Microphone Preamplifier
Microphone Preamplifier
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Millennia HV-3C Stereo Microphone Preamplifier $1843.99 The HV-3C Stereo Microphone Preamplifier is an entirely double-balanced, extremely wide dynamic range stereo microphone preamplifier intended for demanding audio recording. In it Millenia combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3C never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3C is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured |
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Shure Beta 181 Microphone Preamplifier $249 The Shure Beta RPM181/Pre preamp is the base unit for the Shure 181 microphone. This compact preamp attaches to the four interchangeable capsules that are available for the Shure 181 microphone.The Shure Beta 181 a multipurpose instrument microphone and can be used on a wide variety of applications including guitars, bass and drums (overheads and snares). It has a small diaphragm design that provides superior audio with textbook polar responses in a form factor compact enough to get close to the source in the tightest conditions. The Beta 181 has a precision-engineered, side-address design that features an innovative locking ring to provide secure connection between the capsule and RPM181/Pre preamplifier with integrated XLR connections.There are four different capsules available for the Beta 181 microphone: Cardioid (RPM181/C), Supercardioid (RPM181/S), Bi-directional (RPM181/BI), Omni-directional (RPM181/S). This makes the Beta 181 an extremely versatile and cost-effective mic that allows the user to interchange capsules according to the application. (Capsules sold separately). This microphone requires phantom power and performs best with a 48 Vdc supply (IEC-61938). However, it will operate with slightly decreased headroom and sensitivity with supplies as low as 11 Vdc.The base unit for the Shure 181 microphoneAttaches to the four interchangeable capsules (sold separately)An innovative locking ring to provides secure connection to capsules with integrated XLR connectionsExceptional low-frequency reproductionExtremely high SPL handlingHigh output levelNo crossover distortionTransformer output |
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Millennia Hv-3C Stereo Microphone Preamplifier $1843.99 The HV-3C Stereo Microphone Preamplifier is an entirely double-balanced, extremely wide dynamic range stereo microphone preamplifier intended for demanding audio recording. In it Millenia combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3C never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3C is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assuredHigh-speed transformerless design23dB input and 32dB output headroom No attenuation pads requiredEntirely balanced audio pathLaser trimmed FET-based outputTHD+N less than 5 PPM (.0005%)Matched discrete transistor octet front endPrecision components throughoutGold audio connectors and switchesStandard 36-step gain control (1.5dB per step)Stereo gain matched to .08dBOFC audio wiring, silver Teflon power wiringUltra-clean torroid power supplyWelded 16-gauge chassisUnsurpassed ambience retrievalEffortless lifelike musical performance at all dynamic levels |
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Millennia HV-3D-8 8-Channel Microphone Preamplifier $4012.99 The Millennia HV-3D-8 is a microphone preamplifier of superb sonic character, technical specification, and mechanical workmanship. It offers 8 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed, DC-coupled, FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured. |
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A Designs 500-Red Microphone Preamplifier $795 In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. The sound of the EM-Red The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Red comes with a 50/50 output transformer. A Designs Audio added a little kick to this one by changing the input transformer as well. The result is more "up front mids"! You'll find this very useful when recording acoustic guitar with a condenser microphone. You can also use the EM-Red for recording toms, both rack and floor. As with all the A Designs Audio modules, the EM-Red is VPR Alliance compliant, and features a 48V phantom power switch, DI input, and phase reversal switch. Solid build quality and functionality The A-Designs EM-Red features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Red is another stellar example of the A Designs Audio mission: pro audio made affordable, and quality without compromise. Requires the A Designs R52 (product # 180038) dual slot external power supply (See accessory box below). The EM-Re |
