preamp

In episode 3 of the Get To Know Your Gear series, the guys from Blorp Corp get to know/pimp the Universal Audio LA-610 Mk II Vacuum Tube Microphone/Instrument/Line Preamp.

This is a demo of the Reggae PreProcessor, a pre-processor for reggae-dub music playback soundsystem style.

Download a free demo (Windows).

via chrisatiko:

At the Winter NAMM show, Radial Engineering introduced the Tonebone PZ-Pre, a compact full-function acoustic instrument preamplifier designed for studio and live performance.

The PZ-Pre is a unique two channel pedal that is equipped with piezo acoustic input signal boosters to allow both ‘add-on’ instrument pickups and built-in, integral active preamps to be combined for a more natural rendering.

“Before we set out to build the PZ-Pre we invested a year discussing options with all types of musicians including Nashville acoustic slingers, Tennessee blue grass pickers, violinists, contra-bass players and then the many guitar technicians and sound engineers that have to deal with problems such as feedback on stage,” said Radial president Peter Janis. “Critical issues that came up time and time again were sound quality, ability to use more than one instrument at a time, quiet tuning on stage, the problems with piezo pickups, noise, feedback and robust signal distribution to the various audio points. Finally, the end product had to be small enough to fit in a gig bag so that the musician could take it on an airplane.” Read more…

Synthax Audio AG has released the new RME Micstasy high-end preamp.

Micstasy features reference quality converters and combines a number of typical RME features with a number of groundbreaking innovations. With Micstasy, not only conventional analog microphone preamps and AD-converters are a thing of the past – a lot of applications will change. In short, Micstasy is a multi-analog-input device for live, studio or installation; right up to no-compromise mobile recordings – making also surround recordings a breeze!

Micstasy can be used as an 8-channel “state of the art” mic preamp (Mic/Line In to Line Out) and a digital preamp/converter (Mic/Line In to Digital Out), with both signal paths operating simultaneously. Just passing on the amplified signals replaces the need for a splitter box on stage. Micstasy’s impressive 85dB gain range, digitally controlled in steps of 0.5dB, allows connection of all conventional analog studio signals within a range of -55dBu up to +30dBu, be it line, instrument or microphone signals.

A TRS input on the front complements the rear XLR connector. The front input receives line level signals and can be switched to a Hi-Z mode for use with instruments. Micstasy uses RME’s renowned SteadyClock technology to guarantee perfect analog to digital conversion in any clock state and independent from the external clock’s quality. The AD-converters used excel with SNRs of 120 dBA and latencies as low as 26µs (0.026ms).

Usually preamps feature limiters in order to prevent an overload, especially of the AD-converter. This is not feasible for the Micstasy, as such a limiter would ruin the excellent technical specifications of the microphone front end. However, as the gain is controlled digitally, the Micstasy can set it automatically, with a user-definable headroom of -1, -3, -6, or -12dB. RME intentionally decided to not raise the gain, AutoSet only reduces it. In an orchestral recording session, the user sets all gains to a high value and asks the conductor to let the orchestra play fortissimo. AutoSet will automatically adjust the gains by reducing them whenever the pre-defined headroom is exceeded.

Micstasy is fully remote-controllable via MIDI or MADI, allowing the device to be placed anywhere on stage or in the studio, with full control from the studio or FOH mixer. This means that microphone cables can be relatively short, ensuring high quality signals without interference.

The Micstasy is also MIDI remote compatible to Digidesign’s Pro Tools system. Supported commands from within Pro Tools: Gain, PAD, +48V, Phase, Low Cut, input front or rear, Hi Z for front.

RME´s new I64 Option Slot enables total integration of the unit in a MADI environment in combination with the I64 MADI card. More interface options are under development enabling direct connection to other interface standards.

With the new Micstasy, designing a front end system becomes easier while heavy trouble-prone analog multicores are history. A single MADI cable can transfer up to 64 channels of AES/EBU audio. Multiple Micstasys equipped with I64 MADI cards can be serially connected with one MADI cable per unit and configured to use their individual channels within the MADI stream. AutoID and Delay Compensation ensure sample-aligned operation and easy setup when designing such setups. Up to 8 Micstasys or RME´s new ADI-8 QS line converter units can thus be combined into one single 64-channel MADI stream.

Micstasy is available as the standard Micstasy version with all A/D features or also as the Micstasy M “MADI ready loaded” version with full MADI functionality on top – ready bundled with the I64 MADI card – with an attractive price advantage.

Features Overview:

• 8 high-end mic preamps with digitally controlled gain of 85dB in steps of 0.5dB allow connection of all conventional analog studio signals. Micstasy reaches full scale level at -55dBu, but can also handle a maximum input level of +30dBu!
• 8-channel high-end line amplifier, XLR and TRS input, with digital gain control (0.5dB steps).
• 8-channel AD-converter with lowest latency and high SNR, thanks to CS5381 converters. The digital outputs deliver the same signal as the line outputs.
• Flexible multi-group ganging for multiple stereo up to surround usage
• Analog outputs: max. level approx +27 dBu
• Digital outputs: D-sub connector for 4 x AES/EBU up to 192 kHz (plus one AES input as sync source). Double ADAT for 8 channels@96 kHz
• Remote control via MIDI and MADI
• All settings are stored permanently. 8 more user presets available
• I64 Option slot

Micstasy is available worldwide.

Prices:

Micstasy: Europe net retail price € 3050.- ; US retail price $ 4199

I64 MADI Card: Europe net retail price € 540.- ; US retail price $ 748

Micstasy M (MADI Version): Europe net retail price € 3330.-; US retail price $ 4599.

Violet Audio, makers of high-end audio gear, has announced the US launch of their new ADP61 24bit 192kHz Studio AV Preamp Decoder.

The new Violet Audio ADP61 Studio AV Preamp/Decoder is a “digital control hub” for professional and project studios, home theatres, and permanent installations. With a multitude of analog, digital, and S-Video inputs, the ADP61 allows remote control selection of both visual and audio signals for a wide range of source material.

“With active monitors being used more and more there was a great need for a simple all in one control unit that didn’t have a power amp built in,” said John Fuller, Product Manager for Violet Audio. “The ADP61 fills that need”. Read more…