Focusrite ISA Two
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ISA Two brings together a totally independent pair of legendary ISA mic preamps from the original ISA 110 module, combining the best of traditional solid-state electronics with the original input transformer specified by Rupert Neve – the Lundahl LL1538.
|Ngõ vào Analog||XLR, 1/4"|
|Ngõ ra Analog||XLR, 1/4"|
|Số Lượng Kênh||2|
|Có Thể Gắn Rack||Có|
|Không Gian Rack||1U|
- Warm Audio WA73 Single-Channel British Mic Pre15.000.000 ₫
- Manley FORCE® Four Channel Mic Preamp56.300.000 ₫
- Focusrite Scarlett OctoPre Mic Preamp10.000.000 ₫
- Warm Audio WA-412 4-channel Mic Preamp with DI30.900.000 ₫
- Focusrite Clarett OctoPre Mic Preamp17.500.000 ₫
- Heritage Audio DMA-73 Dual Microphone Preamplifier53.900.000 ₫
- Manley TNT Dual Mic Preamp67.500.000 ₫
- Warm Audio WA273 Dual-Channel British Mic Pre25.000.000 ₫
- Focusrite ISA One12.900.000 ₫
- Warm Audio WA12 MKII Discrete Mic Preamp11.700.000 ₫
- Rupert Neve Designs Portico 5024 Quad Mic Pre73.700.000 ₫
Holiday plug-in collective bundle offer:
- Register your Focusrite device before the 10th January 2019 to receive AAS sample player with two free sound packs, three plug-ins from Audio Thing, Positive Grid Bias Amp LE 2 and D16 Sigmund
Focusrite's ISA Two brings together a totally independent pair of legendary ISA microphone preamps from the original ISA 110 module, combining the best of traditional solid-state electronics with the original input transformer specified by Rupert Neve – the Lundahl LL1538. Two is a nice round number – ideal for recording, say, a vocal and an instrument, or a stereo piano. But though you may only need two mic pres, you owe it to your craft to choose the best. (And if you need more, we offer ISA 428 Mk II 4-channel and ISA 828 8-channel units too.)
We've made one little adjustment to the mic pre. The original ISA 110 had a single input impedance that was ideal for the mics of the time. We've added three more, allowing you to get the very best out of any microphone, vintage or modern. Give a vintage mic the input it expects to get a traditional, warm sound. Pair the ISA Two with modern microphones and get the most transparent sound imaginable. Or experiment and pull out the inner character of any microphone you care to try. Couple that with up to 80dB of gain and you can be ready for anything.
In addition to the mic pres, there are front panel instrument inputs for instant access, along with rear-panel line ins. There's also a balanced insert point on the rear panel, actuated with a front-panel button so you can insert the EQ, dynamics or other processors you need. Add to that the user-calibrated 8-LED metering and variable cutoff high-pass filter and you know that with the ISA Two you'll have everything you need to get the highest quality sound into your recordings.
Lundahl LL1538 mic input transformer
Rupert Neve originally chose the Lundahl LL1538 to be the input transformer on the ISA 110. To this day the Lundahl transformer remains the best microphone input transformer available, and is used in every ISA Series mic pre. Rupert Neve also perfected the Zobel network found in the ISA circuit; something which takes a lot of knowledge and a golden set of ears.
Up to 80 dB of gain
ISA Two offers up to 80 dB of clean, distortion-free gain. The much heralded ISA topology also ensures low noise, even at the highest gain levels. The transformer alone supplies 20 dB of gain, while ISA's input stage offers up to 60 dB in addition, giving an astonishing 80 dB of maximum gain on the microphone input.
Variable input impedance
Four choices of input impedance, including the original ISA 110 value, allow you to match the preamp to your microphone, even if it's a vintage type, giving you the best possible sound. The impedance is selected using a switch on the front panel, and the impedance choice is remembered even once the unit is switched off and back on.
Each channel has an eight-LED array to clearly display the level of your two signal. You can line up your analogue levels with your converters of DAW by using the calibration knob on the rear panel. You will be safe in the knowledge that you have avoided clipping on the way in.