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A Designs 500-Blue Microphone Preamplifier $795 In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. The sound of the EM-Blue The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Blue is equipped with a nickel custom-wound output transformer. This emphasizes the highs and produces a much more "airy" top end tone. When used with a "dark"-sounding microphone or an alto vocalist, it can produce an absolutely heavenly sound. You will also find this pre useful for recording a snare drum for that crisp "crack" sound. Plus, you just might want to hear what an electric guitar sounds like going thru nickel transformers (trust us, you do!). So, to get down and dirty with an electric guitar you'll want to use the EM-Blue's DI and 20dB pad, and crank the gain for a slight growl. Solid build quality and functionality The A-Designs EM-Blue features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and phase reversal, 62dB of gain, a large aluminum cast knob for gain, custom-wound input and output transformers, two thumb screws for easy installation, and an extremely solid build quality. Most of all, the EM-Blue is another stellar example of the A Designs Audio mission: pro audio made affordable, and quality without compromis |
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A Designs 500-Silver Microphone Preamplifier $795 In recording, there are certain things that you can only know through years of experience, such as which preamp works best on vocals, which one rules on guitar, or what preamp to use if you have a dark-sounding instrument or mic that needs some brightening. With A Designs Audio's EM series preamps you can let the 60 years of combined experience and super tone-sensitive ears of Jon Erickson and Pete Montessi save you years trying eek secrets out of pro engineers and lurking on forums. Each preamp in the series is designed to handle specific recording chores with the remarkable sound quality that A Designs Audio is now famous for. (Read the buzz on the forums, you'll find nothing but raves.) Best of all, you get high-quality audio in a space-saving and affordable package. Custom transformers, the key to a big punchy sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. Not only are the transformer hand-made, they're also "ear-made" by Jon (who spent years rebuilding vintage gear for LA studios), and Peter (longtime LA musician and preamp guru), who won't okay a transformer design until they get exactly the sound they're looking for. With the A Designs P1, you can put those ears and 60 years of combined experience to work for you and bring your recordings to new sonic heights. The sound of the EM-Silver The A Designs EM Series is a twist on the P-1 (based on the best-selling Pacifica). Each color has its own sound. This was accomplished by using different custom wound output and input transformers. The EM-Silver has a custom wound steel output transformer, which outputs a darker sound than the P-1, EM-Red, and EM-Blue, great for adding body to thin vocals. The EM-Silver is also very good match with ribbon microphones, which makes sense because steel transformers were widely used in the early days of recording and broadcast along with ribbon microphones. The sound/color/flavor you'll receive depends which ribbon mic you have. With today's influx of ribbon microphones there is a wide choice of character range available for you to determine which tone you are looking for or need. Another feature of the EM-Silver is a DI (direct inject) for use with electric instruments. Thanks to the DI and its darker sound, the EM-Silver is a great pre for bass guitar and keyboards. Also, you may like to try the EM-Silver (depending on microphone) for your kick when recording drums! All in all, the Silver is a very versatile tool. Solid build quality and functionality The A-Designs EM-Silver features a 1/4-inch Hi-Z direct inject input for instruments, switches for 48-volt phantom power (with LED indicator), -20dB pad and ph |
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Millennia Hv-3D-8 8-Channel Microphone Preamplifier $4021.99 The Millennia HV-3D-8 is a microphone preamplifier of superb sonic character, technical specification, and mechanical workmanship. It offers 8 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed, DC-coupled, FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity are assured.High-speed transformerless design23dB input and 32dB output headroomNo pads (attenuators) requiredEntirely balanced audio pathLaser trimmed FET-based outputTHD+N less than 5 PPM (.0005%)Matched discrete transistor octet front endPrecision components throughoutGold audio connectors and switchesStandard 36-step gain control (1.5dB per step)Stereo gain matched to .08dBOFC audio wiring, silver Teflon power wiringUltra-clean toroidal power supplyWelded 16-gauge chassisUnsurpassed ambience retrievalEffortless lifelike musical performance at all dynamic levels |
