View other reviews for this product:
linn134 « Not bad at all. »
Published on 03/03/12 at 05:32The small slice of Presonus Eureka is a small rack of a unit well presented and richly diverse rglages dowry. The design is provided by PRESONUS the USA, China is building in a range Suprieure the series "blue" brand.
One feels a net cart range between a first tranche prices and EUREKA, in terms of finishing and assembly but also in terms of the quality of the components. Of course this is not a Presonus ADL, the beautiful designed by Anthony De Maria bb which costs up to competition (DBX 786, UA, Avalon Design).
But it is necessary to recognize it, a slice of middle console range and does the job without fuss this is already not bad. I will not venture to compare the EUREKA gear with big big mistake to have on hand and especially lack of being able to diffrencier ear.
Before going deep into the test I want to caution you on one important point:
EUREKA is primarily a slice of versatile console and reasonably neutral. There is no question of putting it in competition with machines JoeMeek or Bellari are they, tools that can color the sound significantly fawn.
Point of light on the horizon, everything is based on transistors, which is not a bad thing for a prampli less than 1000 euros. So exit lamps figuration sauce Behringer Magician.
UTILIZATION
It begins by exploring the ass of the animal with Methodius, as veterinarians studio: Internal power supply with IEC plug, power button (it's a pity the rear), outputs TRS jacks and XLR (symtriques so) location for the converter AD192 option (see below), Insert (departure and return two jack plugs spares) between microphone and line two Separate XLR and jack plugs.
In faade is Christmas, with a high between impdance (high-Z as the English say) and plethora of light switches and potentiometers aluminum dyed. The facade is beautiful like a heart in her dress brushed aluminum. A small analog VU meter (switchable display output gain or display rduction gain for the compressor).
Face the EUREKA, from left to right, we follow the signal flow in the machine ... almost.
Between instrument -> Pramplification -> Compressor -> Equalizer paramtrique -> Output
But the subtleties of the small animal is that one can reverse the location of the compressor and the equalizer. Thus it is possible to compress and then equalize or to equalize and compress after. EQ and compressor each have a silent indpendant bypass.
Part PREAMPLIFIER:
Presonus has named its circuit "Transformer Coupled Preamp". It's pretty, it sounds technical and fast degradation of the signal. I invite you look on the net operating principle of this circuit, with pretty equations and the whole shebang. In terms of the EUREKA, we dab the horn has sounded.
So we enter a line / signal mic / instrument in prampli, the gain is adjusted, we play with slecteur of impdance if necessary and shoo. Not zou actually: the small knob SATURATE raises questions. This device senses emulate saturation lamp pramplification. In fact it's quite subtle, has thickens the sound a bit and makes Theoretically more "musical". The effectiveness of my stuff is there on both Parameter: your ability to discern the change brings the circuit and your desire to hear. This is a color a bit and it's nice. We can do without it too, for my part I have trouble sometimes perceive the result.
The prampli is richly endowed in tmoins light and switches, and the required phase inverter is the same of a cutoff filter 80Hz. For the rest, I suggest you watch the same facade by you.
Part COMPRESSOR:
Aha, you attack all of the heavy viewpoints.
Maniacs compressor means dj wonder if we can use it as the 1176, the freaks are ready discreet compression rail against noise and Ventuel pumping animal well ... nothing.
The compressor of the EUREKA is a good compressor but not to the death your crush her or fucked like a shadok. It is between the two, capable of pumping a little while relatively little as 3/4 Introduced in time. So take a ride on the forum for you to realize that this compressor generates debate as just for its range rglages.
PARAMETRIC EQUALIZER part:
Three bands, with Q factor, Gain and range Frquence is already not bad. Do not forget that this is a channel strip one unit high, already well cluttered with a bunch of buttons and potentiometers. Overall this EQ is well done.
LOW calibrated 20Hz 300Hz
MID calibrated 200Hz 3KHz
HIGH calibrated to 2KHz 20KHz
Gains will each of 10dB + 10dB
We walk a little on your fingers as the facade is dense, but it is quite grable.
Miscellaneous:
The Vu-Maître is quite symbolic, though everything nice in the middle of the facade, it reinforces the analog aspect of EUREKA. It's more than a rel tmoin of activity measurement tool as it is quite difficult to read less than 50cm from the rack.
The floor MASTER can be traced back off a little if necessary.
AD192:
The option really not optional.
For my part I got it directly goes into the rack of EUREKA, purchased used in excellent condition. Some shops still sell EUREKA "naked", others sell the complete kit prmont others sell the option at a price of EUREKA.
