Focusrite Liquid 4 Pre Mic Preamp (new)

Description

Focusrite’s new LIQUID4PRE(Trademark) four-channel microphone pre-amplifier utilizes The Liquid Channel(Trademark)’s proven Liquid(Trademark) 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(Trademark). 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(Trademark) 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.

Features

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.

Specifications

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) inches
• 2U rackmount

Normal RRP £2414.99

Listing correct at time of upload errors and omissions excepted.

Payment

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Absolute Music Solutions Ltd
58 Nuffield Road
Poole
Dorset
BH17 0RT

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Shipping

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Contact us

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email: ebay@absolutemusic.co.uk
Phone: 0845 025 55 59 or 01202 688164 ( if you are calling from a mobile )

Our opening hours are:
Monday - Friday: 9.30am - 5.30pm
Saturday: 10am - 4pm

About Absolute Music Solutions

Absolute Music Solutions Ltd is based in Poole in the south coast and is dedicated to offering both the best advice and the best prices on a huge range of audio-related equipment. Our client list includes everyone from home musicians, through project recording studios and educational establishments to large commercial studios and broadcasters.

We are more than just another on-line shop, we are human beings with passion for music and a wealth of know-how and experience as well - so feel free to call us on 0845 025 5559 for advice and support.