The ISA preamp sound is quintessentially British, well-rounded, and with plenty of detail and punch. The Focusrite ISA sound can be heard on countless records made throughout pop & rock history.
The ISA Two combines this timeless sound with contemporary features to meet modern demands. Rack form factor, clear metering and versatile controls/connectivity - all in one!
- Two ISA Series transformer-based mic preamplifiers
- Variable input impedance
- Up to 80 dB of clean, low-noise gain
- Variable cut-off high-pass filter
- Eight-segment user-calibrated LED meter per channel
- Two front panel instrument inputs
- Dedicated per-channel insert point
- 1U 19" rack-mount format
Classic Neve-inspired Specs
The ISA Two combines two independent classic ISA microphone preamps, taken straight from the original ISA 110 module. As mentioned earlier, the sound of this module has been a mainstay of contemporary music production for decades.
The addition of a Rupert Neve-specified input transformer - the Lundahl LL1538 - ensures that the impedance is matched with supreme accuracy. Not only that, but you can be confident of a noise-free, crystal-clear response. Many the LL1538 is widely considered to be "probably the best 1:5 microphone input transformer available."
Versatile Modern Design
Each of the two preamps have the options of mic, line or front-panel instrument input to suit every scenario. You also get variable input impedance - better control, better performance. You'll also get a whopping 80dB of gain at your disposal; 60dB initially, followed by a further 20dB of continuously variable trim.
If that wasn't enough, you get a subtle but effective high-pass filter, with a variable cutoff frequency of 16-420Hz - a tonal control that can make a huge difference, particularly with vocal performance. 8-segment LED meters show peak signal levels in dBFS, while a real-panel control lets you tweak calibration to match your A-D converters.
The final touch is the addition of rear-panel insert points. Easily make use of inline processors like compression - a classic sound updated for the modern studio setup.
Mic input response
- Gain Range (Mic): 0 dB to 60 dB in 10 dB steps, plus 0 dB to 20 dB continuously variable trim
- EIN (Mic): Measured at 60 dB of gain with 150 O source impedance and 22 Hz-22 kHz band pass filter -127 dB
- Noise (Mic): Noise at output with unity gain (0 dB) and 22 Hz-22 kHz band pass filter -97 dBu
- Frequency Response (Mic): At minimum gain (0 dB)-0.5 dB at 10 Hz,?-1 dB at 135 kHz, relative to 1 kHz
- At 60 DB Gain (Mic): -6 dB at 10 Hz, -1 dB at 115 kHz, relative to 1 kHz
- Crosstalk Channel To Channel (Mic): Mic input, with I/P = 0 dBu, gain = 0 dB @ 1 kHz input to channel A, channel B output = -85 dB
Line input response
- Gain Range (Line): -20 dB to 10 dB in 10 dB steps, plus 0 dB to 20 dB continuously variable trim
- Input Impedance (Line): 10 kO from 10 Hz to 200 kHz
- Frequency Response (Line): At minimum gain (0 dB)-0.3 dB at 10 Hz, -1 dB at 80 kHz, relative to 1 kHz
- Crosstalk Channel To Channel (Line):L Line input, with I/P = 0 dBu, gain = 0dB @ 1 kHz input to channel AChannel B output?= -91 dB
Instrument input response
- Gain Range (Instrument): 10 dB to 40 dB continuously variable trim
- Input Impedance (Instrument): 2 MO
- Noise (Instrument): Measured with 22 Hz-22 kHz band pass filterMinimum gain ( 10 dB) = -95 dBu
- Frequency Response (Instrument): At minimum gain ( 10 dB)-0.1 dB at 10 Hz,?-1 dB at 115 kHz, relative to 1 kHz
- At Maximum Gain ( 40 DB) (Instrument): -2.5 dB at 10 Hz, ?-1 dB at 110 kHz, relative to 1 kHz
- Roll-Off: 18 dB per octave (3 pole filter)
- Frequency Range: Continuously variable from 16 Hz to 420 Hz (-3 dB)
Weight and dimensions
- W X D X H: 480 mm x 280 mm x 44 mm
- Weight: 3.7 k