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8通道話筒前置放大器提供8個麥克風(fēng)前置放大器，每一個從哈里森時代不同的游戲機(jī)。每對前置放大器具有自己獨(dú)特的特征，提供錄音工程師，在一個緊湊的1RU盒子幾個選項。

特征

The front panel provides inputs for channels 1 and 2 (with selector switches) and controls for each of the 8 mic preamps:

前面板提供了通道1和2輸入（帶選擇開關(guān)）和8個麥克風(fēng)前置放大器控制：

(2) 70-80's era mic preamps, with pad and 48V switches.

（2）70-80年代的麥克風(fēng)前置放大器，帶墊和48V開關(guān)。

(2) 80-90's era mic preamps, with pad and 48V switches.

（2）80-90年代的麥克風(fēng)前置放大器，帶墊和48V開關(guān)。

(2) 90-00's era mic preamps, with pad and 48V switches.

（2）90-00時代的麥克風(fēng)前置放大器，帶墊和48V開關(guān)。

(2) Trion mic preamps, each with pad, 48V, instrument mode, and "FIX" gain preset.

（2）該麥克風(fēng)前置放大器，每個墊，48V，儀表模式，和“修復(fù)”的增益設(shè)定。

An innovative addition is the "FIX" button on each of the two Trion preamps. The "FIX" button engages a preset gain trim (user-adjustable via a trim pot). The combination of the front-panel input switching and the "FIX" buttons allow you to switch the first two preamps between one use (such as 2 calibrated overhead mics in the studio) and another ( such as a vocal chain setup) without having to re-set the input gain in-between.

創(chuàng)新是每一個該前置放大器的“修復(fù)”按鈕�！靶迯�(fù)”按鈕進(jìn)行預(yù)定的增益調(diào)整（用戶可通過微調(diào)電位計）。前面板的輸入開關(guān)和“修復(fù)”按鈕的組合允許你使用開關(guān)之間的第一個前置放大器（如2校準(zhǔn)開銷MIC在工作室）和另一個（如聲樂鏈設(shè)置）而無需重新設(shè)置輸入增益之間。

The rear panel includes 8 microphone preamp inputs and a DB25 connector carrying the 8 line outputs. The unit is constructed with a robust power supply and uses high-quality components that are assembled and tested at our factory in Nashville, Tennessee, USA.

后面板包括8個麥克風(fēng)前置放大器的輸入端和一個DB25連接器攜帶8線輸出。該裝置是一個強(qiáng)大的電源建設(shè)和使用高品質(zhì)的元件組裝和測試我們在納什維爾，田納西州的工廠，美國。

Our design staff, some of whom have been at the company since the mid-70s, researched our archives and re-created these designs using the accumulated knowledge of their analog design expertise. These circuits represent the "designers choice" among dozens of consoles that we have developed through the years. The details of each preamp were tweaked to capture (and sometimes accentuate) the character of the original mic preamps using modern components. In each case, the original intent was to provide the most transparent design possible with the available technology. On some recorded sources the differences will be subtle, while on others the differences will be quite noticeable.

我們的設(shè)計人員，他們中的一些已經(jīng)70年代中期以來一直在公司，研究了我們的檔案和重新使用他們的模擬設(shè)計的專業(yè)知識的積累創(chuàng)造了這些設(shè)計。這些電路代表“設(shè)計師選擇“幾十臺，我們經(jīng)過多年發(fā)展中。每個放大器的細(xì)節(jié)調(diào)整捕獲（有時強(qiáng)調(diào)用現(xiàn)代零部件原）麥克風(fēng)前置放大器的特點(diǎn)。在每一種情況下，最初的意圖是提供最透明的設(shè)計可能與現(xiàn)有技術(shù)。在一些記錄源的差異是微妙的，而其他的差異會非常明顯。

TRION – This preamp is based on a premium Lundahl transformer in an unconventional but inspired design that provides 70dB of clean gain. It also has the additional features of front panel inputs, instrument (hi-Z) selection, and an alternate "FIX" gain preset. With unmatched sound and configurability, this pair of preamps provides the backbone for any recording studio. They provide subtle character for lead vocals, clean gain for DI instruments, transformer saturation on close-miked drums, and recallability (using the FIX mode) for matched drum overheads. The TRION mic preamps are the culmination of decades of optimizations to accommodate sources with widely-ranging requirements. You can't throw anything at these preamps that they can't handle.

Trion–前置這是基于一個溢價Lundahl變壓器在一個非常規(guī)的設(shè)計靈感，但提供清潔的增益分貝。它還具有前面板輸入的附加功能，儀器（高阻抗）選擇“修復(fù)”，和一個備用的增益設(shè)定。無與倫比的聲音和可配置性，這對前置放大器提供了骨干任何錄音棚。他們的主唱提供精細(xì)的性格，干凈地儀器增益，關(guān)閉話筒鼓變壓器飽和，和recallability（使用固定模式）匹配鼓開銷。在該麥克風(fēng)前置放大器是幾十年的優(yōu)化以適應(yīng)廣泛范圍的需求來源的高潮。你不能把任何這些前置放大器，它們不能處理。

70’s-80’s – A parallel discrete input stage provides 60dB gain using a static bias scheme. This preamp has an EIN measurement at the edge of theoretical limits, and is perfect for quiet sources wher noise performance is an absolute priority. Paradoxically, this same preamp provided the hard-hitting sounds of 70s rock and R&B that put Harrison on the map. A true classic.

70～80年代–并行離散輸入級提供60dB的增益使用靜態(tài)偏置方案。該放大器在理論極限邊緣靜脈測量，是適合在噪聲性能是一個絕對優(yōu)先安靜的來源。奇怪的是，同樣的前置放大器提供強(qiáng)有力的聲音，70年代的搖滾和R&B，讓哈里森在地圖上。一個真正的經(jīng)典之作。

80’s-90’s – This model is based on a single discrete input stage (63dB gain) using an active bias scheme. Providing slightly more gain and headroom than the 70s models, but with a similar character, this preamp is a "workhorse" design that has powered many incarnations of Harrison analog products over the years. This is an excellent low-noise, high-gain preamp that will transparently capture any source.

80是該模型's-90–是基于一個離散輸入階段（63dB增益）使用有源偏置方案。提供比70模型稍微增益余量，但具有相似的特征，該前置放大器是一個“主力”設(shè)計，動力哈里森模擬產(chǎn)品多次在過去的幾年。這是一個很好的低噪聲，高增益放大器，將透明地捕捉任何來源。

90’s-00’s – Incorporating a single discrete input stage (63dB gain) and using a passive bias scheme, these preamps also incorporate FET-compensated headroom extension. This unusual design powered some of Harrison's later digitally-controlled analog consoles, and it is highly regarded for preserving the character of individual drums, acoustic guitar, and other percussive, harmonically-rich sources that need to "cut through" a mix. This circuit also differs from the others by using a parallel electronically-balanced output which we found was needed to preserve the original's character.

90是將一個單一's-00–離散輸入階段（63dB增益）和使用無源偏置方案，這些前置放大器也包括FET補(bǔ)償動態(tài)余量擴(kuò)展。這種不尋常的設(shè)計驅(qū)動的一些哈里森后期的數(shù)字控制的模擬機(jī)，它是用于保存?zhèn)�人的鼓，字符高度重視吉他，和其他沖擊，諧波豐富的來源，需要“切斷”混合。該電路也不同于其他采用并聯(lián)的電子平衡輸出，我們發(fā)現(xiàn)了需要保留原始的性格。

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