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Price: 4395.00
€ 2599,95
Price including VAT
(Price excluding VAT: € 2184.83 )
| In Stock?: |  | | Delivery time: | 2-5 Days | | Warranty: | Official manufacturer warranty |
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 | Product SpecifiationsSpecifications
Converter performance
• Sample rate: 44.1, 48, 88.2, 96, 176.4 and 192kHz
• Bit depth: 24-bit
A/D
• Signal to Noise Ratio: 120dB measured with 20 Hz/22 kHz bandpass A-weighted filter
• Frequency Response: ±0.05 dB between 20 Hz – 20 kHz
• Maximum input level: +22 dBu
• THD+N: 0.0007% (-103 dB)
D/A
• Dynamic Range: 118 dB measured with 20 Hz/22 kHz bandpass A-weighted filter
• Frequency Response: ±0.05 dB between 20 Hz – 20 kHz
• Maximum output level: +22 dBu
• THD+N: 0.001% (-100 dB)
Jitter
• Internal Clock: less than 50 ps
• AES Output: less than 1 ns
• External Clock: less than 3 ns
Mic Pre
• Gain Range: +14 dB to +80 dB, switched in 1dB steps
• Frequency Response: Frequency response and harmonic distortion variable, set by pre-amp emulation and harmonics setting chosen (figures shown for FLAT setting with zero harmonics)
• THD+N at analogue out: 0.001% measured with a +1 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter, gain +14dB
• THD+N at AES out: 0.0007% measured with a +1 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter, gain +14dB
• Mic Noise: EIN = -128 dB measured at 60 dB of gain with 150 ohm source impedance and 20 Hz/22 kHz bandpass filter
• Noise Analogue Out: -92 dBu measured at +14 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
• Noise AES Digital Out: -119 dBFS measured at +14 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
• Maximum Input Level: +8 dBu
• Input Impedance: Variable, set by pre-amp emulation chosen
• CMRR: Electronic: greater than 85 dB @ 60 dB of gain
Line Input
• Gain Range: +32 dB to –10 dB, switched in 1 dB steps
• Frequency Response: 0 dB ±0.1 dB between 20 Hz and 20 kHz
• THD+N at analogue out: 0.001% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
• THD+N at AES out: 0.0007% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter
• Noise Analogue Out: -92 dBu measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
• Noise AES Digital Out: -120 dBFS measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter
• Maximum Input Level: +22 dBu
High Pass Filter
• Roll-off frequency: 75 Hz, frequency measured at –6 dB down point. 12 dB per octave roll-off
Harmonics
• Distortion Range: 0 to 15 where maximum (15) = 10% of 2nd-, 20% of 3rd- and 10% of 5th-order at 0dBFS (level-dependant distortion)
Rear Panel Connections
• Mic Inputs 1 to 4: XLR female
• Line Inputs 1 to 4: XLR female
• Line Outputs 1 to 4: XLR male
• AES Digital Input: XLR female
• AES Digital Outputs (CH 1+2 and CH 3+4): XLR male
• Wordclock Input: BNC, hi Z or 75 ohm input impedance (soft switchable)
• Wordclock Output: BNC, Low Z input impedance
• ADAT From Slave: Toslink optical Input socket
• ADAT Main Output and Aux Output: 2 x Toslink optical Output socket
• Ethernet Control: Ethernet (10baseT on RJ45)
• Ethersound (optional): Ethernet (RJ45)
Weight
• 5.3kg
• 11.7Ibs
Dimensions
• 484mm (W) x 85mm (H) x 270mm (D)
• 19" (W) x 3.5" (H) x 10.6" (D)
• 2U rackmount |
 Focusrite LIQUID 4PRE Four Channel Liquid Microphone Pre-amplifier with Remote control, total recall
Focusrite’s new LIQUID4PRE four-channel microphone pre-amplifier utilizes The Liquid Channel’s proven Liquid technology, marrying a hugely flexible analogue front end with cutting-edge dynamic convolution DSP to deliver the sounds of 40 vintage and classic microphone pre-amplifiers across all four channels. Augmented by fully digital controls and remote software control over Ethernet, LIQUID4PRE provides the ultimate fluid multi-channel front-end.
99 Unit Setup Memories provide full recall of every parameter across all four channels, delivering instant multiple user presets and a comprehensive backup of session settings. These memories can be managed either via the hardware, or via LIQUID4PRE’s dedicated control software, LIQUID4CONTROL. This intuitive software application places comprehensive pre-amp control inside the DAW. Communication between LIQUID4PRE and the DAW flows via Ethernet, with LIQUID4CONTROL providing comprehensive management of multiple LIQUID4PREs. A similar Pro Tools TDM/RTAS plug-in allows integrated remote control via Pro Tools hardware and software, including Icon systems, providing all the benefits of a Pro Tools TDM/RTAS plug-in, such as comprehensive automation and session integration.
