Phoenix Ascent Mic Preamp/DIs
A Versatile, Modern Class-A Mic Preamp/DIAvailable in mono (1/2RU), dual mono (1RU) or with EQ in both mono & dual mono the Phoenix Ascent Mic Preamp/DIs take a modern approach to Class-A circuit design that delivers a wide range of tones without sacrificing the beloved vibe of true Class-A design. The unique Ascent circuit can go from ultra-clean sounds suitable for audiophile recordings all the way to the warm, saturated tones reminiscent of the UK's most heralded vintage designs. Versatility and superior sound have made the Ascent Preamp/DI a top-tier choice for engineers around the world and a modern day classic.Hi-Fi Transformerless Mic Input StageOur exclusive electronically-balanced, transformerless mic input circuit delivers fast transients and the full frequency spectrum (from sub-bass to the highest air band), while still delivering the full, warm and smooth characteristics that make engineers love Class-A mic preamps. Boldly outperforming transformer-based designs in both the frequency response and slew rate, the Ascent delivers articulate, punchy and full-bodied input signals, allowing you to drive the output stage for a vast range of pure Class-A tones—from bold clarity to vintage warmth, and everything in-between. With a very high mic impedance of 10K, it is the perfect companion for ribbon mics and dynamics mic that often need specialist mic pre amps, the Shure SM7B particularly shines.Legendary Transformer-Balanced Output StageOur custom-wound DB694 output transformer is coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is a direct descendent of the venerable TF1 amp which Phoenix's head-designer, David Rees, developed as an upgrade for vintage Neve modules. Going beyond the TF1, the DSOP2 is the pinnacle of Class-A output circuit design, offering up a smooth transition from ultra-clean to beautifully saturated tones. Ultra-High Impedance DI CircuitThe Ascent mic pre series include very high input impedance DI circuits (10Mohm)—remarkably featuring no FETs—on every channel. This design means that guitar and bass pickups are not loaded, allowing the natural sound of both modern and vintage instruments to shine and actually enhancing the sound, sparkle and growl as if they were plugged into your favorite amp. Synths, drum machines, and even laptops can likewise be sweetened by the Ascent's DI.Easy and Intuitive In The StudioBecause you're working with a clean, robust, electronically-balanced input signal, the Ascent Mic Preamp/DI makes dialing in your exact sound easy, intuitive and quick. By working the familiar stepped input gain control (up to 70db alone) and the -30dB pad against the variable output fader (which provides an additional 10dB of gain), you can dial in your preferred tones without having to consider an overly complex gain architecture. It's all about driving the versatile DSOP-2 output stage to your exacting tastes, whatever they may be in any given moment. Like so many other engineers, you'll find yourself reaching for the Ascent Mic Preamp/DI over and over again to reliably deliver a vast array of outstanding sounds for any instrument or voice you're recording.
Vari-Filter Control
Powerful variable high pass filter from 70hz to 400hz allowing you the ability to control and shape tones of all types
Features of Ascent Mic Preamp/DI
Phoenix Audio's unique Class A, transformerless, true-balanced mic input stage
Phoenix Audio's transformer-balanced DSOP-2 Class-A discrete output stage with custom wound DB694 output transformer
Wired with PTFE silver plated military grade cable
-15dB input pad
LED Gain Metering
Push buttons: Hi-Pass, Phase Reverse, Switchable 48V phantom power on push-button switch
High Pass Filter on Push-button Switch (Roll-off -12dB per octave @ 80Hz)
Phase Reverse on Push-Button Switch
Mic Pre Gain Range: -30 to -70 in 5dB steps With 10dB more available on the detented ouput fader.
Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz
Frequency response Class A (DSOP-2) output stage: 20Hz to 20kHz +- 0.5dB, Maximum
Phoenix Ascent Mic Preamp/DIs
A Versatile, Modern Class-A Mic Preamp/DIAvailable in mono (1/2RU), dual mono (1RU) or with EQ in both mono & dual mono the Phoenix Ascent Mic Preamp/DIs take a modern approach to Class-A circuit design that delivers a wide range of tones without sacrificing the beloved vibe of true Class-A design. The unique Ascent circuit can go from ultra-clean sounds suitable for audiophile recordings all the way to the warm, saturated tones reminiscent of the UK's most heralded vintage designs. Versatility and superior sound have made the Ascent Preamp/DI a top-tier choice for engineers around the world and a modern day classic.Hi-Fi Transformerless Mic Input StageOur exclusive electronically-balanced, transformerless mic input circuit delivers fast transients and the full frequency spectrum (from sub-bass to the highest air band), while still delivering the full, warm and smooth characteristics that make engineers love Class-A mic preamps. Boldly outperforming transformer-based designs in both the frequency response and slew rate, the Ascent delivers articulate, punchy and full-bodied input signals, allowing you to drive the output stage for a vast range of pure Class-A tones—from bold clarity to vintage warmth, and everything in-between. With a very high mic impedance of 10K, it is the perfect companion for ribbon mics and dynamics mic that often need specialist mic pre amps, the Shure SM7B particularly shines.Legendary Transformer-Balanced Output StageOur custom-wound DB694 output transformer is coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is a direct descendent of the venerable TF1 amp which Phoenix's head-designer, David Rees, developed as an upgrade for vintage Neve modules. Going beyond the TF1, the DSOP2 is the pinnacle of Class-A output circuit design, offering up a smooth transition from ultra-clean to beautifully saturated tones. Ultra-High Impedance DI CircuitThe Ascent mic pre series include very high input impedance DI circuits (10Mohm)—remarkably featuring no FETs—on every channel. This design means that guitar and bass pickups are not loaded, allowing the natural sound of both modern and vintage instruments to shine and actually enhancing the sound, sparkle and growl as if they were plugged into your favorite amp. Synths, drum machines, and even laptops can likewise be sweetened by the Ascent's DI.Easy and Intuitive In The StudioBecause you're working with a clean, robust, electronically-balanced input signal, the Ascent Mic Preamp/DI makes dialing in your exact sound easy, intuitive and quick. By working the familiar stepped input gain control (up to 70db alone) and the -30dB pad against the variable output fader (which provides an additional 10dB of gain), you can dial in your preferred tones without having to consider an overly complex gain architecture. It's all about driving the versatile DSOP-2 output stage to your exacting tastes, whatever they may be in any given moment. Like so many other engineers, you'll find yourself reaching for the Ascent Mic Preamp/DI over and over again to reliably deliver a vast array of outstanding sounds for any instrument or voice you're recording.Features of Ascent Mic Preamp/DI
Phoenix Audio's unique Class A, transformerless, true-balanced mic input stage
Phoenix Audio's transformer-balanced DSOP-2 Class-A discrete output stage with custom wound DB694 output transformer
Wired with PTFE silver plated military grade cable
-15dB input pad
LED Gain Metering
Push buttons: Hi-Pass, Phase Reverse, Switchable 48V phantom power on push-button switch
High Pass Filter on Push-button Switch (Roll-off -6dB per octave @ 80Hz)
Phase Reverse on Push-Button Switch
Mic Pre Gain Range: -30 to -70 in 5dB steps With 10dB more available on the detented ouput fader.
Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz
Frequency response Class A (DSOP-2) output stage: 20Hz to 20kHz +- 0.5dB, Maximum
Phoenix Ascent Gyrator EQs
An EQ As Versatile As It Is UniquePhoenix Audio's Ascent Gyrator EQ is one of today's most unique and musical EQs, allowing an incredible variety of sounds useful for everything from clean high-headroom mix buss tone shaping to deep frequency carving to smooth Class-A circuit saturation. Available either in our remarkable mono or dual mono Class-A Ascent Mic Preamp/DIs in a stereo 1RU unit, the Ascent Gyrator EQ is as powerful as it is fun to use.4-Bands of GyrationThe Gyrator EQ was first developed during what most consider the golden age of solid-state analog audio design: the 1970s. Originally designed to emulate the characteristics of an active inductor EQ (think Neve, API), the Gyrator EQ uses a rather clever combination of an amplifier, resistors and capacitors to accomplish incredibly smooth and musical frequency modifications. The modern-day Phoenix Ascent Gyrator EQ gives you High, High-Mid, Low-Mid and Low frequency bands, each notched to proven frequencies from a shimmering 25kHz on down to a thumping 40Hz. There's also a high pass filter at 80Hz, which can eliminate rumble or be used "against" low-end boosts for an extra range of unique EQ curves (think: Pultec). Even at extreme boosts and cuts, the Ascent Gyrator EQ's uniquely musical filters maintain the core quality of your original signal, allowing you to make bold, gut-level EQ moves that won't sound harsh, slurred or out of phase. Used more subtly, these four filters are capable of highly coherent tone shaping suitable for full mixes and mastering.Driving the Output Circuit for More Tone ShapingPhoenix Audio's renown DSOP-2 output amplifier, with its custom-wound transformer, is able to deliver everything from ultra-clean signals with abundant headroom to fat, fully saturated tones. By lowering the input attenuator and boosting the output signal, one can drive the DSOP-2 output stage for a wide variety of lush, Class-A saturation. Or, do the opposite—back off on the output while boosting the input—and you'll get huge, clean, hi-fi tones. Many engineers even use the Ascent Gyrator EQ completely flat in order to simply add the musicality of our proprietary amplifier circuits.Versatile And Effortless, Day After DayThe Ascent Gyrator EQ is a powerfully versatile, high-quality studio tool. Unlike many Class-A EQs that just do "their thing" due to inherent distortion characteristics, the Ascent Gyrator EQ keeps the input signal clean, making it possible for the engineer to keep tones transparent or saturate them to taste. Importantly, doing so is effortless and intuitive due to the Ascent Gyrator's straight-forward design and unerring musicality. Those who own this EQ tell us that it quickly becomes their "go to EQ"—used effortlessly every day across a vast variety of instruments, voices and full mixes.
Sheen Control
Our new sheen control brings life and vitality to your vocals and instruments by adding a super high freqency boost or cut and adding a sheen.
Features
2 formats
Ascent One EQ - Gyrator EQ with Preamp/DI: Stereo 1RU with our Ascent Series Preamp/DI.
Ascent Two EQ Gyrator EQ with Preamp/DI: Mono 1/2RU with our Ascent Series Preamp/DI.
4 Bands of Gyrator EQ + High-Pass Filter
High – 15K, 10K, 25K 'sheen band' (shelving EQ)
Hi Mid – 6K, 3K, 1K6 (Bell curve EQ)
Low Mid – 800Hz, 400Hz, 200Hz (Bell curve EQ)
Low – 130Hz, 80Hz, 40Hz (shelving EQ)
High Pass Filter at 80Hz, 12dB/octave
EQ Cut/Boost Levels
16dB Cut/Boost Per Band
all EQ bands are stepped/detented to 21 positions for easy recall & stereo operations for mastering or the mix bus.
Phoenix Audio's Class-A DSOP-2 Output Amplifier with custom-wound transformer.
Phoenix Ascent Mic Preamp/DIs
A Versatile, Modern Class-A Mic Preamp/DIAvailable in mono (1/2RU), dual mono (1RU) or with EQ in both mono & dual mono the Phoenix Ascent Mic Preamp/DIs take a modern approach to Class-A circuit design that delivers a wide range of tones without sacrificing the beloved vibe of true Class-A design. The unique Ascent circuit can go from ultra-clean sounds suitable for audiophile recordings all the way to the warm, saturated tones reminiscent of the UK's most heralded vintage designs. Versatility and superior sound have made the Ascent Preamp/DI a top-tier choice for engineers around the world and a modern day classic.Hi-Fi Transformerless Mic Input StageOur exclusive electronically-balanced, transformerless mic input circuit delivers fast transients and the full frequency spectrum (from sub-bass to the highest air band), while still delivering the full, warm and smooth characteristics that make engineers love Class-A mic preamps. Boldly outperforming transformer-based designs in both the frequency response and slew rate, the Ascent delivers articulate, punchy and full-bodied input signals, allowing you to drive the output stage for a vast range of pure Class-A tones—from bold clarity to vintage warmth, and everything in-between. With a very high mic impedance of 10K, it is the perfect companion for ribbon mics and dynamics mic that often need specialist mic pre amps, the Shure SM7B particularly shines.Legendary Transformer-Balanced Output StageOur custom-wound DB694 output transformer is coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is a direct descendent of the venerable TF1 amp which Phoenix's head-designer, David Rees, developed as an upgrade for vintage Neve modules. Going beyond the TF1, the DSOP2 is the pinnacle of Class-A output circuit design, offering up a smooth transition from ultra-clean to beautifully saturated tones. Ultra-High Impedance DI CircuitThe Ascent mic pre series include very high input impedance DI circuits (10Mohm)—remarkably featuring no FETs—on every channel. This design means that guitar and bass pickups are not loaded, allowing the natural sound of both modern and vintage instruments to shine and actually enhancing the sound, sparkle and growl as if they were plugged into your favorite amp. Synths, drum machines, and even laptops can likewise be sweetened by the Ascent's DI.Easy and Intuitive In The StudioBecause you're working with a clean, robust, electronically-balanced input signal, the Ascent Mic Preamp/DI makes dialing in your exact sound easy, intuitive and quick. By working the familiar stepped input gain control (up to 70db alone) and the -30dB pad against the variable output fader (which provides an additional 10dB of gain), you can dial in your preferred tones without having to consider an overly complex gain architecture. It's all about driving the versatile DSOP-2 output stage to your exacting tastes, whatever they may be in any given moment. Like so many other engineers, you'll find yourself reaching for the Ascent Mic Preamp/DI over and over again to reliably deliver a vast array of outstanding sounds for any instrument or voice you're recording.