I am not using the analog outputs in recording situation, so the AD192 was welcome. Overall this is a good high-resolution converter, which is more Strro. For a single card you can connect two AD192 EUREKA together to produce a digital signal on both channels. EUREKA is thus found in the ass of a rack ECHO Mona24, branch coaxial SPDIF with word clock sync (slave) by BNC. I only use the 16-bit / 44.1kHz for fashion models and 24bit / 96KHz way for more successful projects. The dynamic is good, better than that obtained with the first two channels fatigus my ECHO Mona24. The sound is less round than the two channels of the Mona valiant, but very worthwhile. It is far above the quality of the converter + prampli lot of mixers numriques.
SOUND QUALITY
For whom, for what?
EUREKA is a Swiss Army knife, neutral enough to cash in studio microphones (recovery of guitar or bass amp, the vocals), dynamic enough to catch tolrer battery (multiply by the number of over- heads and others when even!) and not bad at all to get a mono analog synth in a dj mix well full.
OVERALL OPINION
EUREKA is not a slice or AU Avalon, I repeats, but a good tool midrange really seriously. Only the reliability of the product could alienate more pro (for me no problem) but certainly not his.
On his release he had dbourser over 500 euros and almost as much for the AD192 card, so we approached the prices that put the hardware out of reach of small structures or amateurs. Now, if only one is found in stores, it became a very reasonable investment.
I never t a big fan of Presonus hardware. Their audio interfaces do not suit me and out of the ADL 600 absolutely superb all round he was not the question for me to invest in this brand whose products have a fairly average reliability of AD s many testimonies on forums (US and FR). Yet I Intress first little brother in the EUREKA STUDIO CHANNEL. I test with my favorite instrument (electric bass very high-end), a mean electric guitar (Epiphone Korina Explorer) and two microphones (Sennheiser and Beyer, both dynamic and high end) . I also made prter a condenser microphone (AKG C414) for testing purposes. The verdict t clear: STUDIO CHANNEL is not for me. A copy of the EUREKA was hanging in the shop and I compar. My prfrence was the EUREKA. Except that the price did not reflect what I was investing (I was looking only at prampli departure). An opportunity presents me and I have taken the plunge.
I may be in taking a slice SECOND!
In terms of efficacitprix placement, EUREKA is a good choice, quite alone in its segment slice complte less than 800 euros (AD192 included). This is definitely a good investment for a home studio or a small medium structure. My view bassist is clear: I keep only two boxes for live recording of my bass: Avalon U5 DI big and EUREKA.
One feels a net cart range between a first tranche prices and EUREKA, in terms of finishing and assembly but also in terms of the quality of the components. Of course this is not a Presonus ADL, the beautiful designed by Anthony De Maria bb which costs up to competition (DBX 786, UA, Avalon Design).
But it is necessary to recognize it, a slice of middle console range and does the job without fuss this is already not bad. I will not venture to compare the EUREKA gear with big big mistake to have on hand and especially lack of being able to diffrencier ear.
Before going deep into the test I want to caution you on one important point:
EUREKA is primarily a slice of versatile console and reasonably neutral. There is no question of putting it in competition with machines JoeMeek or Bellari are they, tools that can color the sound significantly fawn.
Point of light on the horizon, everything is based on transistors, which is not a bad thing for a prampli less than 1000 euros. So exit lamps figuration sauce Behringer Magician.
UTILIZATION
It begins by exploring the ass of the animal with Methodius, as veterinarians studio: Internal power supply with IEC plug, power button (it's a pity the rear), outputs TRS jacks and XLR (symtriques so) location for the converter AD192 option (see below), Insert (departure and return two jack plugs spares) between microphone and line two Separate XLR and jack plugs.
In faade is Christmas, with a high between impdance (high-Z as the English say) and plethora of light switches and potentiometers aluminum dyed. The facade is beautiful like a heart in her dress brushed aluminum. A small analog VU meter (switchable display output gain or display rduction gain for the compressor).
Face the EUREKA, from left to right, we follow the signal flow in the machine ... almost.
Between instrument -> Pramplification -> Compressor -> Equalizer paramtrique -> Output
But the subtleties of the small animal is that one can reverse the location of the compressor and the equalizer. Thus it is possible to compress and then equalize or to equalize and compress after. EQ and compressor each have a silent indpendant bypass.
Part PREAMPLIFIER:
Presonus has named its circuit "Transformer Coupled Preamp". It's pretty, it sounds technical and fast degradation of the signal. I invite you look on the net operating principle of this circuit, with pretty equations and the whole shebang. In terms of the EUREKA, we dab the horn has sounded.
