40 Classic Mic Pres and 40 Vintage Compressors!
The Focusrite Liquid Channel is a revolutionary professional channel strip that can precisely replicate virtually any classic mic-pre and compressor ever made! Combining radical new analog pre-amp technology with special Dynamic Convolution techniques, the Liquid Channel fuses cutting-edge analog design with lightning fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid Channel provides the ultimate fluid vintage collection.
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Focusrite Liquid Channel at a Glance:- Replicates behavior of vintage units for authentic sound
- True analog preamp stages with both transformer and electronic impedance matching
- Special harmonic distortion control lets you match your favorite preamp
- Digital processing with 192kHz sample rate ability
- Expansion and remote control options
Liquid technology for accurate sound replication
Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behavior. This is achieved through Dynamic Convolution - the application of a unique, level-dependant 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 replication.
Liquid pre-amplification
Mic-pre replication can't be achieved with software alone. Hardware is required in addition to account for the physical interaction with the microphone. As a result, Focusrite invested vast amounts of time and energy into designing and building the ultimate 'liquid' preamplifier, able to match the input impedance and signal path (transformer or electronic) of the device being replicated.
Not all vintage units are born equal
Second order harmonic distortion is a beneficial artifact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved "warmth." However, often two units of the same type will vary in the amount of second order distortion produced, so an additional control for modifying this vintage property is provided. This allows for precise matching of the Liquid Channel to your own beloved mic-pre.
The best of both worlds - analog and digital
The Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilizes lightning-fast SHARC chips and runs at sample rates of up to 192kHz. The front panel controls are digital, with tactile rotary encoders; all parameters can be stored in one of 99 program memories. At the press of button, you can reload all mic-pre, compressor and EQ settings for an individual session. If using the Liquid Channel in conjunction with a recording platform (e.g. Pro Tools), both the session files and The Liquid Channel's program memory can be sent via standard data transfer methods, providing a completely mobile recording session. Perfectly replicated vintage classics with the power and ease of use of the digital domain.
Infinite expansion and remote control
The USB port on the rear panel allows remote control of The Liquid Channel, leaving the processor safely racked away. But that's not all. The software application also serves as an archiving system for additional replicas and program memories, and permits downloads of additional classic units. So, the Liquid Channel is infinitely expandable.
- Digital convertor with 44.1, 48, 88.2, 96, 176.4 and 192kHz sample rates
- 24-bit resolution
- 120 dB signal-to-noise ratio measured with 20 Hz/22 kHz bandpass A-weighted filter
- Frequency response +/-0.05 dB between 20Hz - 20kHz
- Maximum input level +22 dBu
- Total Harmonic Distortion + Noise 0.00035% (-109 dB)
- Dynamic range 116 dB measured with 20 Hz/22 kHz bandpass A-weighted filter
- Extremely low jitter - internal clock: <20 pico-seconds, AES digital output: <200 pico-seconds, external clock: <1 nano-second
- Mic preamps with gain range +6 dB to +80 dB, switched in 1 dB steps
- Frequency response is variable, set by pre-amp chosen
- Mic noise: EIN = -126 dB measured at 80 dB of gain with 150 ? source impedance and 20 Hz/22 kHz bandpass filter
- Noise at analog out: -92 dBu measured at +6 dB gain with 20 Hz/22 kHz bandpass
- A-weighted filter
- Noise at AES digital out: -119 dBfs measured at + 6dB gain with 20 Hz/22 kHz bandpass A-weighted filter
- Maximum input level: +16 dBu
- Line input with gain range -10 dB to +10 dB, switched in 1 dB steps
- High pass filter with roll off frequency switchable between 75 Hz and 120 Hz, frequency measured at -6 dB down point, 12 dB per octave roll-off
- Harmonics with controllable distortion range: 0 to 15 where 15 (maximum) = 10% of 2nd-, 20% of 3rd- and 10% of 5th-order at 0dBfs (level-dependent distortion)
- Compressor: in "As Original" mode the parameter ranges will be the same as on the original unit being replicated. In "Free" mode the parameter ranges are: Threshold range: -40 db to 20 dB switched in 1 dB steps; Ratio range: 1:1 to limit; Attack range: 0.1 mS to 2.5 S; Release range: 0.1 mS to 2.5 S
- Make-up gain: -20 dB to +20 dB switched in 0.5dB steps
- High Shelf, Mid Band and Low Shelf EQ
