Focusrite Pro ISA TWO User's Guide
User Guide
Mode d’emploi
Bedienungsanleitung
FA0540-01
www.focusrite.com
English
IMPORTANT SAFETY INSTRUCTIONS
1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus with water.
6. Clean only with dry cloth.
7. Install in accordance with the manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers)
that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with
one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the
third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point
where they exit from the apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a
cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any
way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the
apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.
15. No naked flames, such as lighted candles, should be placed on the apparatus.
WARNING: To reduce the risk of fire or electric shock, do not expose this apparatus to rain or moisture.
It is important that the apparatus shall not be exposed to dripping or splashing and that no objects filled with liquids, such as
vases shall be placed on the apparatus.
• Do not expose this apparatus to drips or splashes.
• Do not place any objects filled with liquids, such as vases, on the apparatus.
• Do not install this apparatus in a confined space such as a bookcase or similar unit.
• Slots and openings in the cabinet are provided for ventilation and to ensure reliable operation of the product and to
protect it from overheating. Please ensure adequate space around the apparatus for sufficient ventilation. Ventilation
should not be impeded by covering the ventilation openings with items such as newspapers, tablecloths curtains etc.
• The apparatus draws nominal non-operating power from the AC outlet with its POWER switch in the off position.
• The apparatus should be located close enough to the AC outlet so that you can easily grasp the power cord plug at any
time.
• An apparatus with Class 1 construction shall be connected to an AC outlet with a protective grounding connection.
• The MAINS plug or the appliance coupler is used as the disconnect device. Either device shall remain readily operable
when the apparatus is installed for use.
• No naked flames, such as lighted candles, should be placed on the apparatus.
WARNING: Excessive sound pressure levels from earphones and headphones can cause hearing loss.
The exclamation point within an equilateral triangle is intended to
alert the user to the presence of important operating and maintenance
(servicing) instructions in the literature accompanying the appliance.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE
COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The lightning flash with arrowhead symbol, within equilateral triangle,
is intended to alert the user to the presence of uninsulated “dangerous
voltage” within the product’s enclosure that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
GB This equipment must be earthed by the power cord
FIN Laite on liitettävä suojamaadoituskoskettimilla varustettuun pistorasiaan
NOR Apparatet må kun tilkoples jordet stikkontakt
SWE Apparaten skall ansultas till jordat uttag
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ENVIRONMENTAL DECLARATION
Compliance Information Statement: Declaration of Compliance procedure
Product Identification: Focusrite ISA Two
Responsible party: American Music and Sound
Address: 5304 Derry Avenue #C
Agoura Hills,
CA 91301
Telephone: 800-994-4984
This device complies with part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) This device may not cause
harmful interference, and (2) this device must accept any interference received, including interference that may cause undesired
operation.
For USA
To the User:
1. Do not modify this unit! This product, when installed as indicated in the instructions contained in
this manual, meets FCC requirements. Modifications not expressly approved by Focusrite may void your
authority, granted by the FCC, to use this product.
2. Important: This product satisfies FCC regulations when high quality shielded cables are used to connect
with other equipment. Failure to use high quality shielded cables or to follow the installation instructions
within this manual may cause magnetic interference with appliances such as radios and televisions and
void your FCC authorization to use this product in the USA.
English
3. Note: This equipment has been tested and found to comply with the limits for a Class B digital device,
pursuant to part 15 of the FCC Rules. These limits are designed to provide reasonable protection against
harmful interference in a residential installation. This equipment generates, uses and can radiate radio
frequency energy and, if not installed and used in accordance with the instructions, may cause harmful
interference to radio communications. However, there is no guarantee that interference will not occur in a
particular installation. If this equipment does cause harmful interference to radio or television reception,
which can be determined by turning the equipment off and on, the user is encouraged to try to correct the
interference by one or more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and receiver.
• Connect the equipment into an outlet on a circuit different from that to which the receiver
is connected.
• Consult the dealer or an experienced radio/TV technician for help.
For Canada
To the User:
This Class B digital apparatus complies with Canadian ICES-003.
Cet appareil numérique de la classe B est conforme à la norme NMB-003 du Canada.
