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Vacuum Tube Channel Strip: The Presonus Studio Channel combines tube pre-amplification,
dynamics processing, and EQ into one slim-profile chassis. The Studio Channel is a professional channel
strip combining Class A tube preamplifier, VCA-based compressor and 3-band
parametric equalizer perfect for the professional and project studio. Great for
all types of microphones, instruments, keyboards and synths; the Studio Channel
has the sonic power and flexibility to achieve any tone - from
luscious in your face vocals, crystal clear acoustic guitars, fat solid bass
guitar, dynamic acoustic piano, cracking snare, punchy bass, or huge MPC tracks.
Class A Tube Preamplifier: The preamplifier stage of the Studio
Channel is based on the award winning PreSonus BlueTube preamplifier with a high
output 12AX7 vacuum tube operating on voltages double than all other
preamplifiers in its class. It delivers high headroom and big tone, featuring
dual control Gain and Tube Drive to create a wide range of sounds. The result is
lots of headroom and big tone.
Tube Drive: The Tube Drive control increases the amount of signal
routed through the 12AX7 vacuum tube. (The gain controls overall volume, whereas
the drive controls volume routed through the tube.) The effect achieved ranges
from subtle to extreme, depending on the setting being used.
- "Warming Up The Sound": This effect is achieved by adding in a
small amount of Tube Drive (30% or less). It is especially desirable for
vocals and electric bass. The resulting sound is richer and sweeter.
- "Overdriven Tube Sound": This effect is achieved by adding in
30-100% of Tube Drive. The more Tube Drive you add, the more overdriven the
sound will be. This sound is extremely useful in creating distorted guitar
and that authentic "blues harp" harmonica sound.
VCA-Based Compressor: VCA-based compressor is known for musicality and
fast attack, with the ability to tame the fastest transients. From slap bass, to
snare drum, to vocals, the Studio Channel's compressor allows you to record
blazing-hot signals with total dynamics control. Its convenient Auto
Attack/Release feature provides preset attack and release curves. The backlit VU
meter can display gain reduction or output gain. Compressor controls include:
- Threshold: Sets the level at which compression begins. When the
signal is above the Threshold setting, it becomes 'eligible' for
compression. Basically, as you turn the Threshold knob counter-clockwise,
the input signal is compressed (if you have a ratio setting of greater than
1:1). The threshold can be set from -40 to +20 dB.
- Ratio: Sets the compression slope. This is defined as the output
level versus the input level. For example, if you have the Ratio set to 2:1,
any signal level above the Threshold setting will be compressed at a
compression ratio of 2:1. This simply means that that for every 1dB of level
increase into the compressor; the output will only increase ½ dB, thus
producing an attenuation of 0.5 dB. The Ratio can be set from 1:1 to 10:1.
- Attack: Sets the speed at which the compressor 'acts' on the
input signal. A slow attack time (fully clockwise) allows the beginning
envelope of a signal (commonly referred to as the initial transient) to pass
through the compressor uncompressed, whereas a fast attack time (fully
counterclockwise) immediately subjects the signal to the Ratio and Threshold
settings of the compressor.
- Release: Sets the length of time the compressor takes to return
the Gain reduction back to zero (no gain reduction). Very short Release
times can produce a very choppy or 'jittery' sound, especially in low
frequency instruments such as bass guitar. Very long Release times can
result in an overly compressed signal (sometimes referred to as 'squashing'
the sound). All ranges of Release can be useful at different times however
and you should experiment to become familiar with the different sound
- Gain Make Up: When compressing a signal, gain reduction usually
results in an overall reduction of level. The gain control allows you to
restore the loss in level due to compression and readjust the volume to the
pre-compression level (if desired). You can adjust the Gain Make Up from -10
to +10 dB.
