All user reviews of 4/5 for the Focusrite Liquid Channel

The Focusrite Liquid Channel hosts a true analog preamp, followed by a preamp and compressor section (40 choices for each) using techniques convulation and a digital equalizer modeled on the ISA 110 ..

UTILIZATION

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.

SOUND QUALITY

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.

OVERALL OPINION

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.

The emulation from the convolution process no longer has to prove itself, especially if it's done by Sintefex, which is the case for the liquid, this combo Mic pre - eq - comp 2U rack, weighing 9 Technology kg !!!!! Chandler Ltd. is not a! extremely strong, beautiful, intuitive front panel, complete connectivity and quality. Focusrite short again does not do things by half, it shows that they also use the machines they manufacture.

UTILIZATION

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.

SOUND QUALITY

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.

OVERALL OPINION

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.