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Focusrite Liquid Channel

signal processor is a revolutionary professional channel strip that can precisely replicate virtually any classic mic-pre and compressor ever made! Combining radical new analog pre-amp technology with special Dynamic Convolution techniques, the Liquid Channel fuses cutting-edge analog design with lightning fast SHARC DSP. Augmented by fully digital controls and optional remote software, The Liquid Channel provides the ultimate fluid vintage collection.

Liquid technology for accurate sound replication
Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behavior. This is achieved through Dynamic Convolution - the application of a unique, level-dependant set of responses to an audio signal. These measured responses, sampled at numerous levels and with every possible setting combination, are applied to the input stream on a sample-by-sample basis for accurate replication.

Liquid pre-amplification
Mic-pre replication can't be achieved with software alone. Hardware is required in addition to account for the physical interaction with the microphone. As a result, Focusrite invested vast amounts of time and energy into designing and building the ultimate 'liquid' preamplifier, able to match the input impedance and signal path (transformer or electronic) of the device being replicated.

Not all vintage units are born equal
Second order harmonic distortion is a beneficial artifact of analog circuits (especially tube and transformer-coupled designs) providing the much-loved "warmth." However, often two units of the same type will vary in the amount of second order distortion produced, so an additional control of Focusrite Liquid Channel for modifying this vintage property is provided. This allows for precise matching of the Liquid Channel to your own beloved mic-pre.

The best of both worlds - analog and digital
The Liquid Channel combines a highly complex, massively flexible analog front-end with Dynamic Convolution processing, which utilizes lightning-fast SHARC chips and runs at sample rates of up to 192kHz. The front panel controls are digital, with tactile rotary encoders; all parameters can be stored in one of 99 program memories. At the press of button, you can reload all mic-pre, compressor and EQ settings for an individual session. If using the Liquid Channel in conjunction with a recording platform (e.g. Pro Tools), both the session files and The Liquid Channel's program memory can be sent via standard data transfer methods, providing a completely mobile recording session. Perfectly replicated vintage classics with the power and ease of use of the digital domain.

Infinite expansion and remote control
The Focusrite Liquid Channel's USB port on the rear panel allows remote control of The Liquid Channel, leaving the processor safely racked away. But that's not all. The software application also serves as an archiving system for additional replicas and program memories, and permits downloads of additional classic units from www.ffliquid.com. So, the Liquid Channel is infinitely expandable.

Features

Digital convertor with 44.1, 48, 88.2, 96, 176.4 and 192kHz sample rates

24-bit resolution

120 dB signal-to-noise ratio measured with 20 Hz/22 kHz bandpass A-weighted filter

Frequency response ¡À0.05 dB between 20Hz - 20kHz

Maximum input level +22 dBu

Total Harmonic Distortion + Noise 0.00035% (-109 dB)

Dynamic range 116 dB measured with 20 Hz/22 kHz bandpass A-weighted filter

Extremely low jitter - internal clock: <20 pico-seconds, AES digital output: <200 pico-seconds, external clock: <1 nano-second

Mic preamps with gain range +6 dB to +80 dB, switched in 1 dB steps

Frequency response is variable, set by pre-amp chosen

Mic noise: EIN = -126 dB measured at 80 dB of gain with 150 ohm source impedance and 20 Hz/22 kHz bandpass filter

Noise at analog out: -92 dBu measured at +6 dB gain with 20 Hz/22 kHz bandpass

A-weighted filter

Noise at AES digital out: -119 dBfs measured at + 6dB gain with 20 Hz/22 kHz bandpass A-weighted filter

Maximum input level: +16 dBu

Line input with gain range -10 dB to +10 dB, switched in 1 dB steps

High pass filter with roll off frequency switchable between 75 Hz and 120 Hz, frequency measured at -6 dB down point, 12 dB per octave roll-off

Harmonics with controllable distortion range: 0 to 15 where 15 (maximum) = 10% of 2nd-, 20% of 3rd- and 10% of 5th-order at 0dBfs (level-dependent distortion)

Compressor: in "As Original" mode the parameter ranges will be the same as on the original unit being replicated. In "Free" mode the parameter ranges are: Threshold range: -40 db to 20 dB switched in 1 dB steps; Ratio range: 1:1 to limit; Attack range: 0.1 mS to 2.5 S; Release range: 0.1 mS to 2.5 S

Make-up gain: -20 dB to +20 dB switched in 0.5dB steps

High Shelf, Mid Band and Low Shelf EQ

Specification

Rear Panel Connections
Mic input: XLR female

Line input: XLR female

analog output: XLR male

AES digital input: XLR female

AES digital output: XLR male

Wordclock in: BNC, 75Ohm input impedance

Wordclock out: BNC, outputs regenerated buffered wordclock at selected sample frequency

Digital Link Bus in: RCA connector

Digital Link Bus out: RCA connector

Converter performance
Sample rate: 44.1, 48, 88.2, 96, 176.4 and 192 kHz

Bit depth: 24-bit

ADC
SNR: 120 dB measured with 20 Hz/22 kHz bandpass A-weighted filter

Frequency response: +/- 0.05 dB between 20 Hz - 20 kHz

Maximum input level: +22 dBu

THD+N: 0.00035% (-109 dB)

DAC
Dynamic range: 116 dB measured with 20 Hz/22 kHz bandpass A-weighted filter

Frequency response: +/- 0.05 dB between 20 Hz - 20 kHz

Maximum output level: +22 dBu

THD+N: 0.0007% (-103 dB)