Vari-Filter Control
Powerful variable high pass filter from 70hz to 400hz allowing you the ability to control and shape tones of all typesFeatures of Ascent Mic Preamp/DI
Phoenix Audio's unique Class A, transformerless, true-balanced mic input stage
Phoenix Audio's transformer-balanced DSOP-2 Class-A discrete output stage with custom wound DB694 output transformer
Wired with PTFE silver plated military grade cable
-15dB input pad
LED Gain Metering
Push buttons: Hi-Pass, Phase Reverse, Switchable 48V phantom power on push-button switch
High Pass Filter on Push-button Switch (Roll-off -12dB per octave @ 80Hz)
Phase Reverse on Push-Button Switch
Mic Pre Gain Range: -30 to -70 in 5dB steps With 10dB more available on the detented ouput fader.
Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz
Frequency response Class A (DSOP-2) output stage: 20Hz to 20kHz +- 0.5dB, Maximum
Overview
Phoenix Ascent Mic Preamp/DIs
A Versatile, Modern Class-A Mic Preamp/DIAvailable in mono (1/2RU), dual mono (1RU) or with EQ in both mono & dual mono the Phoenix Ascent Mic Preamp/DIs take a modern approach to Class-A circuit design that delivers a wide range of tones without sacrificing the beloved vibe of true Class-A design. The unique Ascent circuit can go from ultra-clean sounds suitable for audiophile recordings all the way to the warm, saturated tones reminiscent of the UK's most heralded vintage designs. Versatility and superior sound have made the Ascent Preamp/DI a top-tier choice for engineers around the world and a modern day classic.Hi-Fi Transformerless Mic Input StageOur exclusive electronically-balanced, transformerless mic input circuit delivers fast transients and the full frequency spectrum (from sub-bass to the highest air band), while still delivering the full, warm and smooth characteristics that make engineers love Class-A mic preamps. Boldly outperforming transformer-based designs in both the frequency response and slew rate, the Ascent delivers articulate, punchy and full-bodied input signals, allowing you to drive the output stage for a vast range of pure Class-A tones—from bold clarity to vintage warmth, and everything in-between. With a very high mic impedance of 10K, it is the perfect companion for ribbon mics and dynamics mic that often need specialist mic pre amps, the Shure SM7B particularly shines.Legendary Transformer-Balanced Output StageOur custom-wound DB694 output transformer is coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is a direct descendent of the venerable TF1 amp which Phoenix's head-designer, David Rees, developed as an upgrade for vintage Neve modules. Going beyond the TF1, the DSOP2 is the pinnacle of Class-A output circuit design, offering up a smooth transition from ultra-clean to beautifully saturated tones. Ultra-High Impedance DI CircuitThe Ascent mic pre series include very high input impedance DI circuits (10Mohm)—remarkably featuring no FETs—on every channel. This design means that guitar and bass pickups are not loaded, allowing the natural sound of both modern and vintage instruments to shine and actually enhancing the sound, sparkle and growl as if they were plugged into your favorite amp. Synths, drum machines, and even laptops can likewise be sweetened by the Ascent's DI.Easy and Intuitive In The StudioBecause you're working with a clean, robust, electronically-balanced input signal, the Ascent Mic Preamp/DI makes dialing in your exact sound easy, intuitive and quick. By working the familiar stepped input gain control (up to 70db alone) and the -30dB pad against the variable output fader (which provides an additional 10dB of gain), you can dial in your preferred tones without having to consider an overly complex gain architecture. It's all about driving the versatile DSOP-2 output stage to your exacting tastes, whatever they may be in any given moment. Like so many other engineers, you'll find yourself reaching for the Ascent Mic Preamp/DI over and over again to reliably deliver a vast array of outstanding sounds for any instrument or voice you're recording.Features of Ascent Mic Preamp/DI
Phoenix Audio's unique Class A, transformerless, true-balanced mic input stage
Phoenix Audio's transformer-balanced DSOP-2 Class-A discrete output stage with custom wound DB694 output transformer
Wired with PTFE silver plated military grade cable
-15dB input pad
LED Gain Metering
Push buttons: Hi-Pass, Phase Reverse, Switchable 48V phantom power on push-button switch
High Pass Filter on Push-button Switch (Roll-off -6dB per octave @ 80Hz)
Phase Reverse on Push-Button Switch
Mic Pre Gain Range: -30 to -70 in 5dB steps With 10dB more available on the detented ouput fader.
Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz
Frequency response Class A (DSOP-2) output stage: 20Hz to 20kHz +- 0.5dB, Maximum
Phoenix Ascent Gyrator EQs
An EQ As Versatile As It Is UniquePhoenix Audio's Ascent Gyrator EQ is one of today's most unique and musical EQs, allowing an incredible variety of sounds useful for everything from clean high-headroom mix buss tone shaping to deep frequency carving to smooth Class-A circuit saturation. Available either in our remarkable mono or dual mono Class-A Ascent Mic Preamp/DIs in a stereo 1RU unit, the Ascent Gyrator EQ is as powerful as it is fun to use.4-Bands of GyrationThe Gyrator EQ was first developed during what most consider the golden age of solid-state analog audio design: the 1970s. Originally designed to emulate the characteristics of an active inductor EQ (think Neve, API), the Gyrator EQ uses a rather clever combination of an amplifier, resistors and capacitors to accomplish incredibly smooth and musical frequency modifications. The modern-day Phoenix Ascent Gyrator EQ gives you High, High-Mid, Low-Mid and Low frequency bands, each notched to proven frequencies from a shimmering 25kHz on down to a thumping 40Hz. There's also a high pass filter at 80Hz, which can eliminate rumble or be used "against" low-end boosts for an extra range of unique EQ curves (think: Pultec). Even at extreme boosts and cuts, the Ascent Gyrator EQ's uniquely musical filters maintain the core quality of your original signal, allowing you to make bold, gut-level EQ moves that won't sound harsh, slurred or out of phase. Used more subtly, these four filters are capable of highly coherent tone shaping suitable for full mixes and mastering.Driving the Output Circuit for More Tone ShapingPhoenix Audio's renown DSOP-2 output amplifier, with its custom-wound transformer, is able to deliver everything from ultra-clean signals with abundant headroom to fat, fully saturated tones. By lowering the input attenuator and boosting the output signal, one can drive the DSOP-2 output stage for a wide variety of lush, Class-A saturation. Or, do the opposite—back off on the output while boosting the input—and you'll get huge, clean, hi-fi tones. Many engineers even use the Ascent Gyrator EQ completely flat in order to simply add the musicality of our proprietary amplifier circuits.Versatile And Effortless, Day After DayThe Ascent Gyrator EQ is a powerfully versatile, high-quality studio tool. Unlike many Class-A EQs that just do "their thing" due to inherent distortion characteristics, the Ascent Gyrator EQ keeps the input signal clean, making it possible for the engineer to keep tones transparent or saturate them to taste. Importantly, doing so is effortless and intuitive due to the Ascent Gyrator's straight-forward design and unerring musicality. Those who own this EQ tell us that it quickly becomes their "go to EQ"—used effortlessly every day across a vast variety of instruments, voices and full mixes.
Sheen Control
Our new sheen control brings life and vitality to your vocals and instruments by adding a super high freqency boost or cut and adding a sheen.
Features
2 formats
Ascent One EQ - Gyrator EQ with Preamp/DI: Stereo 1RU with our Ascent Series Preamp/DI.
