All user reviews for the Focusrite Liquid Channel
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.
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.
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!
mpariente's review (This content has been automatically translated from French)" INSIPENSABLEMENT MONSTRUEUX"
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.
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.
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.
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.
6 of 6 people found this review helpful
arnoldorodeo's review (This content has been automatically translated from French)" A great original machine but"
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 ...
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.
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.
3 of 3 people found this review helpful
blackle's review (This content has been automatically translated from French)"Convulation and modeling .."
The Liquid Channel is a processor rather large (2 units high) and its size is nice in its use. Of power switch at the input section, a friendly gauge, a switch mic / line and the gain, not to mention the (indispensable!) clipping. But even in this aissi input section we find the activation of the power supply 'ghost, the phase inverter and high-pass filter. Several LEDs indicate the selected input (mic, line, digital, with or without insertion of the input transformer built according to the type of emulated preamp). There is also a key indicator and two baptized "Session Saver": this useful feature detects any situation where the analog input signal can overload the digital converters, and reduces the level, if necessary, in 1 dB steps, until 'to 3dB. Very convenient, even essential at high voltage sessions, where retakes are inenvisageables! On this same section there are also buttons / indicators choice of digital reference: internal / external AES or Worldclock, and the sampling frequency (up to 192 kHz, requires Focusrite ..).
The central section of the machine allows the exploitation of its emulation functions of preamps and compressors. The LCD, the encoder 6 and 4 keys are enough for me to work. The "replies" (emulated devices) are chosen by pressing the Pre and Compressor located just above the screen, then scrolling list of choices via the data wheel, and pressing to confirm. From left to right, encoders let you get into the harmonics, a way to introduce some "heat" of distortion which vary depending on the model used preamp. We will return later .. But also to adjust the threshold, the release and catch-up gain. Called "Make-Up." No doubt there is much in the presence of a bike Focusrite.
Then comes the section of the digital equalizer, which is modeled and not based convulation. It offers three bands: Shelve corrector type for bands bass / treble and parametric equalizer for the medium (Q switched) circuit based on the ISA 110. But especially designed for minor procedures!
The last section of the front in turn ensures the overall configuration of the processor: input names and registration programs .. Subtlety anyway. It is in this section that we find a way to access the cutoff frequency of the highpass filter of preamp hardware of the unit .. You can find it in the "Setup" menu.
We're in the thick of it .. As a regular user of certain machines that it purports to, and exploring the dozens of combinations of compressors and mic preamp, tube or transistor, the "replies" go to satisfactory through the successful " I'm confused .. .. ". The sound is alternately colored or neutral, warm or analytical, rich or slightly lean, shiny or dull. Everything with a fine control of dynamics. The sound ranges from subtle to intense, but compared to real machines there still remains some frustration. The convulation still much progress to make, although some results are perfectly usable. Modeling based equalization, I recall on the ISA 110, is at times questionable. In digital it is still very very difficult to get all the characteristics of an analog equalizer. Compared to the ISA 110, the sound is more narrow. This fact is particularly noticeable when applying corrections called muscular. Harmonics are much less enjoyable .. Given this, the ISA 110's Liquid Channel is not done that .. So just, as said above interventions subsidiary.
Needless to say the converters are excellent. The preamp is high caliber, and is almost alone the fact that you can store this Liquid Channel in machines of the highest order.
The Liquid Channel interface has a solid and well thought out. The main access is immediate. The sound quality is above reproach. However convulations the various machines, as mentioned above, can leave you hungry. The real skill lies in the choice of the user and the application of sound color desired. Configurations are very easy to record. Those working in post-production can take advantage of this function to fit the voices redone in postsynchro and those recorded when shooting.
In use music studio, the great advantage of this bike is that you can select a particular machine not present in the racks. But we must not forget that Focusrite can unfortunately not completely compensate for a shortage. It is also imperative to remember that there is also a reaction time at the helm, of course absent in the original devices, which respond instantly to their hand, and an equalizer (I know I repeat myself) a little shy but still remaining usable.
In contrast to the studio the domestic supply of such a machine seems fairly limited. As with the channel strips, compressors, etc. .. upscale (read: professional). To fully the quintessence of what it will be essential Focusrite than the rest of your studio is in keeping. Otherwise I think some see no interest.
9 of 9 people found this review helpful
1802's review (This content has been automatically translated from French)
- Is the configuration simple?
- Gets it easy to sound good?
- Is the manual clear and sufficient?
Very simple ...
- The sound of your instruments or microphones is properly reproduced?
Is prampli transparent or does it brings a stain?
This is a bcane, unique, gnial ....
Jiem_971's review (This content has been automatically translated from French)
found some preamp, a compressor section and some EQ. all you need is here!