Jitter
Internal clock: < 20 pico-seconds

AES digital output: < 200 pico-seconds

External clock: < 1 nano-second

Mic pre
Gain range: +6 dB to +80 dB, switched in 1 dB steps

Frequency response: variable, set by pre-amp chosen

THD+N at analog out: 0.001% measured with a +4 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter

THD+N at AES digital out: 0.0005% measured with a +4 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter

Mic noise: EIN = -126 dB measured at 80 dB of gain with 150 Ohm source impedance and 20 Hz/22 kHz bandpass filter

Noise at analog out: -92 dBu measured at +6 dB gain with 20 Hz/22 kHz bandpass A-weighted filter

Noise at AES digital out: -119 dBfs measured at + 6dB gain with 20 Hz/22 kHz bandpass A-weighted filter

Maximum input level: +16 dBu

Input impedance: variable, set by pre-amp chosen

CMRR: Transformer: 123 dB @ 60 dB of gain, Electronic: 102 dB @ 60 dB of gain

Line input
Gain range: -10 dB to +10 dB, switched in 1 dB steps

0 dB +/- 0.1 dB between 20 Hz and 20 kHz

THD+N at analog out: 0.001% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter

THD+N at AES digital out: 0.0004% measured with a +18 dBu 1 kHz input signal with 20 Hz/22 kHz bandpass filter

Noise at analog out: -92 dBu measured at 0 dB gain with 20 Hz/22 kHz bandpass A-weighted filter

Noise at 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: switchable between 75 Hz and 120 Hz, frequency measured at -6 dB down point, 12 dB per octave roll-off

Harmonics
Distortion range: 0 to 15 where 15 (maximum) = 10% of 2nd-, 20% of 3rd- and 10% of 5th-order at 0dBfs (level-dependent distortion)

Compressor
In 'As Original ' mode the parameter ranges will be the same as on the original unit being emulated. In 'Free' mode the parameter ranges are as follows:

Threshold range: -40 db to 20 dB switched in 1 dB steps.

Ratio range: 1:1 to limit

Attack range: 0.1 mS to 2.5 S

Release range: 0.1 mS to 2.5 S

Make-up gain: -20 dB to +20 dB switched in 0.5dB steps

EQ
High Shelf
Frequency range: 200 Hz to 20 kHz

Gain: +/-18 dB

Mid Band
Frequency range: 100 Hz to 10 kHz

Gain: +/-18 dB

Q: variable between 0.8 and 2.5

Low Shelf
Frequency range: 10 Hz to 1 kHz

Gain: +/-18 dB

Weight
8.6 kg

Dimensions
19 in. (W) x 3.4 in. (H) x 10.63 in. (D) ; 484 mm (W) x 85 mm (H) x 270 mm (D)

2U rackmount

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Number of Reviews: ( 4 )
Share your thoughts with other customers on Focusrite Liquid Channel Pro Channel Strip.
Write Your Buying Experience

02/20/2012 - After a lot of hype, both good and bad, I was anxious to plug the Liquid Channel in and see if the box could truly deliver. I'm happy to report that it can and it does do an amazing job of duplicating the sound of a long list of vintage equipment and while the sound isn't identical in every way, it is extremely close and never disappointing. I initially put the box to work on a new album by the Appalachian Christmas Quartet. I used the Liquid Channel on a variety of instruments including bass, acoustic guitar, mandolin and flute and was always pleased with my results. Due to scheduling restrictions, my assistant Chris Brown ended up doing a lot of the recording. This typically would have required extremely accurate documentation of my recording settings as he was quickly switching from one instrument to another but since I saved every one of my settings, at the push of button he was able to recall my exact preamp model, its settings, the EQ settings, the compressor model and its setting. All he had to document was the microphone used (most often a Royer Labs SF-1) and its position. I made use of the Liquid Channel in a wide variety of instances over several months and always had positive results. I used the box along with an AKG D112 on kick drum and had fantastic results. I used it along with a Shure SM57 to record snare drum and again had great results. I also had good results using the box with a Royer R-122 to record electric guitars and with an Earthworks SR-77 to record acoustic guitar. The box worked extremely well as a vocal chain. I used it with the Brauner VM-1KHE, the BLUE Cactus and the Sony C-800G and had wonderful results in every instance.

Rating:

[5 of 5 Stars]

-- gary Jones

10/23/2011 - I found the liquid channel to be very much a buy two and you're done type box (unless you need more than 2 channels simultaneously at which point, just add as needed) I am wanting two of them for myself.

Rating:

[5 of 5 Stars]

-- Roar Dugdale

10/11/2010 - The Focusrite Liquid Channel ($3,495) is perhaps the most revolutionary piece of audio equipment introduced in the last decade. The box applies Dynamic Convolution technology that can sonically emulate virtually any mic preamp and/or compressor. Dynamic Convolution is the mathematical technique of determining a system output, given an input signal and a system impulse response. This means that if you know what is coming in to your system, and you can control your system's impulse response, the system's output can be defined.

Rating:

[5 of 5 Stars]

-- Kellen colmey

09/11/2010 - Focusrite Liquids are GREAT!!!! We had one engineer turn up and asked if we could put his Avalon 737 into the system I told him no need we can emulate the 737 with the Liquids. He said OK. It work out great he loved it, he got the sound he was looking for and possibly a bit more.

Rating:

[5 of 5 Stars]

-- Lawrence Madsen

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