RoHS Notice
Focusrite Audio Engineering Limited has conformed and [its/this] product[s] conform[s], where applicable, to the European Union’s
Directive 2002/95/EC on Restrictions of Hazardous Substances (RoHS) as well as the following sections of California law which refer to
RoHS, namely sections 25214.10, 25214.10.2, and 58012, Health and Safety Code; Section 42475.2, Public Resources Code.
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English
TABLE OF CONTENTS
IMPORTANT SAFETY INSTRUCTIONS .............................................. 2
TABLE OF CONTENTS ........................................................... 4
OVERVIEW..................................................................... 5
Introduction .................................................................5
Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5
Box Contents ................................................................5
GETTING STARTED AND POWERING UP ............................................6
HARDWARE FEATURES.......................................................... 7
Front Panel..................................................................7
Front Panel Sections ..........................................................7
Rear Panel .................................................................10
Rear Panel Sections .........................................................10
APPLICATIONS ................................................................12
Switchable Impedance: In Depth Explanation ....................................12
EXAMPLE OF USAGE ...........................................................14
SPECIFICATIONS .............................................................. 15
Performance Specifications ...................................................15
Physical and Electrical Characteristics..........................................17
WARRANTY...................................................................18
ACCURACY ...................................................................18
COPYRIGHT .................................................................. 18
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OVERVIEW
Introduction
The ISA Two provides two of Focusrite’s prestigious transformer-based microphone preamps. It
features the same classic circuitry and renowned audio quality found in the original at a new level
of affordability. With selectable input impedance, direct instrument inputs and insert points, the ISA
Two creates the perfect front end for the discerning recording professional.
First introduced in 1985, the ISA microphone preamp holds a reputation for outstanding transparency
along with subtle warmth contributed by transformer core saturation. The addition of a variable
impedance circuit allows ISA users to perfectly match the preamp with any microphone, or to use
different settings creatively to shape the sound of the microphone. Unchanged for decades, the ISA
microphone preamp topology offers incredible clarity and the signature Focusrite sound that makes
it the top choice among many audio professionals today.
Features
• Two ISA series transformer-based preamps
• Selectable input impedance
• Two front panel instrument inputs
• Dedicated analogue insert points
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• Variable high pass filter
Box Contents
• ISA Two
• IEC Power cable
• Printed User Guide in English, French and German
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English
GETTING STARTED AND POWERING UP
The ISA Two is a high quality two-channel preamplifier, which can be used to record microphone,
line-level and instrument sources. Microphones and line-level sources are connected at the rear
panel, whilst instruments are plugged directly into the front panel. The front panel also has gain
controls and other controls such as phantom power and input impedance selection. LED peak meters
are provided, with a calibration control at the rear panel, to ensure a suitable signal level is achieved.
An on-off switch on the front panel applies power to the unit, providing the supplied IEC mains lead is
connected to the socket on the rear. Please make sure that the ISA Two is turned on before powering
any devices connected to the outputs.
The IEC mains lead supplied with the unit should have the correct moulded plug for your country.
The wiring colour code used is:
Live Neutral Earth
For units shipped to the USA, Canada, Taiwan and Japan: Black White Green
For units shipped to any other country: Brown Blue Green and Yellow
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HARDWARE FEATURES
Front Panel
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3 86
1 10 1112 7 2 4 95
3 86
1 107 2 4 95
1. Input switch: selects the input source (mic, line or instrument)
2. Gain control: sets the gain of the input signal in stepped values of 10 dB
3. 30-60 switch: selects the range of the Gain control (0 to +30 dB, or +30 to +60 dB). The default
range is 0 to +30 dB
4. Trim control: allows an additional 20 dB of gain to be applied to a mic/line-level signal, or can
be used as a gain control for the Instrument Inputs
5. Phantom power switch: supplies +48 V to the corresponding mic input on the rear panel
6. Z In switch: sets the mic input impedance to 600 Ω (Low), 1.4 kΩ (ISA 110), 2.4 kΩ (Med) or
6.8 kΩ (High)
7. Phase switch: inverts the phase of the signal
8. Filter switch: activates a high pass filter (HPF)
9. Filter control: selects the frequency of the high pass filter between 16 Hz-420 Hz
10. Insert: allows the signal to be sent to additional external processors (via the send and return
connectors on the rear panel) prior to the output
11. Peak LED meters: show the main output levels in dBFS
12. Instrument Inputs: for connecting high impedance instruments such as guitars
Front Panel Sections
Input (1)
Pressing Input steps through each of the three inputs, as indicated by the corresponding LEDs.
