounding multi-channel mic-pre in its class.</li><li><span style="font-weight: bold;">Built-in eight channel 24-bit / 96 kHz digital output </span><br>
Make the most of your interface’s ADAT input. OctoPre connects via its
built-in lightpipe output, with a ‘real world’ dynamic range
performance of 110dB.</li><li><span style="font-weight: bold;">Mic-pres optimised for tracking drums</span><br>
OctoPre MkII is designed not to clip, with pre-amps optimised to handle
extreme levels from sound sources like kick drum and snare.</li><li><span style="font-weight: bold;">Two quality Hi-Z instrument inputs</span><br>
OctoPre MkII’s first two channels feature DI’s, ready for you to plug
in your Guitars and Bass, instantly accessible on the front fascia.</li><li><span style="font-weight: bold;">5 LED input metering on every channel</span><br>
OctoPre MkII’s fast-acting 5-LED input meters provide clear reference
of input levels, helping you to avoid analogue or digital clipping.</li><li><span style="font-weight: bold;">-10dB Pads on every channel </span><br>
OctoPre MkII is drum-ready, with 10dB pads to stop hot signals from overdriving the microphone pre-amp.</li><li><span style="font-weight: bold;">Direct outputs on every channel </span><br>
For routing and flexibility, especially in the live environment. Each
mic-pre can be routed to the mixer’s analogue channels, with two
mirrored ADAT outputs (44.1) left free to send to digital recorders.</li><li><span style="font-weight: bold;">48V Phantom power available on every channel </span><br>
Switched in two groups (1-4 and 5-8) every channel is capable of
supplying phantom power, for use with most condenser microphones.</li><li><span style="font-weight: bold;">State-of-the-art Clocking Solutions </span><br>
OctoPre MkII's internal clock delivers a jitter performance of < 10
PPM. For external clocks, a BNC connector is provided and
industry-standard JetPLL™ jitter elimination technology is employed.</li></ul>

Focusrite OctoPre MKII
Eight-channel mic preamp with built-in 24-bit / 96 kHz ADAT output

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

The <span style="font-weight: bold;">Harrison Lineage</span> 
eight-channel microphone preamplifier provides 8 microphone preamps, 
each from a different era of Harrison consoles.  Each pair of preamps 
has their own unique character, providing the recording engineer with 
several options in a compact 1RU box. <br>
<br>
The front panel provides inputs for channels 1 and 2 (with selector switches) and controls for each of the 8 mic preamps:<br>
<ul><li>Two 70-80's era mic preamps, with pad and 48V switches.</li><li>Two 80-90's era mic preamps, with pad and 48V switches.</li><li>Two 90-00's era mic preamps, with pad and 48V switches.</li><li>Two Trion mic preamps, each with pad, 48V, instrument mode, and "FIX" gain preset.</li></ul>
An innovative addition is the "FIX" button on each of the two Trion 
preamps.  The "FIX" button engages a preset gain trim (user-adjustable 
via a trim pot).  The combination of the front-panel input switching and
 the "FIX" buttons allow you to switch the first two preamps between one
 use (such as 2 calibrated overhead mics in the studio) and another 
(such as a vocal chain setup) without having to re-set the input gain 
in-between. <br>
<br>
The rear panel includes 8 microphone preamp inputs and a DB25 connector 
carrying the 8 line outputs.  The unit is constructed with a robust 
power supply and uses high-quality components that are assembled and 
tested at Harrison's factory in Nashville, Tennessee, USA.

Harrison Lineage Mic Pre
Eight-channel analog microphone preamplifier module

The <b>Millennia HV-3R</b> is an 8-channel version of the very successful and popular HV-3C stereo preamp. The HV-3R integrates advanced computer and network technology with Millennia's renowned HV-3 Series analog circuitry, via high performance 4th generation relays rated for 50 million operations. Each input is captured with unrestricted dynamic range and effortless musicality. The HV-3R has a plug 'n play Pro Tools interface via MIDI. Using Ethernet, and a Remote PC or Mac application, you can manage a complex system from anywhere, be it around the corner or around the world.
<br><br>
<b>Open, Transparent Sound</b>
<br><br>
Mic preamplifiers magnify the input as much as 1000:1. There's no "Undo" after this point. Coloration or distortion become part of the signal. Lost information can never be recovered. Digital plug-ins can't "uncolor" sound or restore lost upper harmonic partials. Data compression algorithms (MPG, AC3, DTS etc.) are unable to distinguish signal from noise, so preserving signal clarity and integrity throughout the recording and production process is critical to communicating the artist's intention and individuality. No matter how subtle or attractive, a colored "signature" sound destroys options at every link in the chain. The HV-3 Series' open, transparent signal path has defined "high definition" since its introduction.
<br><br>
<b>Perfect for Location Recording</b>
<br><br>
Location recording is a high-wire act, with only one chance to capture the living moment of performance in its original ambience. The HV-3 Series is designed to transmit microphone signals to recording devices unaltered and has proven its ability to drive extremely long cable runs.
<br><br>
<b>Pristine Audio Path</b>
<br><br>
There's no such thing as a straight wire with gain. But the HV-3 Series' transformerless input, balanced audio path, minimal amplifier design has brought us closer than any other to our goal of absolute accuracy and uncompromised sonic realism.
<br><br>