Ascent Two EQ Gyrator EQ with Preamp/DI: Mono 1/2RU with our Ascent Series Preamp/DI.
4 Bands of Gyrator EQ + High-Pass Filter
High – 15K, 10K, 25K 'sheen band' (shelving EQ)
Hi Mid – 6K, 3K, 1K6 (Bell curve EQ)
Low Mid – 800Hz, 400Hz, 200Hz (Bell curve EQ)
Low – 130Hz, 80Hz, 40Hz (shelving EQ)
High Pass Filter at 80Hz, 12dB/octave
EQ Cut/Boost Levels
16dB Cut/Boost Per Band
all EQ bands are stepped/detented to 21 positions for easy recall & stereo operations for mastering or the mix bus.
Phoenix Audio's Class-A DSOP-2 Output Amplifier with custom-wound transformer.
Phoenix DRS Mic Preamp/DIs
A Versatile, Modern Class-A Mic Preamp/DIAvailable in mono (1/2RU or 500-series), stereo (1RU) or in 8-channels (2RU), the Phoenix DRS Mic Preamp/DIs take a modern approach to Class-A circuit design that delivers a wide range of tones without sacrificing the beloved vibe of true Class-A design. The unique DRS circuit can go from ultra-clean sounds suitable for audiophile recordings all the way to the warm, saturated tones reminiscent of the UK's most heralded vintage designs. Versatility and superior sound have made the DRS Preamp/DI a top-tier choice for engineers around the world and a modern day classic.Hi-Fi Transformerless Mic Input StageOur exclusive electronically-balanced, transformerless mic input circuit delivers fast transients and the full frequency spectrum (from sub-bass to the highest air band), while still delivering the full, warm and smooth characteristics that make engineers love Class-A mic preamps. Boldly outperforming transformer-based designs in both the frequency response and slew rate, the DRS delivers articulate, punchy and full-bodied input signals, allowing you to drive the output stage for a vast range of pure Class-A tones—from bold clarity to vintage warmth, and everything in-between. With a very high mic impedance of 10K, it is the perfect companion for ribbon mics and dynamics mic that often need specialist mic pre amps, the Shure SM7B particularly shines.Legendary Transformer-Balanced Output StageOur custom-wound DB694 output transformer is coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is a direct descendent of the venerable TF1 amp which Phoenix's head-designer, David Rees, developed as an upgrade for vintage Neve modules. Going beyond the TF1, the DSOP2 is the pinnacle of Class-A output circuit design, offering up a smooth transition from ultra-clean to beautifully saturated tones. Ultra-High Impedance DI CircuitThe DRS-1, DRS-2, DRS-8 and DRS1R-500 include very high input impedance DI circuits (10Mohm)—remarkably featuring no FETs—on every channel. This design means that guitar and bass pickups are not loaded, allowing the natural sound of both modern and vintage instruments to shine and actually enhancing the sound, sparkle and growl as if they were plugged into your favorite amp. Synths, drum machines, and even laptops can likewise be sweetened by the DRS's DI.Easy and Intuitive In The StudioBecause you're working with a clean, robust, electronically-balanced input signal, the DRS Mic Preamp/DI makes dialing in your exact sound easy, intuitive and quick. By working the familiar stepped input gain control (up to 70db alone) and the -30dB pad against the variable output fader (which provides an additional 10dB of gain), you can dial in your preferred tones without having to consider an overly complex gain architecture. It's all about driving the versatile DSOP-2 output stage to your exacting tastes, whatever they may be in any given moment. Like so many other engineers, you'll find yourself reaching for the DRS Mic Preamp/DI over and over again to reliably deliver a vast array of outstanding sounds for any instrument or voice you're recording.Features of DRS Mic Preamp/DI
Phoenix Audio's unique Class A, transformerless, true-balanced mic input stage
Phoenix Audio's transformer-balanced DSOP-2 Class-A discrete output stage with custom wound DB694 output transformer
Wired with PTFE silver plated military grade cable
-30dB input pad
High Pass Filter: -6dB per octave @ 120Hz
LED Gain Metering
Push buttons: Hi-Pass, 48v, Phase Reverse, Switchable 48V phantom power on push-button switch
High Pass Filter on Push-button Switch (Roll-off -6dB per octave @ 120Hz)
Phase Reverse on Push-Button Switch
Mic Pre Gain Range: -30 to -70 in 5dB steps With 10dB more available on the ouput fader.
Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz
Frequency response Class A (DSOP-2) output stage: 20Hz to 20kHz +- 0.5dB, Maximum
24v built PSU so you can feel the sound of the 'true' unit and not be limited by the limitions of running at 16v which is the standard Lunchbox voltage.
Overview
Phoenix DRS Mic Preamp/DIs
A Versatile, Modern Class-A Mic Preamp/DIAvailable in mono (1/2RU or 500-series), stereo (1RU) or in 8-channels (2RU), the Phoenix DRS Mic Preamp/DIs take a modern approach to Class-A circuit design that delivers a wide range of tones without sacrificing the beloved vibe of true Class-A design. The unique DRS circuit can go from ultra-clean sounds suitable for audiophile recordings all the way to the warm, saturated tones reminiscent of the UK's most heralded vintage designs. Versatility and superior sound have made the DRS Preamp/DI a top-tier choice for engineers around the world and a modern day classic.Hi-Fi Transformerless Mic Input StageOur exclusive electronically-balanced, transformerless mic input circuit delivers fast transients and the full frequency spectrum (from sub-bass to the highest air band), while still delivering the full, warm and smooth characteristics that make engineers love Class-A mic preamps. Boldly outperforming transformer-based designs in both the frequency response and slew rate, the DRS delivers articulate, punchy and full-bodied input signals, allowing you to drive the output stage for a vast range of pure Class-A tones—from bold clarity to vintage warmth, and everything in-between. With a very high mic impedance of 10K, it is the perfect companion for ribbon mics and dynamics mic that often need specialist mic pre amps, the Shure SM7B particularly shines.Legendary Transformer-Balanced Output StageOur custom-wound DB694 output transformer is coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is a direct descendent of the venerable TF1 amp which Phoenix's head-designer, David Rees, developed as an upgrade for vintage Neve modules. Going beyond the TF1, the DSOP2 is the pinnacle of Class-A output circuit design, offering up a smooth transition from ultra-clean to beautifully saturated tones. Ultra-High Impedance DI CircuitThe DRS-1, DRS-2, DRS-8 and DRS1R-500 include very high input impedance DI circuits (10Mohm)—remarkably featuring no FETs—on every channel. This design means that guitar and bass pickups are not loaded, allowing the natural sound of both modern and vintage instruments to shine and actually enhancing the sound, sparkle and growl as if they were plugged into your favorite amp. Synths, drum machines, and even laptops can likewise be sweetened by the DRS's DI.Easy and Intuitive In The StudioBecause you're working with a clean, robust, electronically-balanced input signal, the DRS Mic Preamp/DI makes dialing in your exact sound easy, intuitive and quick. By working the familiar stepped input gain control (up to 70db alone) and the -15dB pad against the variable output fader (which provides an additional 10dB of gain), you can dial in your preferred tones without having to consider an overly complex gain architecture. It's all about driving the versatile DSOP-2 output stage to your exacting tastes, whatever they may be in any given moment. Like so many other engineers, you'll find yourself reaching for the DRS Mic Preamp/DI over and over again to reliably deliver a vast array of outstanding sounds for any instrument or voice you're recording.Features of DRS Mic Preamp/DI
Phoenix Audio's unique Class A, transformerless, true-balanced mic input stage
Phoenix Audio's transformer-balanced DSOP-2 Class-A discrete output stage with custom wound DB694 output transformer
Wired with PTFE silver military grade cable
-15dB input pad
High Pass Filter: -6dB per octave @ 80Hz
LED Gain Metering
Push buttons: Hi-Pass, 48v, Phase Reverse, Switchable 48V phantom power on push-button switch
High Pass Filter on Push-button Switch (Roll-off -6dB per octave @ 80Hz)
Phase Reverse on Push-Button Switch
Mic Pre Gain Range: -30 to -70 in 5dB steps With 10dB more available on the ouput fader.