So we enter a line / signal mic / instrument in prampli, the gain is adjusted, we play with slecteur of impdance if necessary and shoo. Not zou actually: the small knob SATURATE raises questions. This device senses emulate saturation lamp pramplification. In fact it's quite subtle, has thickens the sound a bit and makes Theoretically more "musical". The effectiveness of my stuff is there on both Parameter: your ability to discern the change brings the circuit and your desire to hear. This is a color a bit and it's nice. We can do without it too, for my part I have trouble sometimes perceive the result.
The prampli is richly endowed in tmoins light and switches, and the required phase inverter is the same of a cutoff filter 80Hz. For the rest, I suggest you watch the same facade by you.
Part COMPRESSOR:
Aha, you attack all of the heavy viewpoints.
Maniacs compressor means dj wonder if we can use it as the 1176, the freaks are ready discreet compression rail against noise and Ventuel pumping animal well ... nothing.
The compressor of the EUREKA is a good compressor but not to the death your crush her or fucked like a shadok. It is between the two, capable of pumping a little while relatively little as 3/4 Introduced in time. So take a ride on the forum for you to realize that this compressor generates debate as just for its range rglages.
PARAMETRIC EQUALIZER part:
Three bands, with Q factor, Gain and range Frquence is already not bad. Do not forget that this is a channel strip one unit high, already well cluttered with a bunch of buttons and potentiometers. Overall this EQ is well done.
LOW calibrated 20Hz 300Hz
MID calibrated 200Hz 3KHz
HIGH calibrated to 2KHz 20KHz
Gains will each of 10dB + 10dB
We walk a little on your fingers as the facade is dense, but it is quite grable.
Miscellaneous:
The Vu-Maître is quite symbolic, though everything nice in the middle of the facade, it reinforces the analog aspect of EUREKA. It's more than a rel tmoin of activity measurement tool as it is quite difficult to read less than 50cm from the rack.
The floor MASTER can be traced back off a little if necessary.
AD192:
The option really not optional.
For my part I got it directly goes into the rack of EUREKA, purchased used in excellent condition. Some shops still sell EUREKA "naked", others sell the complete kit prmont others sell the option at a price of EUREKA.
I am not using the analog outputs in recording situation, so the AD192 was welcome. Overall this is a good high-resolution converter, which is more Strro. For a single card you can connect two AD192 EUREKA together to produce a digital signal on both channels. EUREKA is thus found in the ass of a rack ECHO Mona24, branch coaxial SPDIF with word clock sync (slave) by BNC. I only use the 16-bit / 44.1kHz for fashion models and 24bit / 96KHz way for more successful projects. The dynamic is good, better than that obtained with the first two channels fatigus my ECHO Mona24. The sound is less round than the two channels of the Mona valiant, but very worthwhile. It is far above the quality of the converter + prampli lot of mixers numriques.
SOUND QUALITY
For whom, for what?
EUREKA is a Swiss Army knife, neutral enough to cash in studio microphones (recovery of guitar or bass amp, the vocals), dynamic enough to catch tolrer battery (multiply by the number of over- heads and others when even!) and not bad at all to get a mono analog synth in a dj mix well full.
OVERALL OPINION
EUREKA is not a slice or AU Avalon, I repeats, but a good tool midrange really seriously. Only the reliability of the product could alienate more pro (for me no problem) but certainly not his.
On his release he had dbourser over 500 euros and almost as much for the AD192 card, so we approached the prices that put the hardware out of reach of small structures or amateurs. Now, if only one is found in stores, it became a very reasonable investment.
I never t a big fan of Presonus hardware. Their audio interfaces do not suit me and out of the ADL 600 absolutely superb all round he was not the question for me to invest in this brand whose products have a fairly average reliability of AD s many testimonies on forums (US and FR). Yet I Intress first little brother in the EUREKA STUDIO CHANNEL. I test with my favorite instrument (electric bass very high-end), a mean electric guitar (Epiphone Korina Explorer) and two microphones (Sennheiser and Beyer, both dynamic and high end) . I also made prter a condenser microphone (AKG C414) for testing purposes. The verdict t clear: STUDIO CHANNEL is not for me. A copy of the EUREKA was hanging in the shop and I compar. My prfrence was the EUREKA. Except that the price did not reflect what I was investing (I was looking only at prampli departure). An opportunity presents me and I have taken the plunge.
I may be in taking a slice SECOND!
In terms of efficacitprix placement, EUREKA is a good choice, quite alone in its segment slice complte less than 800 euros (AD192 included). This is definitely a good investment for a home studio or a small medium structure. My view bassist is clear: I keep only two boxes for live recording of my bass: Avalon U5 DI big and EUREKA.