When the Mic LED is lit, the microphone input is active. An XLR input for a microphone, as well as
3-pole (TRS) ¼” inputs for line-level sources, can be found on the rear panel. A 2-pole (TS) ¼” input
for an instrument (DI) is available on the front panel.
Mic input gain (2)
With the mic input selected, the user has access to the full gain range in 10 dB steps from 0 dB to
+60 dB. The range of operation of the gain control is determined by the setting of the mic gain range
switch (3) - see following page:
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English
Mode 1: Mic Gain Range 0-30
With the 30-60 switch (3) off, the stepped Gain control operates over a gain range of 0 dB to +30
dB, the gain setting being indicated on the front panel by the outer arc of numbers around the Gain
control.
Mode 2: Mic Gain Range 30-60
With the 30-60 switch (3) on (illuminated), the stepped gain dial operates over a gain range of +30 dB
to +60 dB, the gain setting being indicated on the front panel by the outer arc of numbers around the
gain knob. An additional 20 dB of gain can be applied to the signal after the mic/line stepped gain
control using the Trim control (4). (See Trim control text below for a full explanation).
Line Input Gain (2)
With the line input selected, the user has access to gain settings from –20 dB to +10 dB in 10 dB
steps, indicated on the front panel by the inner arc of numbers around the stepped gain knob. The
30-60 switch (3) is inactive when the line input is selected. An additional 20 dB of gain can be applied
to the signal after the stepped mic/line gain using the Trim control (4). (See the Trim control text
below for a full explanation.)
Trim - Mic or Line Modes (4)
The Trim control provides additional gain of up to +20 dB when mic or line inputs are selected. The
level of trim chosen is indicated on the front panel by the inner arc of numbers around the trim
knob. The additional 20 dB of gain that can be applied to the mic or line signal is very useful for two
reasons:
• When high gain is required - using trim in conjunction with a mic gain of +60 dB gives a
maximum available gain of +80 dB, making it very useful for getting good digital recording
levels from very low output dynamic and ribbon microphones.
• Gain adjustment during recording - when small amounts of gain adjustment are needed to
correct performance level variations during recording, use the Trim control rather than the
stepped mic/line Gain control, as switching the 10 dB gain steps would be too intrusive. It is
therefore good practice to apply some trim before using the 10 dB stepped gain control to find
the optimum recording level so that the Trim control can be used to gently add or reduce gain
later, if so required.
Trim - Inst Input Mode (4)
The Trim control provides variable gain of +10 dB to +40 dB when instrument mode is selected. The
level of trim chosen is indicated on the front panel by the outer arc of numbers around the Trim
control. Please note that the stepped Gain control (2) is not active in instrument mode, and gain is
only provided by the Trim control.
+48V (5)
Pressing the +48V switch (illuminated when active) provides phantom power, as required by
condenser microphones, at the rear panel XLR microphone connector. If you are unsure whether
your microphone requires phantom power, refer to its handbook, as it is possible to damage some
microphones (most notably ribbon microphones) by applying phantom power to them.
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Z In - Input Impedance (6)
Pressing the Z In switch steps through each of the four transformer preamp input impedance values,
as indicated by the corresponding LEDs. By selecting different values for the impedance of the ISA
Two transformer input (mic or line), the performance of both the ISA Two preamp and the microphone
connected can be tailored to set the desired level and frequency response.
The impedance values are as follows:
• Low – 600 Ω
• ISA 110 – 1.4 kΩ
• Med – 2.4 kΩ
• High – 6.8 kΩ
Phase (7)
Pressing the Phase switch (illuminated when active) inverts the phase of the selected input to correct
phase problems when using multiple microphones, or when incorrect wiring polarity has occurred.
Filter (8)
Pressing the Filter switch (illuminated when active) makes the high pass filter active in the audio
path. This is useful for removing any unwanted bass caused by proximity effect or rumble.
English
High Pass Filter Control (9)
The high pass filter is adjustable between 16 Hz and 420 Hz, with an 18 dB/octave roll-off.