Output = +26dBu @ 1kHz, Noise = -90dB @ 20Hz to 20kHz.
Frequency Response Mic Input Stage: -0.4dB @ 40Hz, -0.3dB @ 25kHz
Frequency response Class A (DSOP-2) output stage: 20Hz to 20kHz +- 0.5dB, Maximum
Phoenix Gyrator EQ/500
An EQ As Versatile As It Is UniquePhoenix Audio's Gyrator EQ is one of today's most unique and musical EQs, allowing an incredible variety of sounds useful for everything from clean high-headroom mix buss tone shaping to deep frequency carving to smooth Class-A circuit saturation. Available either as a mono 500-series module (running at 24v) or coupled to two of our remarkable Class-A Ascent Mic Preamp/DIs in a stereo 1RU unit, the Gyrator EQ is as powerful as it is fun to use.4-Bands of GyrationThe Gyrator EQ was first developed during what most consider the golden age of solid-state analog audio design: the 1970s. Originally designed to emulate the characteristics of an active inductor EQ (think Neve, API), the Gyrator EQ uses a rather clever combination of an amplifier, resistors and capacitors to accomplish incredibly smooth and musical frequency modifications. The modern-day Phoenix DRS Gyrator EQ gives you High, High-Mid, Low-Mid and Low frequency bands, each notched to proven frequencies from a shimmering 15kHz on down to a thumping 40Hz. There's also a high pass filter at 80Hz, which can eliminate rumble or be used "against" low-end boosts for an extra range of unique EQ curves (think: Pultec). Even at extreme boosts and cuts, the Gyrator EQ's uniquely musical filters maintain the core quality of your original signal, allowing you to make bold, gut-level EQ moves that won't sound harsh, slurred or out of phase. Used more subtly, these four filters are capable of highly coherent tone shaping suitable for full mixes and mastering.Driving the Output Circuit for More Tone ShapingPhoenix Audio's renown DSOP-2 output amplifier, with its custom-wound transformer, is able to deliver everything from ultra-clean signals with abundant headroom to fat, fully saturated tones. By driving the output attenuator, one can drive the DSOP-2 output stage for a wide variety of lush, Class-A saturation. Many engineers even use the Gyrator EQ completely flat in order to simply add the musicality of our proprietary amplifier circuits.Versatile And Effortless, Day After DayThe Gyrator EQ is a powerfully versatile, high-quality studio tool. Unlike many Class-A EQs that just do "their thing" due to inherent distortion characteristics, the Gyrator EQ keeps the input signal clean, making it possible for the engineer to keep tones transparent or saturate them to taste. Importantly, doing so is effortless and intuitive due to the DRS Gyrator's straight-forward design and unerring musicality. Those who own this EQ tell us that it quickly becomes their "go to EQ"—used effortlessly every day across a vast variety of instruments, voices and full mixes.
Sheen Control
Sheen control adds a beautiful breath and presense to vocals and instruments which need to come to life, with 16db control this gives great flexibility & power to really boost this or to cut if unwanted HF is present.
Features
2 formats
Gyrator/500 Gyrator EQ 500: mono 500 series without Preamp/DI (operates at 24v)
Ascent Two EQ Gyrator EQ with Preamp/DI: Stereo 1RU with our Ascent Series Preamp/DI.
Ascent One EQ Gyrator EQ with Preamp/DI: Mono 1/2RU with our Ascent Series Preamp/DI.
4 Bands of Gyrator EQ + High-Pass Filter
High – 25K (sheen) 15K, 10K, (shelving EQ)
Hi Mid – 6K, 3K, 1K6 (Bell curve EQ)
Low Mid – 800Hz, 400Hz, 200Hz (Bell curve EQ)
Low – 130Hz, 80Hz, 40Hz (shelving EQ)
High Pass Filter at 80Hz, 12dB/octave
EQ Cut/Boost Levels
16dB Cut/Boost Per Band
all EQ bands are stepped/detented to 21 positions for easy recall & stereo operations for mastering or the mix bus.
Gyrator-EQ/500 has an overall stepped output level with +15db of additional gain even while the EQ is in bypass, allowing the output fader to be used to drive the output stage & transformer to colour & saturate your sound, again even when the EQ is in bypass.
Phoenix Audio's Class-A DSOP-2 Output Amplifier with custom-wound transformer.
24v built PSU so you can feel the sound of the 'true' unit and not be limited by the limitions of running at 16v which is the standard Lunchbox voltage.
The Phoenix N8 is the eight channel version of our ever popular Nice DI
8 Channels of Class A active DI
1U chassis & lockable external PSU
Jack & through jack on every channel
8 channel Main outputs on D-sub
8 channel Monitor outputs on D-sub
15db pad on every channel
Phase reverse on every channel
Individual ground earth lift switch on every channel
Overview
Today's Music Demands More and Better DIsThe Phoenix Audio pure Class-A DI was so popular in our DRS Series Mic Preamps that we've made it available in two stand alone versions: the 2-channel (1/2RU) Nice DI and the 8-channel N8 (1RU). Over the past decade or so, the need for more DIs has skyrocketed as instrumentation has incorporated more and more electronic elements. From elaborate analog synth rigs, to multiple laptops, to loop-stations and more, getting excellent tone from multiple DIs is more important today than ever. With their unique gain architecture, Phoenix's Nice DIs intuitively offer up a wide array of tones, such that working with a direct signal takes on the artistry we tend to associate only with working with mic'd signals.Pure Class-A Tone at InputThe Nice DIs are built around a fully discrete Class-A circuit design, all hand-wired with military-grade silver connections into rugged and portable steel boxes. Our transformerless, ultra-high impedance (10Mohm) input stage assures that your signals are delivered into the circuit in their full glory. No treble roll off, or sluggish bass response as is rampant with so many DIs. Instead, you'll hear the full-bodied, punchy sounds necessary for delivering the powerful, often bombastic and complex, signals of modern music. Guitars and basses will sing; lush synths will swarm; hard-hitting drum machines will thump and crack—each sound rendered with its transients and full frequency spectrum in tact.Versatile Transformer-Balanced OutputThe output stage of the Nice DIs uses Phoenix Audio's renown DSOP-2, an all discrete output amp based on head-designer Dave Rees's infamous TF1 amp (which he developed for use in vintage Neve modules). With its custom-wound DB694 transformer and enormous headroom, the DSOP-2 can be driven to taste. Deliver more gain to achieve a beautifully saturated sound, back off for a cleaner, hi-fi sound, or choose any flavor in-between. And because these DIs can accept unbalanced line level or levels up to 0db you can use the N8, for example, anywhere a line-amp is necessary: along side your console, in a live setting, or simply in any patch to pick up that Class-A tone. With an easily recalled stepped gain control on every channel, dialing in your exact sound is a breeze. You'll find these to be the most musical, intuitive and versatile DIs you've ever used, capable of breathing new life into any direct injected signal.
