THE MICROPHONE AMPLIFIER.
The microphone amplifier takes the audio signals from any microphone and amplifies them up to 'line' level; that is, from a few millivolts, up to about a volt. This function is not too difficult and the microphone amplifiers on normal professional mixers do it quite well; BUT they cut costs and corners. The JOEMEEK Studio Channel has an uncompromising old fashioned approach, it uses a transformer at the input to provide the lowest possible noise and distortion. By using the finest components available for the purpose, and with proven high overload amplifier design developed over many years, the performance is startlingly good. The JOEMEEK Studio Channel is designed for the best condenser microphones and it is particularly good with Neumann, Sony, BPM by Studiotechnik, Microtech Gefell, AKG, CAD, Audio Technica and many others.

Dynamic or ribbon microphones should be used with the phantom power turned off, then full advantage can be taken of the extreme low noise performance of this amplifier. Some capacitor microphones can produce enormous output voltages when placed close to a loud sound source. To eliminate any possibility of overload under these conditions, a 20dB pad switch is fitted.

PHASE SHIFT and QUALITY:
It's Fletcher Company theory that 'big' sounds are only possible if the recording channel keeps the response and phase of the lower frequencies flat and under control. To achieve this, the J0EMEEK Studio Channel has an extended frequency range down below 20Hz. This ensures that there are no sudden phase shifts in the low end. The proof of the theory is that the sound from the Studio Channel is characteristically full bodied and rounded in character. Such extreme LF response can often bring its own problems so a 'subsonic' (High Pass) filter can be switched in with a front panel push-button. A push button is provided on the front panel to reverse the phase of all audio signals (mic and line).

BALANCED AND UNBALANCED.
The JOEMEEK Studio Channel is designed to be used in the best recording studios where most (if not all) interconnections are 'balanced'. Balanced operation means that the audio is carried on two wires working in opposite phase. Then should any interference appear on the 'line', it will be effectively canceled out Both of the main inputs (Microphone and Line) and the line output are accurately balanced to get the best advantage from true balanced operation.

COMPRESSOR:
The compressor is a photoelectric device where the sound triggers light emitting diodes which in turn control the resistance of a photo sensitive resistor. This form of compression used to be common in the 60's and 70's but has been superseded by so called 'improved' voltage controlled amplifiers. The advantages of the older system are that distortion is virtually eliminated, noise is extremely low while overload margin is extremely good. The disadvantages are that the design is more difficult to produce cheaply and, according to those who judge equipment by specifications and not by listening, the older design is less flexible in operation and more difficult to use! Using 1990's electronics for the control circuitry, Ted Fletcher has recreated the compressed sound of the 60's; a sound that was unlikely ever to be heard again. Totally unlike a modem compressor, it can pull voices forward, help with internal mix balance, and add 'presence' to the sound as well as controlling recording volume levels. But its main and unique attribute is it's ability to produce the characteristic 60's compressed exciting sound without losing the transient sparkles that are such a feature of good digital recording.

INPUTS. The Studio Channel is optimized for the three main types of inputs found in recording studios. XLR microphone inputs are on the front and rear of the unit. On the rear of the unit, the line input is balanced. On the front of the unit there is an unbalanced 'instrument' input.

FILTER. A high pass filter push button removes extreme rumble frequencies if required.

PHASE REVERSE. Reverses signal phase

VU METER. The LARGE illuminated meter is switchable between reading audio input, and gain reduction (compression)

BALANCED OUTPUT. The line level output from the studio channel is electronically balanced on both XLR and 1/4" outputs with a discrete "floating" circuit. The circuit performs like an audio transformer.

POWER. The VC1 is mains powered dual voltage and is fitted with a ground lift switch on the rear panel.

BACK TO: INTRO Pg. 1, 2, 3; "The Rack"

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