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Slate Pro Audio Fox 2-Channel Microphone Preamplifier $1799.99 Covering the range from classic British Class A-style vintage tone to ultra-clean modern sparkle, the Slate Pro Audio Fox 2-channel microphone preamplifier is one of the most versatile mic pres out there. The way the Fox shapes tone is brilliant. There are two completely independent microphone preamplifier circuits in each of the Foxs channels. The Vintage circuit calls up the sound of the legendary 1073-style preamp warm, fat, and full of lush harmonics. Conversely, the Modern setting gives you a sparkling clean sound thats perfect for capturing acoustic instruments in picture-perfect detail. Whats more, the Fox features two Combo modes, which combine the input and the output sections of both circuits, giving you a pair of completely unique preamp sounds.2-channel microphone preamplifier4 distinct microphone preamplifier sounds in each channel2 independent preamp circuits in each channelClassic circuit provides 1073-style soundModern circuit provides ultra-clear sound2 combo modes combine the input and output sections of each preamp circuitIncludes instrument inputs, phase controls, and phantom power100% made in the USA |
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Sm Pro Audio Ep-84 Multichannel Microphone Preamplifier $329.99 The EP84 is the latest multichannel microphone preamplifier from SM Pro Audio. Packed with quality features and connectivity options, this sturdy 2RU rack-mountable unit is designed to provide studio users with 8 channels of clean and accurate microphone preamplification. The EP84 is an excellent front end for computer audio systems, stand-alone hard disk recorders, or just about any other analog or digital workstation.With all the functionality of a top line preamplifier, the EP84 features independent variable gain control, -20dB pad, phase reverse, low cut filters, 48v Phantom power, and insert points on each of the eight (8) channels.Each mic-pre provides some 60dB of gain with a massive 23db of maximum output.Eight (8) ADAT format channel outputs can be added to the EP84 via installation of the optional PR8IIA ADAT output module. With this simple user installed option, the EP84 integrates superbly into today's digital studio environments without a hitch. Great for connection to the latest ADAT compatible audio interfaces, the EP84 expands your recording possibilities you can even mic up the whole band!Note: The analog outputs (both +4dB XLR & -10dB TS) and the digital ADAT ouput (when fitted with the PR8IIA output module) operate simultaneously.8 x discrete microphone preamplifiersModular PCB designUltra-wide dynamic rangeLow-noise operating levels48V phantom power per channel-20dB pad per channelPhase reverse per channelGain control per channelPeak light per channel80Hz low-cut filter per channelInsert points per channel |
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Tube-Tech Mp 1A Microphone Preamplifier $3465 The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.Tube-Tech MP 1A, First Take:Dual channel all-tube mic preamp and instrument DIDesigned for ultra low-noise operationSwitchable 20dB pad, can be used as a unity gain line amplifier, +70dB mic input gainDI input with switchable high-pass filter and +60 gainDual Channel All-Tube Mic Preamp And Instrument DIThe rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.Designed For Ultra Low-Noise OperationThe amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.Switchable Pad, +70dB Gain |
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Used Tube-Tech Mp 1A Microphone Preamplifier $3153.15 The Tube-Tech MP 1A dual channel preamp and instrument DI has been one of the secrets that engineers and producers have kept to themselves for bringing the rounder and more pleasing sound of analog gear to digital recording. And where some preamps tend to work well with certain mics but not others, the MP 1A also has the uncanny ability to make any mic your put through it sound great. A truly phenomenal-sounding preamp, the MP 1A excels on electric guitars and vocals. To give you an idea of its versatility, the MP 1A has been part of Julio Iglesias' vocal chain for years and is the preamp that Frank Fillipetti used to record Johnathan Davis' vocals on Korn's Take a Look in the Mirror.Tube-Tech MP 1A, First Take:Dual channel all-tube mic preamp and instrument DIDesigned for ultra low-noise operationSwitchable 20dB pad, can be used as a unity gain line amplifier, +70dB mic input gainDI input with switchable high-pass filter and +60 gainDual Channel All-Tube Mic Preamp And Instrument DIThe rackmount Tube-Tech MP 1A microphone preamplifier is a combined two channel microphone and DI preamplifier. Each amplifier consists of a microphone input transformer with a step-up of +10 dB, a dual tube preamplifier with a stepped gain (5dB/step, passive and active), an output amplifier with two dual tubes in push-pull and an output transformer. The high impedance DI inputs are unbalanced and placed in the circuit directly after the input transformer, with a gain ranging from +10dB to +60dB.Designed For Ultra Low-Noise OperationThe amplifiers are all tube based and the heaters are fed stabilized DC-voltage only. This prevents any variation in the DC energy when combined with the musical signal, which would otherwise cause certain types of distortion or hum. All transformers, with the exception of the mains transformer, are enclosed in MU-metal cans. MU-metal (pronounced mew-metal) is a highly permeable alloy that absorbs and redirects interfering magnetic fields away from the transformers. Input and output transformers come with a static screen between the primary and secondary wirings. These screens shield the secondary from the primary and prevent RF (radio frequency) electromagnetic noise from getting across.Switchable Pad, +70dB Gain |