It's a beautiful machine, solid, heavy as (normal with everything in it!). is a strip basic, it works how come nimporte high-end device of this type ...
the manual is very clear and limpid. j'aime bcp part question-answers because the questions asked of the manual are very perceptive, are not questions that arise right away ...
The sound of this rack is really amazing!
Initially, a machine that is supposed to "emulate" other large machines and processes the signal digitally by convolution and spits in annalogique You can leave a bit skeptical.
mm before me seeing him at work in a studio where I train, I was a little on my guard. but to force, I was seduced by the ergonomics and the prowess of this machine. In addition, there is a small button "Session Saver" which automatically lowers the dynamics of sound that passes through the preamp when activated if there is a potential clipping, which is very well thought!
I use it for 1 month.
I assure you that this machine is terrible! in fact, when loading a replica of preamp or compressor, the Liquid Channel behaves electrically and audibly as the machine in question, resistance and capacity values changing according replicas. conversions are superior to any sound card and Apogee converters (and I mean it !!!).
The preamp section is fantastic, using replicas of the lamps are perfectly reproduced in + there is a knob "Harmonics" which adds odd harmonics of the 3rd and 5th order which has the effect of adding heat. driver is like the lamps of a preamp for a more crunchy and dirty (what the effect lamp!).
replica transistor Class A are also very well reproduced, there is a neutral law and its very specific to this type of preamp.
but the most phenomenal is the compressor section: indeed, one can choose to have the settings as machinery mm of origin or have settings where you can open any set ("Free mode" or "As Original Model mode "). Let me explain: if you charge a replica LA2A for example, and one is in "As Original Model mode", there will be only three available settings (output gain or make up the Focusrite, the threshold, and the ratio that use the machine as a compressor or as a limiter), ie the 3 settings available on a real basis LA2A!
I find it really crazy that Focusrite has thought of that! as in the example above, we really feel like a real LA2A hands ... also, the sound is the true LA2A appointment.
the compressor section of the Liquid Channel reacts as it emulates the real compressor and behaves as such, mm if the sound is not completely identical. but in all cases, the sound is often very close to the originals, sometimes the sound is identical mm along the lines (like Avalon VT 737, Distressor all series Focusrite, Manley Slam Drawmer 1960 and others).
of course, is my opinion, this is only my opinion, qqun else will be can not be agree with me ... mm me anyway, I think if qqun not bcp budget He can bet on this unit, knowing that he can find replicas of 40 preamps and compressors 40 and above, these replicas will bring him a very, very close to his original, if not the mm's sometimes!
I would do the choice is clear, mm if I think my next purchase will be more on a device purely "analog" of the genre or Tubetech Avalon ... we'll see (we can dream a little right?!? )
4 of 4 people found this review helpful
AudioTruth's review (This content has been automatically translated from French)
It turns on and off you go, very simple to access, everything is there before us ... but to turn the knobs!
One senses immediately the numerical approach of the product, it looks like a great plug-in with a very very big sound and very close to analog. It also feels that it is not analog, there is a "computing time" sound but the sound reacts as if it was analog and there, the convolution is really the difference. The sound is extremely defined but is digital so malleable, façonnable.L USB interface is a complete success, no crash depus 2 years, very practical. Frankly Focusrite is a registered engineer for, these are great products, sound quality and fanrication are waiting for you, I love this brand and the home studio too underestimated. The liquid channel is an absolute weapon, such as the 430MKII Isa, you have to make them sound and there is the difference between the engineers and home studio.
The preamp is generally excellent and impresses on some convolutions, Avalon, UA, Neve, Telefunken, Manley Slam (oawh) Focusrite are pure reéussites bombs.
But the convolutions of cuts are even better than the preamps for my taste: Tube tech, SSL, Pye, Api, Distressor (ouawh) and so on are real killings.
But the real strong point combinations: + Distressor Fearn preamp, Neve + Pye, Manley 33609J +? short these are couples that you change your sound, and frankly these combinations sound of hell, much better than Valon 737, or 6176 ...
Finally Eq digital sounds, but is by far the best EQ out of the market put the Neve or Api. In short, the Liquid is an excellent product in view of its capacity, ergonomics and sounds great, but it is analog and frankly it is so powerful that today is the tool easier to do ring.
I have a pair, almost 2 years, what I like least is .... I always look, everything is over, nothing bad or disappointing, nothing extraordinary except the possibility to mix and ergonomics (USB ...) you can just to prefer the high-end hardware such analogiquere Fearn, Neve, Api, but apart from very high maque the liquid is equal to all others.
I had the 737, 6176, Amek CIB, the API 7600, Chandler LTD1 and liquid, I finally kept a Liquid and a Chandler LTD1.
3 of 3 people found this review helpful