Insert (10)
Pressing the Insert switch (illuminated when active) routes the insert return socket to the output
instead of the direct mic, line or instrument signal. The input signal is permanently routed to the
insert send output on the rear panel. Insert allows the input signal to be routed to other hardware
for processing before returning back into the ISA Two.
Metering (11)
ISA Two’s two front panel LED meters display the peak level at the output, after any insert processors,
and are calibrated to meter the dBFS scale.
Calibration
The LED meters can be calibrated using the PEAK METER CALIBRATION control on the rear panel
(see the Rear Panel diagram for the exact location) enabling the 0 dBFS point on the LED meters to
correspond with that on an external A/D converter. The meters are calibrated in the following way:
LED Meters
To calibrate the LED meters, use the rear panel PEAK METER CALIBRATION control. With the control
in the default central (‘detented’) position, 0 dBFS is equivalent to an analogue audio level of +22 dBu.
Rotating the control in either direction sets a new value for 0 dBFS from +16 dBu (fully anticlockwise)
to +24 dBu (fully clockwise). When performing a factory reset, the peak meter calibration control
must be in the central (‘detented’) position.
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English
Rear Panel
3
157 24
36
1. MIC INPUT (female XLR)
2. LINE INPUT (3-pole ¼”- TRS)
3. Insert SEND: sends the main mic/line/inst input for additional signal processing (3-pole ¼”TRS)
4. Insert RETURN: for externally processed signals - the Insert switch (10) on the front panel
should be active when in use (3-pole ¼”- TRS)
5. OUTPUT: the main mic/line/inst input signal, or the return signal when active, as selected by
the input switch on the front panel (male XLR)
6. PEAK METER CALIBRATION: allows calibration of the peak meters (see Metering for details)
7. Mains IEC connector
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Rear Panel Sections
Analogue Inputs
The MIC INPUT and LINE INPUT can be used to connect an analogue source to the ISA Two. Phantom
power can be applied to the MIC INPUT connector by enabling the +48V switch. Note that phantom
power can be applied to the connector whether or not a microphone is connected, and is not recalled
after a power cycle. If you are unsure whether your microphone requires phantom power, refer to
its handbook. It is possible to damage some microphones (most notably ribbon microphones) by
providing phantom power to them.
Line-level signals use a balanced jack connector. Once connected, set the Input switch on the front
panel to Line.
Analogue Outputs
The analogue outputs at the rear of ISA Two use male XLR connectors.
Insert
The two insert connectors are for sending the selected signal to an external processor, such as a
compressor, and returning the processed signal back into the ISA Two. Connect SEND to the input of
the external processor and RETURN to the output of the processor, preferably with balanced cables
as both connectors are ¼” 3-pole TRS jacks. Make sure that the Insert switch is activated on the
front panel if using the insert facility.
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Setting a Microphone Level
To record a microphone signal using the ISA Two:
1. Using an XLR cable connect the microphone to one of the MIC INPUTS on the rear panel.
2. Select Mic as the input source using the Input switch.
3. If required, activate phantom power using the +48V switch. If you are unsure whether your
microphone requires phantom power, refer to its handbook. It is possible to damage some
microphones (most notably ribbon microphones) by providing phantom power to them.
4. Set the gain of the microphone using the Gain and Trim controls on the front panel while
observing the LED meter. The stepped gain sets the level in 10 dB steps, with Trim providing
a further 20 dB. If the level is too low, use the 30-60 switch to increase the gain range.
5. Use the Z In switch to adjust the input impedance (see “Mic Preamp Input Impedance” on
page 12 for details).
6. Activate the Phase and Filter switches if required.
7. The microphone signal will then be sent to the corresponding rear panel OUTPUT connector.
Setting a Line-level Signal
To record a line-level signal with the ISA Two:
1. Connect the line-level signal, using a ¼” 3-pole TRS jack cable, to one of the rear panel LINE
INPUTS.
English
2. Select Line as the input source using the front panel Input switch.
3. Set the gain of the line-level signal using the Gain and Trim controls on the front panel while
observing the LED meter. The stepped gain sets the level in 10 dB steps, with Trim providing
a further 20 dB. The 30-60 switch does not affect the line input.
4. The line-level signal signal will then be sent to the corresponding rear panel OUTPUT
connector.
