Focusrite's new LIQUID4PRE four-channel microphone preamplifier utilizes the Liquid Channel's proven Liquid technology. It's the marriage of a hugely flexible analog front-end with cutting-edge dynamic convolution DSP to deliver the sounds of 40 vintage and classic microphone preamplifiers across all four channels. Augmented by fully digital controls and remote software control over Ethernet LIQUID4PRE provides the ultimate fluid multichannel front-end.

99 unit setup memories provide total 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 via either the hardware or 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 ProTools TDM/RTAS plug-in allows integrated remote control via ProTools hardware and software including Icon and Venue systems providing all the benefits of a ProTools 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 preamp. 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. An additional 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 preamps 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 utilizing 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 features its own dedicated online emulations library Liquid Assets which continues to be updated with additional vintage emulations available to the worldwide liquid community as free downloads.

Focusrite LIQUID4PRE 4-Channel Mic Pre-amp Specifications:

• Converter Performance
• Sample Rates: 44.1 48 88.2 96 176.4 and 192 kHz
• 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 and 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 and 20 kHz
• Maximum output level: +22 dBu
• THD+N: 0.001% (-100 dB)
  
  Jitter
• Internal Clock: <1 ns
• AES Output: <1 ns
• External Clock: <3 ns
  
  Analogue and digital paths
• Mic Pre
• Gain Range: +14 dB to +80 dB switched in 1 dB steps
• Frequency Response and harmonic distortion: Variable set by pre-amp emulation and harmonics settings chosen
• 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: >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 femaleLine 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 CAT5)
• Ethersound (optional) - Ethernet (CAT5)
  
  Weight: 5.3 kg
  
  Dimensions
• 484 mm (W) x 85 mm(H) x 270 mm (D)
• 2U rackmount