![]() ![]() That approach was necessary to let a connected mic 'see' the different impedances that would be presented by the real thing.įocusrite were able to hive off the EQ and dynamics section to create a separate, much more affordable product (the Liquid Mix, reviewed in SOS July 2006, and later the Liquid Mix 16, which was more affordable still) - something that was simple to do because it was an entirely digital process. While the 'dynamic convolution' process behind the EQ and dynamics emulations was easy enough to understand (to simplify: lots of DSP running multiple‑snapshot convolution), the preamps were rather more complicated, employing a combination of electronics and dynamic convolution to create emulations. Pretty much any preamp, EQ and compressor of note had apparently been 'modelled', to create arguably the most flexible channel strip in history - and the results of using it were pretty damned good too. It's fair to say that when Focusrite and Sintefex first unleashed their 'Liquid' technology, in the form of the Liquid Channel (reviewed in SOS July 2004), many in the world of audio production were stunned. Focusrite's Saffire Pro interfaces already offer excellent value for money, but imagine if you could add two channels of any preamp you wanted. ![]()
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