Using the Instrument Input
To record a guitar, bass or other similar instrument with the ISA Two:
1. Plug the instrument directly into one of the Instrument Inputs on the front panel.
2. Select Inst as the input source using the front panel Input switch.
3. Set the gain of the instrument using the Trim control and observing the LED meter.
4. The instrument signal will then be sent to the corresponding rear panel OUTPUT connector.
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English
APPLICATIONS
Mic Preamp Input Impedance
A major element of the sound of a mic preamp is related to the interaction between the specific
microphone being used and the type of mic preamp circuit it is connected to. This interaction primarily
affects the level and frequency response of the microphone, as follows:
Level
A professional microphone tends to have a low output impedance and so more level can be achieved
with this type of microphone by selecting the higher impedance positions of the ISA Two mic preamp.
Frequency response
Microphones with defined presence peaks and tailored frequency responses can be further
‘enhanced’ by choosing different impedance settings. Choosing higher input impedance values will
tend to emphasise the high frequency response of the microphone connected, allowing you to get
improved ambient information and high-end clarity, even from average-performance microphones.
Various microphone/ISA Two preamp impedance combinations can be tried to achieve the appropriate
amount of colouration for the instrument or voice being recorded. To understand how to use the
impedance selection creatively, it may be useful to read the following section on how the microphone
output impedance and the mic preamp input impedance interact.
Switchable Impedance: In Depth Explanation
Dynamic moving coil and condenser microphones
Almost all professional dynamic and condenser microphones are designed to have a relatively low
nominal output impedance of between 150 Ω and 300 Ω at 1 kHz. Microphones are designed to have
such low output impedances because the following advantages result:
• They are less susceptible to noise pickup
• They can drive long cables without high frequency roll-off due to cable capacitance
The side effect of having such a low output impedance is that the mic preamp input impedance has
a major effect on the output level of the microphone. Low preamp impedance loads the microphone
output voltage, and emphasises any variation of mic output impedance with frequency. Matching the
mic preamp input impedance to the microphone output impedance (e.g., making a preamp input
impedance 200 Ω to match a 200 Ω microphone) still reduces the microphone output and signal-tonoise ratio by 6 dB, which is undesirable.
To minimise microphone loading, and to maximise signal-to-noise ratio, preamps have traditionally
been designed to have an input impedance about ten times greater than the average microphone,
around 1.2 kΩ to 2 kΩ. (The original Focusrite ISA 110 preamp design followed this convention and
has an input impedance of 1.4 kΩ at 1 kHz.) Input impedance settings greater than 2 kΩ tend to
make the frequency-related variations of microphone outputs less significant than at low impedance
settings. Therefore high input impedance settings yield a microphone performance that is flatter
in the low and mid frequency areas and boosted in the high frequency area when compared to low
impedance settings.
Ribbon microphones
The impedance of a ribbon microphone is worthy of special mention, as this type of microphone is
affected enormously by mic preamp impedance. The ribbon impedance within this type of microphone
is incredibly low, around 0.2 Ω, and requires an output transformer to convert the extremely low
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voltage it can generate into a signal capable of being amplified by a mic preamp. The ribbon
microphone output transformer typically has a ratio of around 1:30 (primary: secondary) to increase
the ribbon voltage to a useful level, and this transformer ratio also has the effect of increasing the
output impedance of the mic to around 200 Ω at 1 kHz. This transformer impedance, however, varies
greatly with frequency - it can almost double at some frequencies (known as the resonance point)
and tends to roll off to very small values at low and high frequencies.
Therefore, as with the dynamic and condenser microphones, the mic preamp input impedance has
an effect on the signal levels and frequency response of the ribbon microphone output transformer,
and thus the ‘sound quality’ of the microphone. It is recommended that a mic preamp connected to
a ribbon microphone should have an input impedance of at least 5 times the nominal microphone
impedance.
For a ribbon microphone impedance of 30 Ω to 120 Ω, the input impedance of 600 Ω (Low) will work
fine. For 120 Ω to 200 Ω ribbon microphones, the input impedance setting of 1.4 kΩ (ISA 110) is
recommended.