The unique ‘Harmonics’ and ‘Session Saver’ features from The Liquid Channel are also provided across all four LIQUID4PRE channels. The adjustable harmonic distortion circuit accounts for variance in the vintage originals, but can also be used creatively to vary the sound of each pre-amp. Session saver is a unique automatic gain control circuit that intelligently reduces the input level to help avoid critical overs. Each channel also features a classic Focusrite high-pass filter, phantom power and phase reverse, available directly from the front fascia independently for every channel. These controls sit alongside the four large information display screens which, as well as providing in-depth information of settings, also display huge digital VU meters, providing accurate, responsive and easy-to-read metering. A further feature essential for the LIVE sound arena is ‘Operator Lock’, which guarantees secure use in public arenas by locking the front panel controls to help avoid any unwanted alteration of pre-amps settings, including gain.
AES and ADAT optical digital inputs and outputs are provided as standard to integrate with a variety of digital i/o setups. However, an optional EtherSound eight-channel card is also available, providing effective connectivity for large studios, post production installs and live sound engineers using EtherSound. Multiple unit set-ups are easily configured for remote control via LIQUID4CONTROL utilising an Ethernet hub. With a third ‘Slave’ ADAT input, audio from two LIQUID4PREs can be routed directly to a single optional EtherSound card, or at 48kHz, all eight channels can be routed to a single ADAT light-pipe output.
Finally, the Focusrite site is soon to feature its own dedicated online emulations library, ‘Liquid Assets’, which will continue to be updated with additional vintage emulations, available to the worldwide liquid community as free downloads.
Liquid Pre Technology
Rather than creating a similar sound to vintage units, as with modelling devices, Liquid Technology samples their sonic behaviour. This is achieved through Dynamic Convolution; the application of a unique, level-dependent set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate emulation.
However, Mic-pre emulation can't be achieved with software alone. Hardware is required in addition to account for the physical interaction with the microphone. Mic-pre's have always had to connect to the source microphone, but it's an interactive system that isn't 100% efficient. Mic. amps have been designed since 1920's to suit a wide variety of different types of mics.- passive carbon dynamics, then coil-based designs, then valve amplifiers, large diaphragms, phantom powered condensers etc. Hence, different vintages and types of mic. amp, will vary dramatically in terms of the way that their input has been designed. For example, the range of electronic/transformer front ends that have been used over the years exhibit a wide-ranging set of impedances, and this is why an analogue front end needs to be included. If a specific mic. is not being loaded by the analogue circuit just as it was by an original vintage device, then the sound from that microphone will be different. The is no real mic-pre standard. Take a transformer for instance. It has two coils of wire, the 1st coil generates a magnetic field, and this then passes into the 2nd coil- which in itself is not a fixed transfer mechanism, there's a lot of variation in transformers. What impedance appears at the input of the pre is also a key factor- when you connect a mic. it has an output impedance of its own. The two sides (mic. and pre) react, and frequency-related level can vary wildly as a result. Capacitances also interact as both mic and transformer have capacitances that vary, so HF roll off may occur for example, or you may get an HF peak (The famous Focusrite 'airiness' typified by the ISA range for example,) Older mics. designed for broadcast applications often roll off at e.g. 12kHz, since before 1970 few people cared about HF matters. (Designers used to just roll off at c12kHz to filter out problems above this threshold.)
Consequently, The only way to accommodate the full range of different designs is to allow huge flexibility in the resistance and capacitance parameters in a custom analogue circuit designed specifically for that flexibility. By including a 'Liquid' pre-amp circuit containing a flexible signal path and variable impedance value, Liquid 4PRE can mimic that of the classic mic-pre to ensure that the interaction with the microphone is close to the original.
Hence, The Liquid Channel physically changes analogue circuitry as well as using dynamic convolution technology to create mic-pre emulations. Focusrite has built in the variations required to reproduce the vagaries of a range of electronic mic-pres. The capacitance and resistance are then varied in the circuit, and Dynamic Convolution technology is used to emulate the full range of electronic pre's. Tube emulation is also covered 100% - this is taken care of by the Dynamic Convolution process. Whatever artefacts were present in a classic vintage tube piece are also present in The Liquid Channel. The sound of every opto, and every VCA compressor, every transformer-balanced, electronically balanced (including tube pre's) can be emulated, because each device's response has been calculated.
- 4 Liquid Pre-amps - 40 classic emulations. Focusrite's proven Liquid technology delivers unmatched sonic pre-amp variety and quality
- Remote control software via ethernet. Liquid 4CONTROL enables comprehensive standalone pre-amp control of multiple units, direct from your DAW
- Pro Tools Remote control plug-in. A TDM/RTAS Liquid 4CONTROL plug-in provides remote control as an integrated part of your Pro Tools session
-Full recall of every parameter. 99 Unit setup memories provide instant back-up of all settings, including pre-amp selection and gain.
-Adjustable harmonic distortion. Accounts for variance in vintage originals whislt providing additional variance over the sound of every pre-amp emulation.
-Optional Eight channel EtherSound output card. Effective connectivity for large studios, post production installs and live sound engineers using EtherSound.
Question about the LIQUID 4PRE Four Channel Liquid Microphone Pre-amplifier with Remote control, total recall? email
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