Buzz audio ARC-1.1	The Buzz audio ARC-1.1 Analog Recording Channel will be releasesd in 2004, with the input of famous engineers, and the buzz audio name, came the ARC1.1 a Mic Pre, a four band parametric EQ features HIGH and LOW SHELVING sections each with two selectable turn over frequencies, a single channel version of the Buzz Audio SOC1.1 Stereo Optical Compressor, and many other hany goddies that will take your sound into a different level. Why not make a pro mixer for your Hard disk recorder out of these. call or e-mail for updates, and other info
Amek Channel in a Box	Amek Channel in a Box "The Channel in a Box (CIB) is essentially the input channel of a very high calibre "In-Line" console, contained in a 1U rack mounted assembly and complete with it's own power supply. It incorporates a precision switched gain microphone amplifier, High and Low Pass filters, four-band equalisation and a full featured compressor. "It has become common practice to surround the control room console with a collection of microphone preamps, equalisers and compressors - often using the original console purely as a monitor. "The CIB was designed for engineers and producers who need a powerful yet compact outboard unit combining the sonic quality and features that they might wish for in their console of choice." - Mr. Rupert Neve
Amek DMCL	Amek Dual Micamp Compressor Limiter "The Pure path Dual Mic-amp, Compressor-Limiter (DMCL) comprises two identical closely matched microphone and line amplifiers followed by high/low pass variable frequency filters, dual high-resolution compressor-limiters and an optional digital output. Output formats are AES/EBU, S/PDIF and optical. The microphone amplifier makes use of my balanced instrument "Transformer-Like Amplifier" techniques, providing many of the advantages of a transformer without weight and cost penalties. In common with my previous designs for the 9098i super analogue console and the System 9098 range of outboard equipment, the DMCL features very low noise even at mid gain settings. A +26dBu input signal is accepted at unity gain. In addition, I have paid particular attention to the exclusion of high order harmonics. The line signal is routed through a line input transformer. The same transformer is used on the Pure Path "Channel in a Box" and has been shown to significantly improve musicality. The DMCL is designed for engineers and producers who need a powerful and compact outboard unit. It combines all the favourable sonic qualities and features that are desirable on the very best analogue mixing consoles with the addition of multi-format digital outputs.”
Demeter VTTC-1	Demeter VTTC-1 Tube Tracking Channel The new Classic Series tracking channel combines our mic preamp and compressor into one unit for a single channel of the most natural sounding tube audio available. Singers will love this one!
Drawmer 1960	The Drawmer 1960 is a two channel unit with each channel comprised of a completely natural sounding "soft knee" vacuum tube compressor and an extremely low noise microphone pre-amplifier with switchable 48 volt phantom power. A further auxiliary instrument pre-amp with EQ is also provided. This powerful combination of the classic valve circuit, offering unsurpassed tonality, and the low noise balanced microphone input with up to 60dB of gain has allowed engineers throughout the world to exploit the full potential of high performance condenser microphones. An example of this would be the direct to digital stereo recording of live classical music without the necessity of a mixing console
MX60 Front End	The MX60 Front End One 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 AdaptiveTM 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. 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.
TL Audio 5052	TL Audio 5052 Stereo Valve Processor is the latest addition to the best-selling Ivory 2 series. The 5052 provides everything you would expect from a high quality ‘channel strip’ product, and then doubles it - making it the ideal system front end and the perfect stereo mixdown and mastering device. While most channel strip products provide a single mono channel made up of preamp, dynamics and EQ stages, the 5052 provides two channels of each with independent stereo linking of the compressor, EQ and limiter sections. Recording a mono or stereo source to multitrack through the 5052 becomes simplicity itself, yet when it comes to mixdown the 5052 comes into its own by offering full stereo linked EQ and dynamics - allowing unparalleled processing of the stereo buss while mixing. Couple this supreme flexibility with TL Audio’s class-leading valve circuit design, and the 5052 represents the ultimate tracking and mixing tool for today’s digital environment. The 5052 utilises six triode valve stages shared between the two channels, run from a high quality internal 150V stabilised DC supply.
VP-1	The new VP-1 is the latest addition to the Valve Classics range, and combines all the best elements of the PA-1 pentode preamp, C-1 compressor and EQ-2 parametric equaliser to create a truly flexible and spectacular sounding valve front end for any audio system. The VP-1 features seven valve stages, run from a stabilised 250v DC supply. The first stage is a Siemens EF86 pentode in the front end of the preamp, followed by six Sovtek ECC83/12AX7A stages - one in the secondary stage of the preamp, one in the compressor and four in the EQ section
Langevin Dual Vocal Combo	The Langevin Dual Vocal Combo is a 2 channel microphone preamplifier with 2 shelf equalizers plus 2 channels of electro-optical limiters. The combo is the result of suggestions from our customers to combine two of the most popular Langevin products and make the price irresistible, half the price of the VOXBOX® combo in fact, for 2 channels of great sounding all discrete channel strips. Seem interesting? This includes VU meters, individual phantom power, limiter linking and time proven circuitry. This is an ideal box for musicians and engineers on a budget and is equally at home in a big league studio, mobile recording truck, or live gig. It has the reliability, functionality, and the sound without the any of the complexity– the essential features without the "sea of knobs." Easy on the wallet, easy to use.
Manley Vox Box	Manley Vox Box Primarily, it is a voice processor which in itself is not a novel idea, but the time had come to pull out all the stops and make a truly professional high-end statement. One that covered the needs of the project songwriters and big-time major studios alike. One whose all-tube signal path could bring every instrument and overdub to life. One that, plain and simple, sounded unquestionably better than the rest, provided flexibility, simplicity, and well thought-out ergonomics. Full of features, timeless style, robust build quality, and that world-famous "Manley Sound"
Avalon VT-737SP	The Avalon VT-737SP features a combination of TUBE preamplifiers, opto-compressor, sweep equalizer, output level and VU metering in a 2U space. PREAMPLIFIER 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.
Origin STT-1	The Origin STT-1 is a single channel music recording system offering a selection of Millennia's core vacuum tube -or- solid state circuits, including mic preamps, line input with gain, opto-compressor/limiters, parametric equalizers, DI instrument input with gain, and opto-inductive de-essers. Virtually every audio function is available with 100% Class A, all-discrete J-FET solid state topology or 100% Class A, all triode vacuum tube topology, each topology selectable with the touch of a button. The Origin also offers a choice of colorful transformer-coupled or transformerless audio paths, all switch selectable.

