8通道话筒前置放大器提供8个麦克风前置放大器，每一个从哈里森时代不同的游戏机。每对前置放大器具有自己独特的特征，提供录音工程师，在一个紧凑的1RU盒子几个选项。

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输入（带选择开关）和8个麦克风前置放大器控制：

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

（2）70-80年代的麦克风前置放大器，带垫和48V开关。

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

（2）80-90年代的麦克风前置放大器，带垫和48V开关。

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

（2）90-00时代的麦克风前置放大器，带垫和48V开关。

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

（2）该麦克风前置放大器，每个垫，48V，仪表模式，和“修复”的增益设定。

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.

创新是每一个该前置放大器的“修复”按钮。“修复”按钮进行预定的增益调整（用户可通过微调电位计）。前面板的输入开关和“修复”按钮的组合允许你使用开关之间的第一个前置放大器（如2校准开销MIC在工作室）和另一个（如声乐链设置）而无需重新设置输入增益之间。

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个麦克风前置放大器的输入端和一个DB25连接器携带8线输出。该装置是一个强大的电源建设和使用高品质的元件组装和测试我们在纳什维尔，田纳西州的工厂，美国。

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.

我们的设计人员，他们中的一些已经70年代中期以来一直在公司，研究了我们的档案和重新使用他们的模拟设计的专业知识的积累创造了这些设计。这些电路代表“设计师选择“几十台，我们经过多年发展中。每个放大器的细节调整捕获（有时强调用现代零部件原）麦克风前置放大器的特点。在每一种情况下，最初的意图是提供最透明的设计可能与现有技术。在一些记录源的差异是微妙的，而其他的差异会非常明显。

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–前置这是基于一个溢价Lundahl变压器在一个非常规的设计灵感，但提供清洁的增益分贝。它还具有前面板输入的附加功能，仪器（高阻抗）选择“修复”，和一个备用的增益设定。无与伦比的声音和可配置性，这对前置放大器提供了骨干任何录音棚。他们的主唱提供精细的性格，干净地仪器增益，关闭话筒鼓变压器饱和，和recallability（使用固定模式）匹配鼓开销。在该麦克风前置放大器是几十年的优化以适应广泛范围的需求来源的高潮。你不能把任何这些前置放大器，它们不能处理。

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–并行离散输入级提供60dB的增益使用静态偏置方案。该放大器在理论极限边缘静脉测量，是适合在噪声性能是一个绝对优先安静的来源。奇怪的是，同样的前置放大器提供强有力的声音，70年代的摇滚和R&B，让哈里森在地图上。一个真正的经典之作。

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是该模型's-90–是基于一个离散输入阶段（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，该前置放大器是一个“主力”设计，动力哈里森模拟产品多次在过去的几年。这是一个很好的低噪声，高增益放大器，将透明地捕捉任何来源。

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是将一个单一's-00–离散输入阶段（63dB增益）和使用无源偏置方案，这些前置放大器也包括FET补偿动态余量扩展。这种不寻常的设计驱动的一些哈里森后期的数字控制的模拟机，它是用于保存个人的鼓，字符高度重视吉他，和其他冲击，谐波丰富的来源，需要“切断”混合。该电路也不同于其他采用并联的电子平衡输出，我们发现了需要保留原始的性格。

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