Impedance Setting Quick Guide
In general, the following selections will yield these results:
High mic preamp impedance settings
• will generate more overall level
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• will tend to make the low- and mid-frequency response of the microphone flatter
• will improve the high-frequency response of the microphone
Low mic preamp impedance settings
• will reduce the microphone output level
• will tend to emphasise the low- and mid-frequency presence peaks and resonant points of
the microphone
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EXAMPLE OF USAGE
Recording an analogue vocal signal to a DAW
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SPECIFICATIONS
Performance Specifications
Maximum Input and Output Levels
+24 dBu with a THD+N < 0.01% at 1kHz measured with 0 dBu input
Maximum Output Level
level, with 150 Ω source impedance and 22Hz/22kHz band-pass
filter
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Maximum Microphone
Transformer Input Level
Mic Input Response
Gain range
Input Impedance
EIN
(Equivalent Input Noise)
Noise
+7 dBu with a THD+N < 0.7% at 1kHz measured at 0 dB of gain with
150 Ω source impedance and 22Hz/22kHz band-pass filter
0 dB to +60 dB in 10 dB steps, plus 0 dB to +20 dB continuously
variable trim
Low = 600 Ω
Switched Impedance setting
Equivalent Input Impedance at 1 kHz
Measured at 60 dB of gain with 150 Ω
source impedance and 22 Hz-22 kHz
band pass filter
Noise at output with unity gain (0 dB)
and 22 Hz-22 kHz band pass filter
ISA 110 = 1.4 kΩ
Med = 2.4 kΩ
High = 6.8 kΩ
-127 dB
-97 dBu
Signal-to-Noise Ratio
Total Harmonic Distortion
+ Noise
Measured with 150 Ω source impedance
and 22 Hz-22 kHz band pass filter
Measured with a -20 dBu input signal at
+30 dB of gain and with a 22 Hz-22 kHz
band pass filter
121 dB relative to max
output +24 dBu
< 0.0007% at 1 kHz
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English
Frequency Response
At minimum gain (0 dB)
At maximum gain (+60 dB)
-0.5 dB at 10 Hz,
-1 dB at 135 kHz, relative
to 1 kHz
-6 dB at 10 Hz,
-1 dB at 115 kHz, relative
to 1 kHz
CMRR (Common Mode
Rejection Ratio)
Crosstalk Channel to
Channel
-94 dB for mic input at 60 Hz for max. output = +24 dBu
-91 dB for mic input at 10 kHz for max. output = +24 dBu
Mic input, with I/P = 0 dBu, gain = 0 dB @ 1 kHz input to channel A,
channel B output = -85 dB
Line Input Response
Gain Range
Input Impedance 10 kΩ from 10 Hz to 200 kHz
Noise
Signal-to-Noise Ratio
-20 dB to +10 dB in 10 dB steps, plus 0 dB to +20 dB continuously
variable trim
Noise at main output with gain at unity
(0 dB) measured with 50 Ω source
impedance and a 22Hz - 22 kHz band
pass filter
Measured with 50 Ω source impedance
and a 22 Hz-22 kHz band pass filter
-97 dBu
121 dB relative to max
output +24 dBu
Total Harmonic Distortion
+ Noise
Frequency Response At unity gain (0 dB)
Crosstalk Channel to
Channel
Measured with a 0 dBu input signal,
+10 dB of gain and a 22 Hz-22 kHz band
pass filter
Line input, with I/P = 0 dBu, gain = 0dB
@ 1 kHz input to channel A
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< 0.002% at 1 kHz
-0.3 dB at 10 Hz,
-1 dB at 80 kHz, relative
to 1 kHz
Channel B output
= -91 dB
Instrument Input Response
Gain Range +10 dB to +40 dB continuously variable trim
Input Impedance > 2 MΩ
English
Noise
Frequency Response
Measured with 22 Hz-22 kHz
band pass filter
At minimum gain (+10 dB)
At maximum gain (+40 dB)
Minimum gain (+10 dB) = -95 dBu
-0.1 dB at 10 Hz,
-1 dB at 115 kHz, relative to 1 kHz
-2.5 dB at 10 Hz,
-1 dB at 110 kHz, relative to 1 kHz
High Pass Filter
Roll-Off 18 dB per octave (3 pole filter)
Frequency Range Continuously variable from 16 Hz to 420 Hz (-3 dB)
Physical and Electrical Characteristics
Weight and Dimensions
W x D x H 480 mm x 280 mm x 44 mm
Weight 3.7 kg
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