Features :
Phoenix's famous Class A, discrete, transformerless input stage, offering ultra-high impedance (10Mohm) inputs
Our proven and loved Class A, discrete DSOP-2 output with custom-wound DB694 transformer
Stepped output pots for each channel with huge gain range
Pad on every channel (15db) with illuminated switch
Phase reverse on every channel with illuminated switch
Earth ground lift on every channel with illuminated switch
Inputs: 1/4″ jack (TS) input on the front panel
Inputs: 1/4″ jack (TS) through on the front panel
N8
8 channels of DI
Will accept balanced line level for processing of unbalanced signals or can act as a balanced line amp
1U chassis rack space, perfect for studio and live applications
8 x Balanced main outputs on D-sub (Tascam DA88 wired)
8 x Balanced monitor outputs on D-sub (Tascam DA88 wired)
External 24v PSU with lockable connector
Inputs: 1/4″ jack (TS) input on the front panel
Inputs: 1/4″ jack (TS) through on the front panel
Overview
A Truly Musical Compressor/GateIn a world now crowded with compressors—most of them emulating vintage designs, with the rest, it seems, dead set on destroying dynamics—the Phoenix Audio N90-DRC/500 stands out as a decidedly musical compressor with a refreshingly unique design. Phoenix Audio developed this circuit over 20 years ago, and the thoughtful design reflects the subtler, more tasteful approach to compression from that bygone era. Though the N90 can be pushed to offer up wonderful sonic artifacts, it truly excels at the delicate (and increasingly rare) craft of transparent, musical dynamic control and gating.A Forgiving and Intuitive Class-A CircuitThe N90's 100% Class-A circuit is built around our wide-open sounding transfomerless input stage and beloved DSOP-2 output amplifier with our custom-wound DB694 output transformer. While appearing quite elaborate, using the compressor/gate functions of the N90 is a forgiving and intuitive experience—especially given that this is a solid-state compressor. The ease of use is due to the gradual and progressive behavior of the N90's unique control circuit. Gain reduction begins well below, and continues beyond, the threshold, so you'll never hear a sudden "grabby" change in dynamics. Instead, you'll easily dial in fluid dynamic control while simultaneously picking up the rich, lush tone of the N90's discrete Class-A circuit.But You Can Still Push ItWith ratios ranging from 2:1 to 8:1, the N90 is clearly designed for mellow, transparent compression. However, the higher ratios do offer up a fair amount of "limiter style" artifacts, especially when you switch the attack to "fast" and begin to manually manipulate the compressor's release time. Further, by driving more signal into the N90, a wide range of tones can be derived from the DSOP-2 output stage—from crystal clean to warm, pure Class-A analog saturation. Perhaps most importantly, the N90 makes a smooth transition from transparent to more obvious compression andoutput stage saturation, meaning that it's never a fussy or sensitive task to dial in your desired sound. From the subtlest gain control to lush Class-A artifacts—not to mention the flexible gate circuit—the N90-DRC/500 is one of the most versatile dynamic control units ever produced.A Gate You'll Actually UseWith the advent of digital's nearly inaudible noise floor, gating is something of a lost art. However, having been designed just before the industry largely abandoned analog tape, the N90 houses one of the most advanced, musical analog gates ever conceived. Similar to the compressor section, the N90's gate is intended to be subtle and musical. Its release function is actually a combination of a "hold time" followed by a "fade time," making the N90's gate adept at everything from standard noise gating to even more subtle control of ambience levels relative to main signal. There is also an external key input, allowing you to trigger the gate with an external signal. With the N90's gate at your fingertips, you'll discover (or perhaps rediscover) the subtle art of analog gating.Link Up To 8 UnitsUp to eight N90-DRC/500s can be linked together, allowing the compressor and gate functions to be controlled from just one of the units. This link functionality opens up a whole world of possibilities, from simpler stereo set-ups to far more elaborate scenarios where multiple channels are triggered by external key inputs. Almost anything you can dream up can be done with multiple N90s on hand.Compressor Functions at a Glance
Threshold — from +10 to -30, this is an intuitive and predictable threshold setting that never grabs your signal suddenly
Ratio — from a mere 1.5:1 up to 8:1, the ratios are mellow and widely variable.
Release — either gain-dependent auto setting or variable release from ultra-fast 0.1 sec up to 3 sec.
Fast — toggles the attack time from normal (15ms) to fast (1ms)
Make-Up Gain — up to +15dB of make-up gain is available (post-gate)
Gate Functions at a Glance
Threshold — from +10 to -40
Key: switches between input signal and an external "key" signal to trigger the gate detector
Release: from 0.1 seconds to 2 seconds with unique hold-then-fade topology
24v built PSU so you can feel the sound of the 'true' unit and not be limited by the limitions of running at 16v which is the standard Lunchbox voltage.
Phoenix Nicerizer
AN EVOLUTION OF THE LEGENDARY TONE MACHINE
Analog Summing In The Digital Age
Recording software companies brag about their “mixer,” but discerning engineers won’t settle for in-the-box mixing when the dimension, punch, and articulation of analog summing can vastly improve their productions. Phoenix’s Nicerizer series summing mixers incorporate features and circuitry that have made it a legendary tone machine.
A Summing Mixer (not Amplifier)
The distinction between a stereo mixer and a summing amplifier is important when considering your hybrid analog/digital rig. In essence, a mixer incorporates a fuller range of features. The Nicerizer is decidedly a mixer, pulling crucial elements such as circuit overdrive and panning back into the analog realm where they truly outperform their digital emulations. Our dented pan-pots are unmatched for both precision stereo placement and ease of recall, and they are a key ingredient the huge, open sound of the Nicerizer.