<b>Specifications:</b><ul>

<li> Control up to 792 channels (99 units) at once via Ethernet: TCP/IP addressing allows control via the Internet
    <li> Plug 'n play Pro Tools interface via MIDI
    <li> AE-logic Windows/OS X software offers total control
    <li> Hi-definition meters, unlimited groups, scene management, voltage/temperature monitoring...
    <li> Gain control via ultra-quiet gold contact relays
    <li> Transformerless design with matched hi-speed discrete transistor octet has 23 dB input headroom: no "pads" needed
    <li> Entirely balanced audio path with precision components maintains signal integrity: THD under 5 PPM (.0005%)
    <li> Effortless, vividly realistic musical performance
    <li> Laser-trimmed FET-based output stage has 32 dB headroom: drives 1000 foot (300m) cable runs with ease
    <li> Gain controls (1 dB per step) are stereo-matched to .08 dB
    <li> Ultra-clean toroid power supply
   <li> Mogami Neglex OFC audio wiring, silver Teflon power wiring
    <li> Aluminum 16 gauge rack chassis
    <li> Minimum Gain - 8.5 dB
    <li> Maximum Gain - (1 dB per step, 65 steps)
    <li> (1 dB per step, 65 steps)
    <li> Frequency Response (+0 / -3 dB) - sub 3 Hz to beyond 300 kHz
    <li> Noise (60 dB Gain, 10 Hz - 30 kHz, Inputs common) - 133 dB EIN
    <li> Total Harmonic Distortion + Noise (35 dB Gain, 10 Hz - 20 kHz bandwidth, +27 dBu Out) - < .001%, Typ. < .0005% (< 5 ppm)
    <li> Intermodulation Distortion ((50 Hz & 7 kHz) 35 dB Gain, +27 dBu Out) - < .0009%
    <li> Phase Response (35 dB Gain, 50 Hz - 20 kHz bandwidth, +27 dBu Out) - < 2 degrees deviation
    <li> Common Mode Rejection Ratio (35 dB Gain, 10 Hz - 20 kHz bandwidth, 100 mV C.M.) - > 65 dB, Typ > 85 dB
    <li> Slew Rate (35 dB Gain, +27 dBu Out) - > 25 Volts per microsecond
    <li> Maximum Input Level (20 Hz - 40 kHz) +23 dBu (no attenuator pads required)
    <li> Maximum Output Level (20 Hz - 40 kHz) - +32 dBu
    <li> Phantom Input Impedance (1 kHz) - 6,750 ohms
    <li> Output Impedance - 24.3 Ohms (x2)
    <li> Phantom Powering - +48 V dc, +/- 2 V dc
    <li> Power Requirements - Selectable: 100-120, 200-240 V ac, 50/60 Hz</ul>

Millennia HV-3R
Remote-controllable version of the HV-3D-8 - Ethernet control with PC software interface - MIDI control for plug and play with Pro Tools HD