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Millennia HV-3D-4 Four Channel Microphone Preamplifier $2968.99 The Millennia HV-3D is a 4-channel, fully matched microphone preamplifier of uncompromising sonic character, technical specification, and mechanical workmanship. It offers 4 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D-4 never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity is assured. |
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Millennia Hv-3D-4 Four Channel Microphone Preamplifier $2977.99 The Millennia HV-3D is a 4-channel, fully matched microphone preamplifier of uncompromising sonic character, technical specification, and mechanical workmanship. It offers 4 double-balanced, extremely wide dynamic range stereo microphone preamplifiers intended for demanding acoustic recording. It combines precisely matched, discrete bipolar transistors with a laser trimmed DC coupled FET-based output driver stage. Unlike standard mic preamplifiers, the HV-3D-4 never unbalances or rebalances the original signal, thus maintaining the highest degree of signal integrity. Unlike preamps using vacuum tubes, IC function modules, and audio transformers (all of which can lend their own audio coloration) the Millennia HV-3D is precisely optimized to capture the subtlest detail of the music and ambience. With +23 dBu native input headroom, it requires no input pads, attenuators, or switch points as found on common textbook preamp designs - thus avoiding yet another source of sonic degradation. Moreover, with its +32 dBu output headroom, ultra-high dynamic stability and linearity is assured. Unsurpassed ambience retrievalEffortless, lifelike musical performance at all dynamic levels High-speed transformerless design23dB input and 32dB output headroomNo pads (attenuators) required Entirely balanced audio pathLaser trimmed FET-based outputTHD+N less than 5 PPM (.0005%)Matched discrete transistor octet front endPrecision components throughoutGold audio connectors and switchesStandard 36-step gain control (1.5dB per step)Stereo gain matched to .08dBOFC audio wiring, silver teflon power wiringUltra-clean toroidal power supplyWelded 16-gauge chassis |
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Chameleon Labs 7602 Mkii Microphone Preamplifier/Equalizer $719 The Model 7602 MKII from Chameleon Labs is the sequel to the 7602 Microphone Preamplifier / Equalizer. New features in the MKII model include selectable mic impedance, LED input metering, upgraded knob styles, and two different power optionsall of this for the same price as the original unit. The signal processor ships with an inline power transformer (all regulation is done inside the unit). The rackmountable CPS-1 can also still be used, but is no longer required. The 7602 MKII Microphone Preamplifier/Equalizer is based on a classic and revered design utilizing pure Class 'A' circuitry. This unit is made with 100% discrete components, hand wound transformers and was fabricated to precisely match vintage counterparts manufactured in the early to mid 70's. Equalizer Section (Selectable 3 band design with a flexible filter section): Filter This is a high pass filter with 3db loss at 300Hz, 160Hz, 80Hz, and 50Hz with an 18db cut per octave slope. Low Equalization This section has a shelving slope with four frequency selections: 220Hz, 110Hz, 60Hz, and 35Hz. This equalizer affects the selected frequency and all others below it. The gain control provides 20db of boost or cut. Mid Equalization This section has a peaking characteristic with six frequency selections: 360Hz, 700Hz, 1.6k, 3.2k, 4.8k, and 7.2k. The gain control provides 20db of boost or cut. High Equalization This section has a shelving characteristic with five frequency selections: 16k, 12k, 7k, 4.9k and 3.4k. This section adjusts the selected frequency and all others above it. The gain control provides 20db of boost or cut. Electronics By employing classic circuit design, polystyrene capacitors, a gold contact ELMA gain selector and custom wound transformers, Chameleon Labs ensures that the Model 7602 MKII will exhibit classic audio sound. The Model 7602 MKII has a transformer balanced input with a range between 20dB and 80 dB of gain. The separate line input is transformer balanced and accepts input levels from -20 to +10dB. Power Options The Model 7602 MKII features two different power options: 24VAC Adapter: Each Model 7602 MKII ships with a mid-line power supply, type-dependent on country of operation. This is not a traditional "wall-wart" but simply an outboard AC transformer. DC filtering and regulation is accomplished inside the 7602 MKII itself. CPS-1 Dual Power Supply (sold separately): For users who prefer a rack-mounted power option, the 7602 MKII preamp / EQ may instead be powered by the CPS-1 Dual Power Supply. The CPS-1 is offered as an optional accessory and can provide power to two 7602 MKII units. Users will need to contact their preferred dealer to acquire the DC Cable needed to connect the CPS-1 and 7602 MKII. What Makes Chameleon Labs Different? Chameleon Labs is a new type of company, focused on delivering performance and value at a price previously thought impossible. How do they do it? By reinventing how global manufacturing is approached. Chameleon Labs engineers |
