The Liquid Channel is a revolutionary professional channel strip that can precisely replicate any classic mic-pre and compressor. Combining radical new analogue pre-amp technology with Dynamic Convolution™ techniques, The Liquid Channel fuses cutting-edge analogue 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

Rather than creating a similar sound to vintage units, as with modelling devices, The Liquid Channel precisely replicates their sonic behaviour. 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 artefact of analogue 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 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 - analogue and digital

The Liquid Channel combines a highly complex, massively flexible analogue front-end with Dynamic Convolution™ processing, which utilises lightening 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 User 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 User 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 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 User Memories, and permits downloads of additional classic units from www.ffliquid.com. So, The Liquid Channel is infinitely expandable.

Features

• Loaded with 40 classic mic-pre and 40 classic compressor replicas
• Endlessly expandable library of replicas via USB download
• 99 User memories allow you to save every parameter
• File format provides easy transfer to other Liquid users
• Software application option allows comprehensive control and archiving facility
• 192kHz internal processing and ADC/DAC as standard
• New Focusrite Digital EQ
• Adjustable 2nd order distortion accounts for variance in vintage originals
• Cascade two units for stereo-linking of all parameters

Performance Specifications

Converter performance

• Sample rate: 44.1, 48, 88.2, 96, 176.4 and 192kHz
• Bit depth: 24-bit

ADC

• SNR: 120dB measured with 20Hz/22kHz bandpass A-weighted filter
• Frequency response: ±0.05dB between 20Hz – 20kHz
• Maximum input level: +22dBu

DAC

• Dynamic range: 116dB measured with 20Hz/22kHz bandpass A-weighted filter
• Frequency response: ±0.05dB between 20Hz – 20kHz
• Maximum output level: +22dBu

Jitter

• Internal clock: <20 pico-seconds
• AES digital output: <200 pico-seconds
• External clock: <1 nano-seconds

Analogue and digital path

Mic pre

• Gain range: +6dB to +80dB, switched in 1dB steps
• Frequency response: variable, set by pre-amp chosen
• THD+N at analogue out: 0.001% measured with a +4dBu 1kHz input signal with 20Hz/22kHz bandpass filter
• THD+N at AES digital out: 0.0005% measured with a +4dBu 1kHz input signal with 20Hz/22kHz bandpass filter
• Mic noise: EIN = -130dB measured at 80dB of gain with 150O source impedance and 20Hz/22kHz bandpass A-weighted filter
• Noise at analogue out: -92dBu measured at +6dBu gain with 20Hz/22kHz bandpass
  A-weighted filter
• Noise at AES digital out: -120dBfs measured at +6dB gain with 20Hz/22kHz bandpass A-weighted filter
• Maximum input level: +16dBu
• Input impedance: variable, set by pre-amp chosen
• CMRR: Transformer: 120dB @ 80dB of gain
• Electronic: 93dB @ 80dB of gain

Line input

• Gain range: –10dB to +10dB, switched in 1dB steps
• Frequency response: variable, set by pre-amp chosen
• THD+N at analogue out: 0.001% measured with a +21dBu 1kHz input signal with 20Hz/22kHz bandpass filter
• THD+N at AES digital out: 0.0006% measured with a +21dBu 1kHz input signal with 20Hz/22kHz bandpass filter
• Noise at analogue out: -92dBu measured at 0dB gain with 20Hz/22kHz bandpass
  A-weighted filter
• Noise at AES digital out: -120dBfs measured at 0dB gain with 20Hz/22kHz bandpass
  A-weighted filter
• Maximum input level: +22dBu

High pass filter

• Roll off frequency: switchable between 75Hz and 120Hz, frequency measured at –6dB down point

Second order distortion

• Distortion range: 1 to 10 where 1 = 0.01% and 10 = 1% of pure second order distortion

Compressor

• Threshold range: -40db to 20dB switched in 1 dB steps
• Ratio range: 1:1 to limit, switched sensitivity model dependent
• Attack range: 0.1mS to 2.5S switched sensitivity model dependent
• Release range: 0.1mS to 2.5S switched sensitivity model dependent
• Make-up gain: -20dB to +20dB switched in 0.5dB steps

EQ

High Shelf

• Frequency range: 200Hz to 20kHz
• Gain: +/-18dB

Mid Band

• Frequency range: 100Hz to 10kHz
• Gain: +/-18dB
• Q: variable between 0.3 and 1

Low Shelf

• Frequency range: 10Hz to 1kHz
• Gain: +/-18dB

Rear Panel Connections

• Mic input: XLR socket
• Line input: XLR socket
• Analogue output: XLR plug
• AES digital input: XLR socket
• AES digital output: XLR plug
• Wordclock in: BNC, 75O input impedance
• Wordclock out: BNC, outputs regenerated buffered wordclock at selected sample frequency
• Stereo connection in: RCA connector, used to run two units in stereo
• Stereo connection out: RCA connector, used to run two units in stereo

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