Many modern microphone pre-amp designs are based around small, low cost components. As a consequence, many professional and consumer products can now be cost-effectively built to include microphone pre-amplifiers (mic-pre's) as standard, but it was not always so...

Microphone technology has been evolving since the late 1920s, when broadcast engineers began developing new products to improve the quality of the spoken word and live performances for the new medium of radio. The original designs were highly specialised, featuring fabulously expensive transformers or valves.

Today we find ourselves the fortunate beneficiaries of 80 years of innovation, technological advancement and significant cost-reduction. However, many contemporary low-cost mic-pre's tend to be designed using techniques that leave them sounding lacklustre, and short on character. Whilst vintage designs tended to be technically less than perfect on paper, it was precisely these imperfections and anomalies that created the desired 'sonic fingerprint.'

As a result, unlike computer technology where even 12 month-old designs can quickly become redundant, vintage analogue technology offers performance benefits that cannot be replicated digitally. Hence for successful recording engineers, choosing a mic-pre continues to be just as important as choosing a microphone. In fact, it is not simply the choice of microphone or mic-pre alone but the combination of the two products which determines the result.

There are two elements that define the sound of a mic-pre: the microphone output-to-input termination method (transformer or electronic), and the amplifier gain stage (valve, transistor or op-amp). The potted history is as follows:

1920s to 1950s: Transformer input and valve amplifiers
1960s: Transformer input and germanium transistors amplifiers
1970s: Transformer input and silicon transistors amplifiers
1980s: Mostly electronic input low noise silicon transistor amplifiers
1990s: Mostly electronic input low noise operational amplifiers (op-amps)

Mic Pre-amp Input Impedance

Focusrite ISA 428
input transformers The interaction between the microphone and the pre-amp to which it is connected is also critical. The early connection methods used for mic-pre designs were based around transformer inputs. However, these were expensive and many designers sought to replace these with more affordable circuits.

The main impact of transformer interaction on the sound of a particular microphone is the alteration of the frequency response. This is why certain microphone and mic-pre combinations have become industry standards, rather than microphones or pre amps alone. The Focusrite ISA series or Red 7 plus a Neumann U87 for vocal purposes is a classic example.

Transformer-input mic-pre's tend to have a low input impedance that varies with both frequency and amplifier gain, which means they tend towards a subtle colouration. Electronic input mic-pre's have high input impedances, which remain flat at all frequencies and amplifier gains and therefore tend towards a flat response, achieving a very even, uncoloured performance.

As a general rule, both transformer- and valve-based mic-pre's have more warmth in comparison to electronic designs because of induced 2nd and 4th order harmonic distortion, brought about by their different impedance responses. Modern transformer designs such as the Focusrite ISA 428 retain warmth whilst offering flexibility, by providing the engineer with a variable input impedance, allowing for more or less transformer and microphone interaction and hence a variety of mic/mic-pre 'colours'.

Mic-Pre Amplifier Gain Stages

Focusrite ISA 110
input transformer

Op-amp microphone preamps
Historically each of the three approaches to creating electronic amplifier gain - valves, transistors and op-amps - has produced a very different result in terms of the frequency response, transient performance and harmonic distortion that make each design unique.