- Soft: The Soft button selects Soft Knee and Hard Knee compression
curves. When this button is pushed in, Soft knee compression curves are
used, otherwise hard knee compression curves are used. With Hard knee
compression, the gain reduction applied to the signal occurs as soon as the
signal exceeds the level set by the threshold. With Soft knee compression,
the onset of gain reduction occurs gradually after the signal has exceeded
- Auto: The Auto button places the compressor in automatic attack
and release mode. The Attack and Release knobs become inoperative and a
preprogrammed Attack and Release curve is used instead.
- EQ>Compressor: This button places the EQ before the Compressor in
the signal path. By default the Studio Channel's signal path is as follows -
Tube Pre to Compressor to EQ.
- GR>Meter: This button changes the VU metering to read the Gain
Reduction of the Compressor rather than the output level of the Studio
Note: You are also able to bypass the compressor completely.
3-Band EQ: The custom-designed amplifiers in the Studio Channel's
three-band EQ deliver sweet-sounding gain and cut for smooth highs; deep, solid
lows; and clear midrange. The midrange band is fully parametric, with variable
Q. The high- and low-frequency bands have Frequency and Gain controls, but fixed
Q; and can be either shelving or peak bands. The EQ can be pre- or
post-compressor, and you can bypass each stage independently.
- Low Band: Sets the Center Frequency of the "Q" or frequency range
width of the Low Band EQ. You can adjust the center frequency from 20 to 300
Hz. By default, the Low EQ is set as a shelving EQ. When the peak button is
enabled, the Low Band EQ becomes a standard peak equalizer with a fixed Q of
0.7. The level of the center frequency can be set between -10 and +10 dB.
- Mid Band: Sets the Center Frequency of the "Q" or frequency range
width of the Mid Band EQ. You can adjust the center frequency from 200 to 3
kHz. The level of the center frequency can be set between -10 and +10 dB.
- High Band: Sets the Center Frequency of the "Q" or frequency
range width of the High Band EQ. You can adjust the center frequency from 2
to 20 kHz. By default, the High EQ is set as a shelving EQ. When the peak
button is enabled, the High Band EQ becomes a standard peak equalizer with a
fixed Q of 0.7. The level of the center frequency can be set between -10 and
Note: You can choose to bypass the EQ entirely.
XLR & 1/4" Inputs/Outputs: With both XLR and 1/4" line outputs, you
can connect the Studio Channel to almost any recording interface, amp, or P.A.
- Front-Panel Instrument Input: The 1/4" TS connector on the
front-panel is for use with a passive instrument (guitar, bass, etc.). When
an instrument is plugged into the instrument input, the microphone preamp is
bypassed, and the Studio Channel becomes an active instrument preamplifier.
- Mic Input: The Studio Channel's XLR-type mic input can be used
with all types of microphones including dynamic, condenser, and ribbon.
- Line-Level Input: The Studio Channel also features a balanced
1/4" line-level input to connect synthesizers, amp modelers, etc.
- Main Output: The Studio Channel features both a balanced 1/4" TRS
and an XLR output for greater ease of connectivity to your mixer or
Note: Active instruments are those that have an internal preamp or a line level
output. Active instruments should be plugged into a line input rather than into
an instrument input. Plugging a line level source into the instrument inputs on
the front of the Studio Channel not only risks damage to these inputs but also
results in a very loud and often distorted audio signal.
48V Phantom Power: The Presonus Studio Channel provides 48V phantom
power for the microphone input.
Other Controls: The Studio Channel provides additional controls to
tailor your sound.
- Phase Reverse: Reverses the polarity of the signal. Use the phase
reverse when recording with more than one open microphones to combat phase
cancellation between microphones.
- -20dB Pad: This button attenuates the input signal by 20 dB. The
pad can be used to keep a hot signal from overdriving the microphone preamp
- 80Hz Roll-Off: The 80Hz button is a low-end roll-off filter. When
pushed in, the 80Hz button causes all frequencies below 80Hz to be
attenuated (dropped) by 12dB. This filter can be handy in live and studio