Focusrite Liquid Channel

The Focusrite Liquid Channel is an extremely unique piece of gear.  It is a channel strip that is hardware and software integrated, and which claims to give you access to any mic pre or compressor 'ever made.'  I wouldn't take the greatness of this unit to this level by any means, it is definitely a powerful piece of equipment that is both unique and innovative.  The Liquid Channel has XLR connections in the back for inputs and output as well as for AES.  It also has a USB port along with RCA and word clock connections all in a rack mountable case that will only take up two spaces.

UTILIZATION

The make up of the Focusrite Liquid Channel will definitely take some getting used to.  Since I don't own this I haven't had the liberty to take this as in depth as it can be taken, but if you want to learn everything that it has to offer it will definitely take some time and effort.  Since this is virtually unprecedented, it took me a little while to be able to understand how to use it.  However, the parameters it has for the different sections are familiar and once you have it up and running, getting your tones is not to unlike other units. The manual is very thorough and is pretty much a necessity to have for those unfamiliar with The Liquid Channel.


SOUND QUALITY

The sounds of the Focusrite Liquid Channel are definitely versatile as you can get all sorts of compression sounds and mic pre emulations.  While I can't say that this is a replacement for the models that it emulates, it definitely offers up some great sounds.  While the presets are a great starting point, I love the fact that I can store my own settings virtually with this.  It makes it so easy to go between different sessions and to be able to get a similar sound to something I have done in the past if I want to.  The EQs and other features also sound good and are helpful when trying to dial in that perfect tone.  While I think that the mic pre sounds quite good, I would say in terms of sound quality I like how many different types of compressions this has to offer.


OVERALL OPINION

Although I only first used Focusrite's Liquid Channel a number of months ago, I can definitely see the great potential that this offers studio owners.  While I don't think this is a replacement for analog gear, having all of these sounds in one place is a great thing.  However, perhaps its best feature is that using the software you are able to save your presets and recall back to previous settings with a few clicks.  The price isn't cheap, but is probably reasonable for what you are getting here.  If you are looking for a ton of channel strip options in one place, definitely try out Focusrite Liquid Channel - perfect for home studio owners!

For specifications, see below or on the Focusrite site.
Since my post on your favorite combinations had no success, I deleted it. But since I worked on the machine, and I have some preferences.

UTILIZATION

Operation is very simple, especially if downloading the Liquid Control, essential software and blackjack on the site. The "manual", a rather thin form, is perfect and answers many questions.
The sound? Just a killer. And I have two LA610 for comparison. To be clear, the sound of a LA610 is silkier, more instinctive I say, I never let go for a LA610 LC (liquid channel of course) for making coffee for example.
But still, ouch! Microphones on the LC is really a bit above: Dynamic huge équalo efficient, high-volume output. I was able to test and compare with the following microphones: Neumann U87AI, TLM 127, TLM 193, KMS 150, KMS 85, KMS 105, and Shure BETA87A SM58 or even an M-Audio Nova. In the end we see that the SC would sound anything.

SOUND QUALITY

Of course, everything depends on the preamp / compressor combination. When I bought the beast, the start was not easy: I did not dare turn up the gain and all preamps or compressors sounded a little similar. It was not bad but not great.
And then, like all machines of origin, must pack the input gain. And then, wonder! So I searched systematically any combination sounded best for singing or acoustic guitar. I have not looked at what matched the machines do not affect me (I have tended to more easily forgive the Neve or Universal Audio).
Finally, my favorite combination is the U.S. Modern Valve HYBRID1 (APHEX thermionics Model 1100) with the BRIT DESK2 (SSL SL4000G +). This is obviously very subjective, but can serve as a basis for further research.
Apart from the U.S. Modern Valve, I also loved these preamps: Savillerow (Helios), FF RED1 (Focusrite RED1) and SWIISROLL (Studer D19). To a lesser extent, SCARLET (DW FEARN VT2) NASHVILLE BRIT CLASSIC DESK5 (Trident MTA), or OLD TUBE (Pultec MB-1).
For compressors, apart BRIT DESK2 (SSL SL4000G +), I enjoyed LIVE SOUND / BRIT LIVE SOUND 1 (BSS DPR402) or VINTAGE / U.S. VINTAGE TUBE 1 (FAIRCHILD 670 for use in radio voice for example) . Not bad STELLAR3 (LA 3A) BRIT DESK1 (Neve VR console) or FF RED7 (Focusrite RED 7).
As I wrote above, these combinations sound provided the gain stuff (I do not hesitate to fling a U87 50 db 60 db or a TLM 127) and open harmonics furiously button.

OVERALL OPINION

I have tried on a bunch of slices (Behringer, Joemeek and Co.). Not one comes close to the monster.

The Qualie / price ratio is unnecessary in this case: this machine is of such quality that the price, who cares, especially if one is used.

I still keep the LA610 but I bought a second LC, as this machine is indispensable to me.

2U rack preamp is powered by the convolution: Modelling (at different input levels) preamps & compressors mythical (40 presets X2)

UTILIZATION

Simple configuration, the sound is to die on some preamps and compressors. I write this review Audiofanzine because I did not find much information about this product on the net ... I still took the plunge by buying in the U.S. (be careful though out the small change was 0.5 X 20 fuse 220v before use!). For all future users no lie: We must spend some time on the machine, for example by testing a voice you know well and then try different settings in order to better understand the opportunities available to you. Then it's a matter of goût.Certains presets are really incredible (Drawmer / Pye / Distressor / Summit TLA / Urei etc ...). With the little free editor Liquid Control you can adjust your combos Preamp / Comp and rename them on your computer which is not a luxury for all emulations have different names registered supposedly embodied. I have my little folder with all my personal settings & especially the names of real emulated preamps. Instead I spent two days in any set & rename to ...

SOUND QUALITY

The sound is sharp, punchy and very pure in connection ADAT / SPDIF. Note however that the latency: About 48 ms at home and in connection numérique.Néanmoins a definite plus for the arrangements on all types of instruments: Drums, bass voice and found a good momentum and a clear investment in the panorama of the mix . May be optionally added to the color (drive) to a setting via a rotary encoder. I was pleasantly surprised by the integrated EQ (supposed to come from the Focusrite ISA): Contrary to what I read here and there, this EQ is very good and does not sound digital at all.

OVERALL OPINION

How long you use it:
About a month.

What is so special that you love most, the least:
The lowest latency = good but it must be a computation time ... not always evocative names (factory presets) Caution on SPDIF! Focusrite = standard linker to two LC but not leave or enter the her. We leave and enter into ADAT or analog XLR only, plan on buying a cable XLR / SPDIF.

The more emulations are amazing. Compression has nothing to do with a plugin: Here is the top level The small publisher Liquid Control reagent well on my Mac & handy.
How would you rate the quality / price? With experience, you do again this choice? YES
I think it's a bit pricey but good ... The sound quality is at the rendezvous.
I plan to break my piggy bank in a while to buy a second one for stereo use.