Front panel instrument and rear panel line inputs
Two 1/4in. jack sockets on the front panel of ISA Two give you instant access to a transparent DI input. TRS line inputs are available on the rear panel too, and you can step through them instantly to select the one you want.
Variable cut-off high-pass filter
Built in, and easily accessed with its own large knob an illuminated button, is an extremely smooth sounding 18dB/octave high-pass filter of the same design as the original ISA 110 module. This is ideal for cutting out rumble, thumps and other unwanted low-frequency sounds and with a range of 16 to 420 Hz, it's easy to lose what you don't want, and keep what you do.
Rear panel balanced inserts
Each channel of ISA Two has its own balanced insert point. With 1/4in. TRS send and receive connections, your choice of signal processor can be connected and switched in and out using the illuminated switch on the front panel.
Front panel, per channel
Rear panel, per channel
Maximum Input and Output Levels
|Maximum Output Level||+24 dBu with a THD+N < 0.01% at 1kHz measured with 150 Ω source impedance and 22Hz/22kHz band-pass filter|
|Maximum Microphone Transformer Input Level||+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|
Mic Input Response
|Gain range||0 dB to +60 dB in 10 dB steps, plus 0 dB to +20 dB continuously variable trim|
|Input Impedance||Switched Impedance setting|
Equivalent Input Impedance at 1 kHz
|Low = 600 Ω|
ISA 110 = 1.4 kΩ
Med = 2.4 kΩ
High = 6.8 kΩ
|EIN (Equivalent Input Noise)||Measured at 60 dB of gain with 150 Ω source impedance and 22 Hz-22 kHz band pass filter||-127 dB|
|Noise||Noise at output with unity gain (0 dB) and 22 Hz-22 kHz band pass filter||-97 dBu|
|Signal-to-Noise Ratio||Measured with 150 Ω source impedance and 22 Hz-22 kHz band pass filter||121 dB relative to max output +24 dBu|
|Total Harmonic Distortion + Noise||Measured with a -20 dBu input signal at +30 dB of gain and with a 22 Hz-22 kHz band pass filter||< 0.0007% at 1 kHz|
|Frequency Response||At minimum gain (0 dB)||-0.5 dB at 10 Hz, -1 dB at 135 kHz, relative to 1 kHz|
|At +60 dB gain||-6 dB at 10 Hz, -1 dB at 115 kHz, relative to 1 kHz|
|CMRR (Common Mode Rejection Ratio)||-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
|Crosstalk Channel to Channel||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||-20 dB to +10 dB in 10 dB steps, plus 0 dB to +20 dB continuously variable trim|
|Input Impedance||10 kΩ from 10 Hz to 200 kHz|
|Noise||Noise at main output with gain at unity (0 dB) measured with 50 Ω source impedance and a 22Hz - 22 kHz band pass filter||-97 dBu|
|Signal-to-Noise Ratio||Measured with 50 Ω source impedance and a 22 Hz-22 kHz band pass filter||121 dB relative to max output +24 dBu|
|Total Harmonic Distortion + Noise||Measured with a 0 dBu input signal, +10 dB of gain and a 22 Hz-22 kHz band pass filter||< 0.0002% at 1 kHz|
|Frequency Response||At minimum gain (0 dB)||-0.3 dB at 10 Hz, -1 dB at 80 kHz, relative to 1 kHz|
|Crosstalk Channel to Channel||Line input, with I/P = 0 dBu, gain = 0dB @ 1 kHz input to channel A||Channel B output = -91 dB|
Instrument Input Response
|Gain range||+10 dB to +40 dB continuously variable trim|
|Input Impedance||2 MΩ|
|Noise||Measured with 22 Hz-22 kHz band pass filter||Minimum gain (+10 dB) = -95 dBu|
|Frequency Response||At minimum gain (+10 dB)||-0.1 dB at 10 Hz, -1 dB at 115 kHz, relative to 1 kHz|
|At maximum gain (+40 dB)||-2.5 dB at 10 Hz, -1 dB at 110 kHz, relative to 1 kHz|
|Roll-Off||18 dB per octave (3 pole filter)|
|Frequency Range||Continuously variable from 16 Hz to 420 Hz (-3 dB)|
Weight and Dimensions
|W x D x H||480 mm x 280 mm x 44 mm|