The <b>Neve 4081 Quad Mic Preamp</b> builds on the incredible success of the 1081 and 1081R modules and provides both powerful control and legendary Neve sound. <br><br>Perfect for vocals, ADR and Foley Recording, the 4081 features make it the number one choice for any studio, OB truck or live stage environment. <br><br>Every function of the 4081 can be controlled directly from the front panel or by remote control using a Mac or Intel based computer with <span style="font-weight: bold;">Neve Remote Control software</span>. This provides a simple and elegant solution for users of ProTools, Nuendo, Cubase and similar DAW systems. Multiple 4081 units can be linked together to create up to 64 independent channels of Mic Preamps or Line Level inputs – all controlled from a single computer. <br><br>An optional Digital card provides a FireWire/AES interface with four channels of A/D conversion to either AES or FireWire. An insert point is available before the A/D converter on each channel to allow external, analogue Outboard equipment to be switched into the signal path. Four channels of AES-to-analogue or FireWire-to-analogue conversion are also available. <br><br>An optional 19" rack-mount kit is also available and can be used to securely mount one or two 4081 units into a 19" rack enclosure. <br><br><span style="font-weight: bold;">Highlights 
</span><ul>
<li>Legendary Neve microphone preamp design 
</li><li>Four genuine 1081 Mic preamp channels in a single 9.5” wide unit 
</li><li>Two units can be fastened together to provide 8-channels in a 19” unit with optional 19" rack-mount kit 
</li><li>Remote control using a Mac/Intel computer and Neve Remote Control software 
</li><li>XLR Mic input can be switched between Mic and electronically balanced Line 
</li><li>Switchable 48V Phantom power supply 
</li><li>Digital I/O Option: Firewire/AES interface with four channels of A/D conversion to either AES or FireWire and 4 channels of D/A conversion. Analogue Insert (pre A/D converter) per channel. </li></ul>

Neve 4081 Quad Mic Pre
Four Classic Mic Preamps, One Powerful Remote-Controlled Unit -Mac & Windows compatible

The <span style="font-weight: bold;">Phoenix Audio DRS-8 Mic Pre</span> 
uses our well proven and loved Class A output stage (DSOP-2), but also 
has our latest breakthrough in transformerless Class A, Discrete Mic 
Input Technology which gives a "valve-like" sound.<br>
<br>
The DRS-8 is the culmination of over 40 years experience designing Class A circuitry within the Audio Recording Industry.<br>
<br>
The DRS-8 is based on the first Phoenix unit the DRS2, this bespoke 
product was launched by Phoenix Audio (UK) in the U.K. in November 1999,
 and has enjoyed an almost “cult” following ever since. The Class A 
output stage (TF1) was originally designed by David Rees, the designer 
of the famous Neve 2253 Limiter and 2254 Limiter/compressor (amongst 
many other designs), as a retrofit for Neve modules, and the TF1 has now
 been superseded by the DSOP2 output stage.<br>
<br>
The Class A, discrete, truly balanced, transformerless microphone input 
stage was designed to out-perform any transformer input for frequency 
response, yet has all the characteristics expected in a high quality 
Class A design.<br>
<br style="font-weight: bold;">
<span style="font-weight: bold;">Specifications</span><br>
<ul><li>8 Channel 2U - 19” Rack-mount unit: With 240V/110V mains voltage input selector switch Inputs</li><li>Connections: Combo XLR/1/4” jack sockets on Rear Panel for Mic inputs, line inputs & DI inputs</li><li>Output connections: XLR's on rear panel</li><li>Additional outputs: 25 pin “D” style connector on the rear panel (wired “Tascam” Standard)</li><li>Gain Range (Mic input): -30 to -70 in 5dB steps With 10dB more available on the fader.</li><li>Gain Meter: LED Metering. 5 LED Meter on each channel (with hysteresis)</li><li>Phantom Power: Switchable 48V phantom on Push-button switch</li><li>High Pass Filter: on Push-button Switch (Roll-off -6dB per octave @ 120Hz)</li><li>Phase Reverse: on Push-button Switch</li><li>Mute: On Push-button switch.</li><li>Mic/Line Push-button switch: Enables Flexibility for input levels.</li><li>Phoenix Audio’s unique Class A, transformerless, True balanced Mic input stage.</li><li>Transformer-balanced Output on each channel: Driven by the Phoenix Audio Class A DSOP-2 fully discrete output stage</li><li>Class A (DSOP-2) Output specs . Frequency response: 20Hz to 20kHz +- 0.5dB, Maximum</li><li>Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.</li><li>Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz e</li></ul>