Driving a Versatile, Class-A Input Circuit with our 'Drive Technology'With the Nicerizer, Phoenix takes a modern approach to Class-A circuit design. Our unique transformerless input stage delivers the full frequency spectrum with unrivaled clarity and punch. Transformers slow things down, which can be great in some cases, but if you’re stuck with transformers, then you’re stuck with slower transients (slew-rates), limiting the range of tonalities. Our electronically balanced input stage can be driven modestly for ultra-clear hi-fi sound, or you can engage the drive switch on any of the 16 channel individually to drive the circuit for a fatter, more saturated sound that only Discrete Class-A buffer amps annd custom wound output transformers can deliver.Legendary Transformer-Balanced Output StageOnce mixed, the stereo signal hits a pair of our custom-wound DB694 output transformer, which we’ve coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is the result of Phoenix's head-designer David Rees’ forward-thinking solutions for upgrading vintage Neve consoles. Improve on Neve? Indeed, the DSOP-2 represents the pinnacle of Class-A output circuits, offering a smooth transition from ultra-clean to beautifully saturated tones.Extra Features That Quickly Become Essentials
Stereo Width Control—The Nicerizer’s width control uses elements of Mid/Side processing to offer your mixes a narrower or wider image simply by turning a knob. Mix engineers who haven’t used a width control often don’t realize what they’re missing: a level of spacial manipulation that can unlock hidden dimensions or tighten up a sprawling production.
Balanced, Unbalanced: No Problem—The Nicerizer’s 16 individual inputs can accept both balanced and unbalanced signals without any of the gain loss typical on most mixer inputs. This is an increasingly useful feature as looping through guitar pedals and even recording midi-driven analog synths in real time while mixing are fast becoming standard practices.
Stereo Bus Insert—Strap any balanced or unbalanced gear onto the main mix bus for added control. A common practice today while mixing is to strap a bus compressor, and often an eq, onto the stereo bus, yet mastering engineers will also love this feature when working with stems.
Independently Controlled Aux Output—Just before hitting the output transformers, we have grabbed an output signal and assigned it to its own front-panel level control. Drive external monitoring amps, or simple bypass our output stage for a transfomerless sound to your final capture device.
2T Return—Another feature that makes the Nicerizer a true mixer is the 2-track input, allowing you to monitor an external output source through the onboard headphone amplifier.
Monitor Select Switch—An industry first, this switch allows you to monitor single pairs of channels (1-2, 3-4, etc), as well as any of the other stereo ports on the Nicerizer. Infinitely useful for a multitude of workflows, this switch is the sleeping giant of the mixer, ready to unleash all kinds of creative uses, from doing individual stem work to comparing reference mixes to allowing direct comparison of many analog sources.
Monitor Select Switch Toggle—Once you’ve chosen which input pair you’d like to monitor via the Monitor Select Switch, the Toggle lets you monitor either the Left or Right channels in mono (sent to both channels) on the headphone amp, or to monitor in stereo. Forensic analysis of your audio signals has never been easier.
LED Meters—Following the Monitor Select Switch, our LED meter array will give you constant visual confirmation of your operating levels. Indispensable for managing gain as you finalize your productions.
At a Glance
The Nicerizer 16 is a 16 Channel DAW Summing Mixer
2U 19″ rack mountable
Transformerless Balanced Class A Discrete Line Input Technology
16 Channels
Stereo LED level monitoring
Transformer Balanced Class A Outputs
Balanced XLR’s
Class A characteristics
16 x detented Pan pots
Overview
Phoenix Nicerizer 16 MkII
A LEGENDARY TONE MACHINE
Analog Summing In The Digital Age
Recording software companies brag about their “mixer,” but discerning engineers won’t settle for in-the-box mixing when the dimension, punch, and articulation of analog summing can vastly improve their productions. Phoenix’s Nicerizer series summing mixers incorporate features and circuitry that have made it a legendary tone machine.
A Summing Mixer (not Amplifier)
The distinction between a stereo mixer and a summing amplifier is important when considering your hybrid analog/digital rig. In essence, a mixer incorporates a fuller range of features. The Nicerizer is decidedly a mixer, pulling crucial elements such as circuit overdrive and panning back into the analog realm where they truly outperform their digital emulations. Our dented pan-pots are unmatched for both precision stereo placement and ease of recall, and they are a key ingredient the huge, open sound of the Nicerizer.
Driving a Versatile, Class-A Input CircuitWith the Nicerizer, Phoenix takes a modern approach to Class-A circuit design. Our unique transformerless input stage delivers the full frequency spectrum with unrivaled clarity and punch. Transformers slow things down, which can be great in some cases, but if you’re stuck with transformers, then you’re stuck with slower transients (slew-rates), limiting the range of tonalities. Our electronically balanced input stage can be driven modestly for ultra-clear hi-fi sound, or you can engage a +8db switch on any channel individually to drive the circuit for a fatter, more saturated sound that only Discrete Class-A buffer amps can deliver.Legendary Transformer-Balanced Output StageOnce mixed, the stereo signal hits a pair of our custom-wound DB694 output transformer, which we’ve coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. The DSOP-2 is the result of Phoenix's head-designer David Rees’ forward-thinking solutions for upgrading vintage Neve consoles. Improve on Neve? Indeed, the DSOP-2 represents the pinnacle of Class-A output circuits, offering a smooth transition from ultra-clean to beautifully saturated tones.Extra Features That Quickly Become Essentials
Width Control—The Nicerizer’s width control uses elements of Mid/Side processing to offer your mixes a narrower or wider image simply by turning a knob. Mix engineers who haven’t used a width control often don’t realize what they’re missing: a level of spacial manipulation that can unlock hidden dimensions or tighten up a sprawling production.
Balanced, Unbalanced: No Problem—The Nicerizer’s 16 individual inputs can accept both balanced and unbalanced signals without any of the gain loss typical on most mixer inputs. This is an increasingly useful feature as looping through guitar pedals and even recording midi-driven analog synths in real time while mixing are fast becoming standard practices.
Stereo Bus Insert—Strap any balanced or unbalanced gear onto the main mix bus for added control. A common practice today while mixing is to strap a bus compressor, and often an eq, onto the stereo bus, yet mastering engineers will also love this feature when working with stems.
Independently Controlled Aux Output—Just before hitting the output transformers, we have grabbed an output signal and assigned it to its own front-panel level control. Drive external monitoring amps, or simple bypass our output stage for a transfomerless sound to your final capture device.
2T Return—Another feature that makes the Nicerizer a true mixer is the 2-track input, allowing you to monitor an external output source through the onboard headphone amplifier.
Monitor Select Switch—An industry first, this switch allows you to monitor single pairs of channels (1-2, 3-4, etc), as well as any of the other stereo ports on the Nicerizer. Infinitely useful for a multitude of workflows, this switch is the sleeping giant of the mixer, ready to unleash all kinds of creative uses, from doing individual stem work to comparing reference mixes to allowing direct comparison of many analog sources.
Monitor Select Switch Toggle—Once you’ve chosen which input pair you’d like to monitor via the Monitor Select Switch, the Toggle lets you monitor either the Left or Right channels in mono (sent to both channels) on the headphone amp, or to monitor in stereo. Forensic analysis of your audio signals has never been easier.
LED Meters—Following the Monitor Select Switch, our LED meter array will give you constant visual confirmation of your operating levels. Indispensable for managing gain as you finalize your productions.Features of The Nicerizer
16 channels of our Class A, discrete, truly balanced transformerless input stage.
Our proven and loved Class A, discrete, transformer balanced output stage (DSOP-2).
Phoenix custom wired transformers on both outputs.