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A Designs Pacifica Solid State Stereo Microphone Preamplifier $1995 Consider the A-Designs Pacifica solid state stereo microphone preamplifier if you're ready for your first really good preamp--or the last one you may ever need. How often in life do you encounter someone or something that no one has anything bad to say about? We haven't met that "someone" yet, but the "something" is the A Designs Audio Pacifica solid state, dual-channel preamp. This Tec Award nominated beauty has won more praise from engineers and producers than just about any other preamp to hit the streets in a long, long time. A Designs Audio Pacifica, First Take: 2-channel, solid state preamp with 2 x front-panel Hi-Z inputs Custom-wound input and output transformers Captures the sound quality of the legendary Quad Eight console but with more presence and high end Balanced XLR I/O, phase reversal, -20dB pad, +48V phantom power The Sound of the '70s Reborn The 1970s was a time of great music and great change in pro audio--a golden age if you will. The introduction of "solid state" electronics led to an explosion in development and a very different sound than the tube gear of previous decades. The recording console in a high-end 1970s studio was likely a Neve, API, or Quad Eight. These companies set the standards for audio quality -- with a unique sound firmly imprinted on the popular recordings of the era. Even though the Quad Eight mysteriously faded from view, many engineers firmly believe that the Quad eight Ventura, Coronado, and Pacifica consoles were the very best sounding of the big three. Boston's "More Than a Feeling" and Pink Floyd's The Wall were mixed on a Quad Eight! But rather than just crank out another clone, A Designs Audio's Peter Montessi and audio designer Jon Erickson (who spent years bringing vintage gear back to life for LA studios), added their own touch to bring the preamps of the glory days to serve the present-day needs of the recording world. The result is the Pacifica, a fabulous-sounding preamp the captures the heart and soul of the California and takes the LA sound a step further. Custom Transformers, the Key to a Big Punchy Sound In solid-state preamp design, the key to a big punchy sound rests in the input and output transformers. (That's where you get what is known as the "big iron" sound of the '70s). To ensure top-quality sound, A Designs has their transformers custom-built by Tom Reichenbach of Cine-Mag, whose lineage extends back the days when his father Ed built transformers for Altec-Lansing in the '40s. (Ed Reichenbach was also one of the designers of the Quad Eight console on which the Pacifica is based.) Not only are the transformer hand-made, they're also ear-made" by Jon and Peter, who won't okay a transformer design until they get exactly the sound they're looking for. After extensive listening tests and redesign after redesign, they finally found the sound they were looking for. And herein is the most important distinction of the A Designs Pacifica. While its name, look, and inspiration was taken |
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Presonus Digimax D8 8-Channel Preamplifier $399.95 The DigiMax D8 is an 8-channel preamplifier featuring 8 award-winning class A XMAX mic preamps with 24-bit ADAT digital output. All eight preamps include variable trim control, 48V phantom power, ultra-fast acting LED metering and 20 dB pad. In addition, 2 instrument inputs are located on the front panel for direct Hi-Z instrument input. Balanced TRS direct analog outputs are located on the rear panel for routing and flexibility. The DigiMax D8 also includes word clock sync input for ultra-low jitter and robust synchronization.The DigiMax D8 is the perfect solution to add eight professional microphone preamplifiers to any digital recording system with ADAT optical lightpipe expansion capability including Digidesign's HD and 003 systems, RME, YAMAHA, Alesis, Mackie, and many others.8 XMAX Class A Preamplifiers |
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In the preamplifier of the microphone amplifier circuit,?
R24-C24 on the negative feedback of the OPAMP forms a low pass filter. Please explain how this low pass filter works.
As frequency rises the gain of opamp is reduced as R24-C24 is in negative feedback loop, hence forming LPF
October 25th, 2008 in
Microphones | tags: audio, diy, electronics, microphone, microphone preamplifier, microphone preamplifier circuit, microphone preamplifier ic, microphone preamplifier kit, microphone preamplifier schematic, preamp