Phoenix Audio DRS 8
Eight-channel Class A microphone pre-amplifier/DI

<B>The Prodigy Engineering Anima Features</B><ul><li>Original amplifier design (<B>NOT
 another vintage clone!</B>)</li><li>Digitally controlled fully analog signal 
path--minimalist audio circuit design yet robustly engineered</li><li>Input/Output transformer balanced for the best 
possible CMRR in even the most demanding situations
                </li><li>Gain from 18 to 70dB in 1dB steps accomplished 
with low-noise precision reed relays and 0.1% 25ppm temp co. mil-spec 
resistors for the purest gain structure and the most accurate recall and
 repeatability
                </li><li>Switchable: Phantom (+48V), Polarity (0 or 180 
degrees), <br>
                  Pad (-22dB), and Mute
                </li><li>Seamlessly integrates with industry standard 
DAW, Digidesign <br>
                  Pro Tools® | HD, and control surfaces like the ICON®</li><li>Software remote control application to work 
alongside any DAW (OSX only)</li><li>259 internal user save/recall sessions
                </li><li>Quick channel selection and grouping
                </li><li>Fast, precision 3-LED headroom metering
                </li><li>Ultra-clean double regulated power supply 
utilizing a <br>
                  custom designed toroidal power transformer with 
switch-able taps for worldwide operation
                </li><li>Intuitive operation (Some remote controllable 
preamps are  difficult to use, requiring the user to set IP addresses! 
Not with the Anima!)  Push a switch, turn a knob and go. <br>
                  Inspiration can’t wait!
                </li><li>Rugged industrial design utilizing heavy-duty 
extruded aluminum and stainless steel.
                </li></ul>

Prodigy Engineering Anima
Eight-channel remote preamp system

The <span style="font-weight: bold;">RME Micstasy</span> is an 8-channel hi-end mic/line preamp and AD-converter combining typical RME features with a number of previously unseen features. It can be used analog (Mic/Line In to Line Out) and digital (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Special highlight: the device is fully remote-controllable via MIDI (also MIDI over MADI).
<br><br>
The Micstasy's innovative concept allows for amplification and digitization of ALL analog signal sources. Be it high-level stage signals, typical studio signals, lower level and high-impedance instruments, or dynamic, condenser or ribbon microphones: Micstasy understands them all - in a way that is simply thrilling.
<br><br>
The signals amplified by the Micstasy are available at the analog outputs for passing them on, making an expensive splitter box on stage obsolete. All functions can be remote controlled via MIDI and MIDI over MADI, allowing the device to be placed near the microphones, ensuring highest sound quality. Adding the optional MADI Card results in even more options. The I64 MADI Card provides serial pass-through capability from one Micstasy to the next (up to 8). All up to 64 audio signals are then available at the last device on one single line. Such a way of cascading is also possible between Micstasy and ADI-8 QS.

RME Micstasy
8 Channel 24 Bit / 192 kHz Remote Controllable High-End Microphone and Line/Instrument Pre-Amp

RME’s Multiface is the world’s most popular mobile recording interface. Due to the large demand for microphone inputs, RME has now developed two high-quality professional microphone preamps, which make ideal companions to the Multiface in mobile recording situations, thanks to the option of battery-powered operation. Excellent signal/noise ratio, sophisticated discrete Class-A technology, and features like Low Cut and Phase switches make these units first choice even for studio use! 
<P><B>QuadMic</B> offers 4 balanced XLR mic inputs. Each channel contains switches for 48V phantom power, a low cut filter, and phase reversal. Amplification can be set between 10 and 60 dB. LEDs for signal, clip, and activated phantom power complete the list of features. The balanced line level output signal is available at the back of the unit via stereo TRS jacks. The output reference level is switchable between +4 dBu or –10 dBV. RME’s universal rackmount holder can be used to fit the QuadMic into any 19" rack. The included professional switching power supply offers safe operation world wide, even when the power lines are weak or noisy. </P>

RME QuadMic
4 Channel Microphone Preamp with Line Outputs

Based around custom transformers and class-A topologies, the <span style="font-weight: bold;">Rupert Neve Design Portico 5024</span> combines purity with the musical performance expected from a Rupert Neve Design.<br>
<br>
With four channels of renowned Portico Series preamplification, 
independent Silk controls, two channels of DI inputs, and an M-S 
decoder, the 5024 is a workhorse equipped to enhance the front-end 
performance of any digital or analog recording system.<br>
<br>
“Transformers have always been a signature component of my designs, and 
the implementation of custom transformers with the class-A circuit 
topologies developed for the Portico Series have drawn on countless 
years of knowledge,” states Rupert Neve. “As the result of countless 
hours of experimentation, these preamplifier designs greatly enhance 
sonic performance, and make listening a more enjoyable experience.”<br>
<br>
In addition to 72 dB of gain, the 5024’s mic pres include individually 
selectable phase, mute, phantom power, a selectable frequency high-pass 
filter, and the Silk circuit, which yields the rich warmth and presence 
of the renowned classic designs.<br>
<br>
Channels 1 and 2 of the 5024 feature a high-Z input designed for 
instrument level sources. Channels 3 and 4 feature an M-S switch, which 
enables Mid-Side decoding without the use of multiple console channels.<br>
<br>
“Versatility has always been a forte of the Portico Series pres,“ says 
RND marketing director Tristan Rhodes. “Engineers ranging from high end 
producers to project studio hobbyists have learned to trust Portico 
modules to sound amazing with virtually any source material or 
microphone. In the context of a four-channel preamplifier, this 
flexibility, paired with features like Silk, M-S and DI inputs. makes 
the 5024 a great choice for studios looking to improve their preamp 
arsenal.”

