TECHNOLOGY FOCUS MIC PREAMPS
Earlier this year, Focusrite announced the return of the Red mic preamp with the introduction of the Red 1 500 Series mic pre. The made-in-England Red 1 500 Series features the same Lundahl LL1538 input transformer and custom Carnhill output transformer as the original Red 1 and Red 8 microphone preamps. The output transformer also allows the Red 1 500 to drive long lines, ideal for remote and mobile applications for which the Lunchbox format was originally intended. The Focusrite mic amp topology provides superb common mode rejection, excellent overload margin and, with its shared gain structure, (14dB from the transformer and up to 46dB from the amplifier) a very low noise floor, combined with the traditional wide bandwidth of the original Red series (10Hz to 140kHz). Mic gain is switched (with a Grayhill gold-plated military-grade switch) in 6dB steps from -6 to +60dB, for accurate, precise channel matching and recall. The built-in VU meter helps gain accurate, repeatable results, with calibration to ensure levels are always spot-on.
www.focusrite.com
The m801 from Grace Design delivers massive headroom and ultra-wide bandwidth, which contribute to a markedly open, musical character. The m801 is designed to resolve even the lowest level ambient information, resulting in a sonic picture that serves to capture the essential character of the music being recorded. The m801’s signal path is fully balanced from start to finish, resulting in wide dynamic range, while high current output drivers enable long cable runs without signal loss. Included on each channel is a dedicated ribbon microphone switch, which shifts the preamplifier’s entire gain range up 10dB, while deactivating 48V phantom power, optimising input impedance, and bypassing the decoupling capacitors. An additional set of eight channel-balanced outputs is included as standard (16 outputs in total) for sending signals to a secondary recorder, workstation, or console. Each channel offers 48V phantom, phase reverse and a 20dB pad. Gain controls are Grace Design’s finest 24-position gold contact rotary switches, wired with one percent metal film resistors. The m801 includes a five-year warranty.
www.gracedesign.com
Radial PreComp is a combination mic preamplifier and compressor made for the popular 500 series rack format and designed to bring greater efficiency to the recording process by simplifying the signal path and gain stage management. The single wide module begins with a high- performance preamp that can deliver in excess of 60dB to handle all types of
microphones. Equipped with Radial’s Accustate gain control, the PreComp simultaneously sets the output and sensitivity to maximise signal-to-noise at all levels.
A full-feature VCA compressor follows with adjustable threshold, compression ratio, and gain make- up controls. The advanced compression algorithm reads the programme material and automatically transitions from soft knee to hard knee as the signal rises above the threshold. A simple slow- fast switch makes it easy to set the PreComp for either vocals or percussion. Other features include 180º polarity reverse for phase matching two microphones, a high pass filter to eliminate unwanted resonance, 48V
Designed by the creator of Tonelux, the Joemeek Studio Projects SPM5 is entirely built in the USA. The SPM5 features a Class A discrete front end and the same Tonelux TX100 output transformer used on the Tonelux MP1a and MP5a. A 70Hz high pass filter was added to eliminate unwanted low end and rumble from tracks. An impedance switch allows your preamp to work properly with ribbon microphones that have a 50-ohm load, and on the front panel is a combo XLR/0.25in jack making it easy to use different microphones as well as DI boxes. The SPM5 is an affordable mic/instrument preamp built for signal clarity while offering a Radiance control to add just the right amount of tonality.
www.pmiaudio.com
phantom power for condenser mics, and an in/out switch that lets you quickly compare the original uncompressed signal with the processed result. The PreComp is designed for recording, broadcast, and post-production suites where instant control over voice and instrument is desired, as well as for multichannel live recording engineers.
www.shuredistribution.co.uk
SM Pro Audio Tubebox is a single-slot 500 series tube microphone preamp. It features a Class A tube preamplifier circuit, switchable phantom power, phase invert, selectable – 20dB pad, and a super fast in-line optical compressor. The front panel includes a TRS microphone input. The interchangeable 12AX7 preamp tube allows you to experiment with a variety of modern and vintage tubes to customise the Tubebox’s sound and performance to your taste. The switchable (in/out) compressor provides adjustable attack and release, and when using the compressor, the on-board VU meter automatically changes from displaying master level, to amount of gain reduction, so you can view the exact results of the compression being applied. The Tubebox audio circuit uses LME49720 ultra- low distortion/low noise op amps.
www.smproaudio.com
38 December 2013
RME’s QuadMic II is able to be battery powered making it useful for remote applications. Each of the four channels features balanced microphone and line inputs with Neutrik XLR/TRS combo jacks, switchable 48V phantom power, phase reversal, and a low cut filter. All channels are also equipped with LEDs for signal presence, clip state, and activated phantom power. The input amplification can be set from 6 to 60dB. The balanced line level output signals are provided on the rear of the unit as four 6.3mm (0.25in) TRS jacks. A maximum balanced and unbalanced output level of +21dBu makes the QuadMic II fully compatible with RME’s converters and interface series. The QuadMic II complements any RME system with line inputs by adding external microphone inputs. Since the unit runs on supply voltages from 9 to 18V DC, it can operate on virtually any power source available, including batteries and rechargeable batteries.
www.rme-audio.de
www.audiomedia.com
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