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ISA 110 Microphone Preamp and Equalizer, by Barry Rudolph Continued from Page 1 |
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More Features The ISA 110 also has a line input with a rotary line gain switch that adjusts ±18 dB in 6dB steps. The same trim control used for the mic preamp doubles as additional line gain adjustment from 0 to 10 dB. There are both Mic and Line selector buttons, and toggling one button untoggles the other—I tend to use the Line button as a “mute” button when directly recording vocals. All switching as well as all knob changes on the ISA 110 are dead-quiet and seamless—no pops, clicks or buzzes. The rear panel Insert Send jack provides a +4dBu output (up to +20 dBu) after the mic pre and before the equalizer. The companion Insert Return jack requires a +4dB signal (up to +26 dBu). The original ISA 110 unit had the insert point electronics on the printed circuit board but no front panel switch or rear panel connectors. Therefore, there isn’t an insert in/out button, but the All EQ switch disconnects the insert along with the equalizer, allowing you to A/B the entire chain—EQ and insert processing —together. Focusrite’s decision to remain faithful to the original in every detail also reproduces what I would call a quirk —the Overload indicator looks just like another button and is placed between two real buttons. Using the ISA 110 I found using the new ISA 110 no different from the original model, except that everything is horizontal. For this review, I used the line input to equalize program sources and instrumental tracks from a multitrack. The equalizer sounds very musical. When boosting high frequencies, I got all the “air” or openness I wanted without shrillness or peakiness. I used the parametric section to reduce a narrow band of “not so nice frequencies” that the shelf had brought up. Brightness can be “tailored” to suit a singer who may begin to get a little “essy” when top end is boosted. I liked this approach better than just raising the frequency of the shelving EQ; that fixes the problem but doesn’t sound as good. The same approach works with low frequencies. If you boost bass with the shelf and then reduce the fundamental of the bass with the parametric, you’ll get more bass level but less peakiness. This is all Basic Engineering 101, but the ISA 110 comes closer to realizing some of my sonic concepts/ideas than other equalizers. Finally, the shelving equalizer works better than any other shelving equalizer I have been around lately. A large amount of low-frequency boost doesn’t sound boomy but more like turning up the bass knob on a really good stereo system. The ISA 110 also shines in operational terms. When I’m using a Neve module as a mic preamp for vocals, I invariably find that once the singer warms up and sings louder, the mic gain setting ends up being one click too hot and I have to readjust the subsequent signal chain. Adjusting the mic gain on the Focusrite is less touchy, and the trim control feature helps out tremendously. Otherwise, the ISA 110’s mic pre section is very much like a Neve module, except I find the Focusrite less likely to overload since the exact gain setting is less critical. And, compared to a Neve module, the ISA 110 is cleaner, quieter and has more dynamic range. The overload indicator lights when the signal reaches 6 dB below clip, but occasional short-duration peaks that blink the LED do not necessarily result in audible distortion. A solid “reissue” of a classic piece of gear, the ISA 110 can add the Focusrite sound to your studio—and at a price lower than that of the 1988 original. MSRP is $2,000. Focusrite, distributed in the U.S. by Digidesign, 3401-A Hillview Ave., Palo Alto, CA 94304; 800/333-2137; www.focusriteusa.com or www.focusrite.com. Back to to Page 1; Back to Top |
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