Rupert Neve Designs Portico 5024 Quad Mic Pre
Quad mic preamp with Silk, two DI's and M-S decoder

Thermionic Culture Earlybird 4
Four Channel Microphone Preamplifier

The <b>True Systems Precision 8</b> is designed to provide the detailed, transparent
sonic performance necessary for the highest quality direct tracking and
live sound applications. It includes a unique combination of features
which make it useful as a complete input system for MDM's, HDR's, and
DAW's. Two sonically accurate discrete FET instrument inputs (DI's) are
available for recording or live sound applications in which realistic,
unaffected sound quality is desired. The 5-segment peak-hold level
metering with selectable peak reference allows rapid optimization of
program levels between the PRECISION 8 and devices to which it is
interfaced.<br><br>
PRECISION 8 is ideal for location recording due to its 8-channel single
rack unit format, smooth continuous gain controls, useful level
metering, and easy interconnect. The integral MS decoder provides
creative spatial image control that is particularly useful in attaining
an exciting stereo image with minimum effort and microphone
repositioning.
With the emphasis shifting to digital audio platforms and modular
configurations, software "plug-ins" are replacing many outboard signal
processors. Other than the microphone itself, the microphone
preamplifier is the most significant analog device remaining in the
signal chain. PRECISION 8, with its sonically pure design,
simple-to-use features, and unparalleled cost/performance value, is the
ultimate solution for state-of-the-art digital recording studios and
project studios.<br>
<br>
<span style="font-weight: bold;">Features</span><br>
<ul><li>Eight highly transparent solid state microphone preamps in a 1 unit rack configuration</li><li>Challenges the recognized leaders in sonic accuracy and performance</li><li>Built-in M-S (Mid-Side) decoding for creative spatial image control</li><li>Active, high-impedance instrument inputs ("DI's") selectable on two channels</li><li>5-segment level indicators with peak-hold feature and selectable peak reference</li><li>Smooth continuous gain controls</li><li>Easy interface to MDM's, HDR's, DAW's, or consoles</li><li>Dual DB25/TRS outputs for flexible interconnection</li><li>Elegant, sturdy physical design</li><li>Exceptional cost per channel value</li></ul>

True Systems Precision 8
8-channel microphone/instrument preamplifier with M/S decoder and DIs

The <span style="font-weight: bold;">Universal Audio 4-710d</span> is a boutique quality, four-channel microphone/line preamplifier with unique tube and solid-state tone blending capabilities — perfect for a wide range of microphone and instrument sources. This versatile multi-channel preamp offers selectable 1176-style compression circuitry on each channel, plus four additional line inputs feeding eight channels of pristine analog-to-digital conversion. Building upon UA’s classic analog design approach, combined with smart modern features, the 4-710d is the most flexible preamp in the UA lineup.<br><br>At the core of the 4-710d are four channels of tone-blending “Twin-Finity” mic preamps with true-bypass 1176-style compression, including specially tuned "fast" and "slow" settings. Each of the four mic preamp channels allows for continuously variable phase-aligned tone, between a 100% tube and 100% solid-state signal path. Send and return jacks are available for external processing or signal access.<br><br>The eight analog inputs are digitized via ultra high-quality 24-bit A/D converters at selectable sample rates up to 192 kHz. Digital output is available via dual ADAT “lightpipe” or AES/EBU DB-25 connectors, facilitating integration with most popular audio interfaces.<br><br><span style="font-weight: bold;">Key Features</span><br><ul><li>Four TEC Award-winning 710 Twin-Finity™ microphone/line preamps </li><li>Dual-path 285-volt Class-A tube and transimpedance solid-state preamps </li><li>Phase-aligned tone-blending of tube and solid state circuits, creamy to crunchy </li><li>Newly designed 1176-style compression circuit per preamp channel</li><li>Eight channels of high quality 24-bit A/D conversion </li><li>Selectable sample rates up to 192 kHz </li><li>Digital output via dual ADAT optical and AES/EBU DB-25 connectors </li><li>8-channel soft limiter (switchable for all channels)</li><li>1-year Limited Warranty</li></ul>

Universal Audio 4-710d
Four Channels of Tone-Blending "Twin-Finity" Preamps & 1176-Style Compression w/ Built-In A/D Converters




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