Individual detented pan control for each channel (16 x Pan pots)
16 x Balanced Input XLR’s. Can accept balanced or unbalanced input with no -6dB loss.
2 x mix busses (Stereo Mix Bus)
1/4″ TRS unbalanced Insert sends on Busses (L + R Bus Insert points)
+8dB Boost button on each channel.
Master mix bus output level control.
Stereo LED level monitoring.
Switchable for each channel and Main Output
Stereo/mono External/Headphone monitoring Output. Switchable to each channel, external input (via 2T Return), Auxiliary and Main output, includes monitoring of the mix bus. (L, R, and Stereo)
Main Outputs on Balanced XLR’s
1/4″ TRS unbalanced Jacks for Auxillary outputs with front panel level control
2 Track stereo mono inputs on 1/4″ TRS balanced Jacks
Class A Stereo Width control with Loss-less Bass. Pannable from mono through to +25% Wider + Width control Bypass switch.
Maximum Output Level of +26dB.
Huge headroom available on all channels.
All units are wired with PTFE silver plated military grade cable
At a Glance
The Nicerizer Junior is based on the Nicerizer 16 Mk2
2U 19″ rack mountable
Class A Discrete Line Input Technology
16 Channels
Custom transformers on outputs
4 x Balanced XLR’s outputs
Class A characteristics
16 x Detented Pan pots
Description
The Little Brother
Our flagship summing mixer, the Nicerizer 16 MkII, is renown for its precision imaging and robust tone. With the Nicerizer Jr. you can get all of that essential sound in a more affordable package.
Analog Summing In The Digital Age
Recording software companies brag about their “mixer,” but discerning engineers won’t settle for in-the-box mixing when the dimension, punch, and articulation of analog summing can vastly improve their productions. Phoenix’s Nicerizer series summing mixers incorporate features and circuitry that have made it a legendary tone machine.
A Summing Mixer (not Amplifier)
The Nicerizer is a true mixer, with precision, dented pan knobs on each of the 16 channels. Our dented pan-pots are unmatched for both precision stereo placement and ease of recall, and they are a key ingredient the huge, open sound of the Nicerizer.
Driving a Versatile, Class-A Input CircuitTransformers slow things down, which can be great in some cases, but if you’re stuck with transformers, then you’re stuck with slower transients (slew-rates). The Nicerizer Jr.’s electronically balanced input stage can be driven modestly for ultra-clear hi-fi sound, or you can engage a +8db switch on any channel individually to drive the circuit for a fatter, more saturated sound that only Discrete Class-A buffer amps can deliver.Legendary Transformer-Balanced Output StageOnce mixed, the stereo signal hits a pair of our custom-wound DB694 output transformers, which we’ve coupled to Phoenix's proprietary, fully discrete DSOP-2 output amplifier. Even better, on the Nicerizer Jr. we’ve given you a pair of stereo main outputs, each with their own level control. The DSOP-2 represents the pinnacle of Class-A output circuits, offering a smooth transition from ultra-clean to beautifully saturated tones.
Balanced, Unbalanced: No Problem—The Nicerizer’s 16 individual inputs can accept both balanced and unbalanced signals without any of the gain loss typical on most mixer inputs. This is an increasingly useful feature as looping through guitar pedals and even recording midi-driven analog synths in real time while mixing are fast becoming standard practices.
Features
16 channels of our Class A, discrete, truly balanced transformerless input stage.
Our proven and loved Class A, discrete, custom transformer balanced output stage (DSOP-2).
Individual pan control for each channel with detented/stepped pots for extra control (16 x Pan pots)
16 x Balanced Input via D-sub inputs, wired as Tascam DA88 standard. Can accept balanced or unbalanced input with no -6dB loss.
4 x XLR balanced outputs with custom transformers on every output.
+8dB Boost button on each channel.
Two Master mix bus output level controls.
Main Outputs on Balanced XLR’s
Maximum Output Level of +26dB.
Huge headroom available on all channels.
All units are wired with PTFE silver plated military grade cable.
At a Glance
Class A Discrete input line buffer amp
Class A Discrete 10meg ohm DI input
Class A Discrete output amp
Phoenix custom output transformer
Unique 3 position pivot point sloping EQ
Controllable LF, MF & HF pivot positions
Dark & bright tone control
Description
A Totally Unique EQ
While the Pivot Tone (formely known as Tilt Tone) boasts our ultra-high impedance DI, our bold, electronically-balanced line input stage, and our fully discrete DSOP-2 Class-A output stage, it is the simple and intuitive EQ that makes this unit so uniquely powerful. A pivot EQ is like a sonic see-saw; you choose the center frequency (think: fulcrum), and then simply tilt the entire frequency spectrum (think: wood plank) back and forth to taste. "Brightening" boosts everything above the chosen center frequency while simultaneously attenuating everything below it; "darkening," of course, boosts bass while attenuating treble.
Simple Yet Powerful
The Pivot Tone is one of the easiest and most intuitive EQs ever designed, but don't let its minimalism overshadow its sophisticated circuit design or its natural musicality. Utilizing our fully discrete Class-A circuits, the Pivot Tone delivers world-class, hi-fi sounds that make any line input or DI'd signal sound lush, full and coherent. The EQ section beautifully brightens or darkens your signals in subtle yet powerful ways that more complex EQs simply can not. Center frequencies on the Pivot Tone are 160Hz, 800Hz and 1.6kHz, offering three strategically-placed points for an intuitive, musical user experience. Whether aiming to beef up a DI'd bass (try darkening at 160Hz), add sparkle to an acoustic guitar (try brightening 1.6kHz), or sweeten an entire 2-bus mix (try tilting around 800Hz), you'll find yourself reaching for the Pivot Tone again and again, wondering how you lived without such a simple and musical tool.
More Tone Under The Hood
As with all our equipment containing our ultra-clear input stage and our DSOP-2 output stage, a wide range of tones are available on board, from the clearest of clean tones to the lush, warm saturation that only a Class-A transformer-balanced output stage can provide. The output attenuator on the Pivot Tone makes "driving" the output stage for different tone characteristics simple and fun—just back off on input levels for cleaner tones or drive harder for more warmth and saturation. The 10-segment LED meter will help you set the perfect output level with no fuss.
A World-Class DI
The ultra-high impedance (10Mohm) DI will never roll off highs or slow down bass, and this assures that the EQ section and the output stage see the most robust signal possible from all your DI'd instruments. With one of the very best solid-state DIs on the market, the Pivot Tone's added tone control and saturation possibilities make this DI feel more like using a great amplifier. Even considering tube-based models, it would be hard to find a DI unit that's as lushly musical and intuitively useful as the Pivot Tone.
Features
Class-A, discrete input line buffer amp
Class-A, discrete DI
DSOP-2 Class-A, discrete output amp with custom wound output transformer
Unique 3 position pivot point sloping EQ with 3 fixed pivot positions : 160hz, 800hz & 1.6khz
Dark & bright tone control
10 position LED output metering
Output level control
24v built PSU so you can feel the sound of the 'true' unit and not be limited by the limitions of running at 16v which is the standard Lunchbox voltage.
€890.00*
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