Many people describe the sound of valve mic-pre's as being 'warm' or 'fat'. This is in fact largely because of a valve's inherent design limitations; what we perceive as warmth is actually derived from high second order harmonic distortion characteristics and poor high frequency gain performance. Whilst many engineers find valve artefacts desirable, valve designs have such a strong impact on the sonic finger-print that it may prove too strong once 'sat in the mix.'

Because it is an input device used when tracking, the colour is 'printed' to tape or disk and cannot be removed later. Therefore valve pre-amps should be used with caution; they are great for some applications but totally wrong for others.

An example of a classic valve pre is the 1950s Telefunken design; these are often used for drum tracking because their 'soggy', limited frequency response is perfect for getting fat, saturated, live drum sounds. Beware the lure of low-cost valve pre's, many of which feature a valve only in the output stage - you still need to spend significant money (£1000 and upwards) if you really want to nail that vintage valve pre-amp sound.

Most valve designs were inherently expensive, bulky and fragile and were replaced by cheaper and more compact transistor amplifier designs with the introduction of germanium transistors in the 1960s. Many of these early germanium transistors operated in a Class A amplifier mode, an inefficient but pleasant-sounding amplifier configuration that adds a subtle level of colouration. They also still used input transformers, and therefore shared similar dynamic and distortion characteristics with valve circuits.

The second generation of designs in the 1970s featured the introduction of off-the-shelf silicon transistors, allowing circuits to be designed in Class A/B mode, using less power and providing a more linear and distortion free performance. However, much of the beloved tone of the original circuits was lost in the process.

As recording consoles grew in size during the 1970s and 1980s, the mic-pre's within each channel of the console reduced in size and complexity in an inversely proportional manner. As new low noise transistor and op-amp components became cheaper, transformers could be designed out of the mic-pre altogether and the electronic input design for mic-pre's became the standard design choice for reasons of cost, and size.

So, forced by the economics of designing cost-effective, large-format consoles and the introduction of cheap semi-conductors, the world of the mic-pre entered its most boring and uninspiring era of development. The short-comings of these console-based pre's did however inspire the development of a number of stand-alone mic pre's and channel strips. Two ranges of just such products (the ISA and Red series) unveiled by Focusrite in the late 1980s and early 1990s established the company as the industry leader in mic pre's, EQ and compression.

Throughout the 1990s the company continued to develop new products based on the vintage design (e.g. ISA 215, Reds 1, 6, 7 & 8), but also wanted to make the FF badge of quality available to customers on more limited budgets. The Platinum Range was born, utilising discrete transistor-based Class A amplifiers inspired by the sound quality of those early transformer units. The use of custom Class A transistor circuits instead of op amps or off-the-shelf Class A/B designs restored some of that elusive 'colour,' giving the project studio owner the opportunity to bypass their console pre altogether, and capture a subtle warmth without sacrificing bandwidth.

Mic Pre's and Sound

Transistor-based mic-pre
As a rule, the more of a sound's natural beauty and character that can be captured at source the better. Processing after the fact is always second best (though often still valuable nonetheless).

After the choice of mic, its positioning relative to the sound source and the room (and of course, the choice of artist!) the mic-pre presents the next opportunity in the signal chain for the engineer to control the sound - the combination of mic, placement, pre, and artist is key.

In picking a pre-amp to match a particular style of tracking, it's always a case of 'horses for courses'. If you're recording a great vocal performance and want to record every nuance of the artist's voice whilst adding a subtle warmth, use a transformer-based pre. If you want a clinical performance, use a high quality op-amp electronic input design. If you want more obvious warmth, to thicken and 'fill out' a thin voice, use a valve pre, or valve simulation in a channel strip. If you want to add a little colour but can't afford a transformer-based design, choose a well-designed, custom transistor-based pre.

Sadly, good transformers remain about ten times the cost of transistor mic-pre circuits. However many people now spend their budget on a single high-quality channel strip that includes a transformer-based pre, or a small number of quality stand-alone pre's, rather than on a mid- or high-price console. The thinking is of course, that since multiple channels are now rarely recorded simultaneously, it pays to have the best pre for the critical record paths for lead vocal, featured instrument etc. Many of the other tasks for which a console was formerly required (such as routing) are now taken care of by computer-based workstations.

Understanding these basic differences in mic pre designs and how they operate means you'll be well equipped to make the right decision when you buy your pre's. Which in turn means you'll be one step closer to getting the sound you want without swamping the precious integrity of your source signals beneath a swathe of heavy-handed processing.

Additional processing tools have their place, especially since more and more people are choosing to process in the analogue domain in their channel strips as a complement to reduced levels of mix-down plug-in DSP.

However, purists are likely to remain committed to their time-honoured "shortest signal path" ideology, and products such as the new ISA 428 with its custom, impedance-variable transformer-based pre-amp, and 8-channel 192kHz A/D conversion will doubtless establish themselves as the latest in a long line of Focusrite industry standards.

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