This just in from Fred!
“I received the TubePreV2 yesterday. Thanks! I just posted this unboxing video.”
“It’s a very nice unit. Guitar sounds great via DI. I’ll be producing a demo video within the next week or so showing DI and condenser mic use.”
But wait, there’s more! Shortly after we learned of the above video, Fred posted this gem, featuring an unusually scientific approach and professional presentation that we don’t always see in YouTube demos.
Much appreciated Fred. Best to ya!
This just in from Josh Gilligan, who claims “95% of my album was tracked through XMAX preamplifiers,” among other things. The proof, as they say, is in the custard, so be sure to scroll down to hear his recordings for yourself.
“Hey, guys! I just wanted to let you all know that PreSonus is a central part of my home studio and production process. I’ve been a PreSonus user for years with the TubePre and Eureka, and now the Studiolive 16.0.2 and HP4. 95% of my album was tracked through XMAX preamplifiers and I would put their sonic integrity up against just about anything. Looking to go to an interface with an ADAT option soon, and I’ve got my eye on more PreSonus gear. Thank you guys so much. You really make it possible for independent musicians to make great sounding records on a budget and in tight spaces. I’ve shared with my friends and they love your gear as well. Listen to my record over on SoundCloud, I couldn’t have done it without PreSonus.”
L’dia on Bass, the First Lady of Four Strings, brought the house down with her brand of hip-shaking, string-breaking thunder at our booth at MusikMesse. She recently launched a new website, and wanted to make sure that all the PreSonus fans out there knew about it!
Baton Rouge, Louisiana, July 2012...
PreSonus is proud to announce the ADL 700 channel strip, which combines a high-end Class A tube preamplifier with a fully variable, FET-based compressor and a four-band semi-parametric equalizer. The new channel strip provides separate balanced XLR mic, balanced XLR line, and ¼” TS instrument inputs and a single balanced XLR output.
The ADL 700 incorporates a single-channel version of the award-winning PreSonus ADL 600 two-channel tube preamplifier, which was designed by famed tube-circuit designer Anthony DeMaria. PreSonus and DeMaria teamed up to create a distinctive Class A, discrete design. It incorporates one 12AT7 and two 6922 vacuum tubes per channel, operating with ±300V power rails for maximum headroom and superb tone. The dual-transformer design ensures low-noise operation, with maximum common-mode rejection. This results in an ultra-low-noise tube preamp with a big, warm, smooth, clear, distinctive sound.
Among the hallmark features of ADL-series preamps is an Input Source Select switch with variable mic-input impedance. This switch enables you to choose among signal sources and patches the selected input through the signal chain, completely bypassing the other two inputs. It also provides a choice of four mic-input impedances: 1500Ω, 900Ω, 300Ω, and 150Ω. Lowering or raising the ADL 700 mic-input impedance can create subtle coloring and filtering effects, enabling you to get a wider variety of tonalities without using the EQ.
The ADL 700’s FET-based compressor and semi-parametric EQ were custom-designed by Robert Creel, the mastermind behind many of PreSonus’ most beloved analog circuits, including the XMAX™ preamp.FET (Field-Effect Transistor) compressors use transistors to emulate a triode-tube sound. This type of compressor generally provides a faster attack time and better repeatability than the optical compressors that are more commonly found in channel strips in this price class.
The ADL 700 compressor features include fully variable attack, release, threshold, ratio, makeup gain, and bypass. When Threshold is turned fully counterclockwise to the ST position, the onboard compressor controls are bypassed, and compression is controlled externally via a Stereo Link connection to a second ADL 700.
Of course, the preamp offers 48V phantom power, polarity reverse, and a -20 dB pad. In addition, it provides variable mic-input gain, employing an 8-position rotary switch that provides 35 dB of gain in 5 dB increments. A Trim potentiometer (±30 dB) allows you to make fine adjustments to the final preamp stage of the ADL 700 input.
You also get a -12 dB/octave high-pass filter whose frequency threshold can be set at 20 Hz, 40 Hz, 80 Hz, or 200 Hz, or it can be turned off completely.
The 4-band semi-parametric EQ was designed with musicality in mind, combining isolated filters and optimized, per-band Q to provide subtler signal shaping without harsh artifacts. All bands have Gain (±16 dB) and Frequency controls, with overlapping frequency ranges and fixed Q (0.6). The low and high bands are switchable between shelving and peak.
Dual-mode analog VU metering enables monitoring of output and gain-reduction levels. A -6 dB switch offsets the meter for use with hot source signals. A master level control adjusts the overall output from -80 to +6 dB.
With its extensive feature set, ultra-low noise (-100 dB S/N ratio), >73 dB gain, extended frequency response of 10 Hz to 45 kHz, and top-of-the-line sound, the ADL 700 is a superb creative tool for serious recording engineers and musicians. It is expected to ship in the fourth quarter of 2012 with an expected MAP/street price of $1,999.
Last autumn, PreSonus released V2 updates of our popular TubePre and BlueTube DP microphone/instrument preamps. With preamps so beloved, our intention wasn’t to completely re-create either of these products, but rather to refresh them and bring them more in-line with our current offerings.
By now, most of our loyal customers are very familiar with our popular XMAX preamp design. This circuit is employed on nearly every current interface product and, of course, our award-winning StudioLive-series of digital mixers. A little known fact is that both the TubePre and BlueTube DP preamps use early versions of what would eventually become the XMAX microphone preamp. Over time, this circuit has been tweaked and perfected into the XMAX mic pre our customers know and love. The biggest change to both V2 models was to update their preamp circuits to the current XMAX design.
Because of the updated preamp design, both V2 models feature new extended Gain Ranges: -15dB to 85dB (Mic) / -30dB to 50dB (Inst) as compared to 0dB to 60dB on the older models. Another consequence of changing to the current XMAX preamp design is increased headroom.
The original TubePre featured a -20dB pad; however the XMAX design we use today offers so much headroom that attenuation pads are simply not necessary. With the TubePre V2, the pad was removed and an input select switch was added. This allows the user to leave both their microphone and instrument connected at the same time, making it an even more convenient tool for home recording enthusiast and professionals alike.
It should be mentioned that the version of the circuit in the BlueTube DP is closer to the current XMAX design in this regard. This is why the BlueTube DP had no attenuation pad to remove.
Other changes in the V2 models are as follows:
We hope you all enjoy employing these products as much as we enjoyed engineering them! Please feel welcome and encouraged to share your recordings featuring these products on our Facebook wall.
SoundPure studios posted this video a bit ago featuring Anthony Demaria taking us on a detailed tour of the ADL 600, our top-of-the-line microphone preamp. Anthony designed the unit, so there’s really no one more qualified on the planet to give the talk you see here.
This presentation gets a little in-depth—beyond the usual “sounds warm and punchy” rigamaroll—but bear with it, there’s something here for everyone. Fact is, if you’re considering buying an ADL 600, you likely mean business… and these sort of details really matter to a guy like you. And if you’re not yet considering buying an ADL 600, you may learn a thing or two about preamps. Big thanks to Anthony and Sound Pure Studios for sharing!