Studio Microphone Preamps

Notes: The ultimate studio preamp expander is here. EVO SP8 is designed to be the perfect partner for expanding your existing audio interface. Give your studio the performance and capability boost it needs, providing eight intelligent EVO Preamps that set their own levels with Smartgain, advanced AD/DA converter technology and a versatile range of I/O connectivity. Add to that two JFET instrument inputs, the all new, groundbreaking Motion UI control system and exceptional audio performance across the board. The EVO SP8 might just be the world's smartest Mic Preamp.

The perfect partner for your audio interface

Bigger sessions demand more channels and expanding your existing audio interface via ADAT might be the most cost effective solution to scale up your studio. EVO SP8 provides eight mic/line inputs, eight line outputs and 2 x ADAT connections, giving you enough I/O firepower to easily tackle multi-mic sessions like recording drums, or taking on a full band.

Get studio quality recordings
Say hello to the preamps your studio needs. Eight sonically stunning EVO preamps will effortlessly level up your recordings, delivering professional grade audio performance backed by 25 years of engineering experience. The analogue mic preamp has been designed to deliver the most accurate, clean and true to source version of your audio, no matter what you're recording.

An analogue mic pre but better

Fire your studio into the 21st century with powerful EVO Preamp technology. Combining all the sonic advantages of a studio-grade analogue mic preamp with digitally controlled tactile precision, the EVO Preamp gives you the ability to set your gain with pin-point accuracy, right down to the decibel.

Advanced Converter Technology

Better converters = better audio

In the studio, sound is everything and EVO SP8's high performance AD/DA converters use 32-bit technology to make sure you always hear your audio clearly, whether you're recording music or sending audio to your favourite outboard gear and back when mixing. Better converters mean better audio - helping you make creative decisions confidently, identify issues and improve your overall recording and mixing game.

Smartgain
A total gain-changer
Make recording drums and larger sessions easy with Smartgain. Automatically set the gain for all eight channels at once with a simple touch of a button. Powered by our lightning quick Smartgain algorithm, Smartgain uses advanced peak analysis to automatically analyse, adjust and set your gain to the perfect levels - all in less than 20 seconds! Now it's up to you to figure out what to do with all that time you're saving...

Your own assistant engineer

Working Solo?

Record, adjust levels, repeat. Sound familiar? Save time and make recording on your own a breeze and gain the power to save time with Smartgain. Simply set up your mics, hit Smartgain, start performing and EVO SP8 will take care of the rest.

Compatible with EVO 16

EVO Expanded System

Become more efficient in the studio. Unleash Smartgain's capabilities by pairing two EVO SP8's with an EVO 16 audio interface and get 24 channels of Smartgain enabled mic preamps. Yes, with an EVO Expanded system that's 24 channels at once... light years ahead of the competition.

Introducing

Motion UI, A an audio interface UI created by EVO by Audient

Navigate SP8's hardware features with blazing speed courtesy of the all new Motion User Interface. For the first time, a stunning high resolution, full colour screen intelligently displays information as you need it, transforming EVO SP8 into a fully immersive, easy to use Smart Preamp - the first of its kind.

Specifications

Microphone Preamplifier

Mic Gain Range: 58dB
Line Gain Range: 58dB (-10dB pad)
Phantom Power: 48v +/-4v @ 10mA/Channel
Mic EIN: <-127.5dB
CMRR: >80dB @ 1kHz
Maximum Input Level: +16dBu
Input Impedance (Mic): >3kO Balanced
Input Impedance (Line): >10kO Balanced
Frequency Response: +/-0.5dB 10Hz to 40kHz
Crosstalk: <-105dBu @ 1kHz <-103 @ 10kHz
THD+N @ 0dBu (1kHz): <0.0015%
SNR: 100dB
XLR: Pin 2 (Hot), Pin 3 (Cold) & Pin 1 (Shield)
1/4" Jack: TIP (Hot), RING (Cold) & SLEEVE (Shield)

D.I Inputs
D.I Gain Range: 58 dB
Maximum Input Level: +10dBu
Input Impedance: 500k
Frequency Response: +/-0.5dB 10Hz to 20kHz
THD+N @ 0dBu (1kHz): <0.1%
SNR: 100dB
1/4" Jack: TIP (Hot) & SLEEVE (Shield)

ADC
Digital Reference Level: 0dBFS = +10.5dBu
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: -125dBu @ 1kHz & 10kHz
THD+N @ -1dBFS (1kHz): <0.001%

Line Outputs

Maximum Output Level: 12dBu
Digital Reference Level: 0dBFS = +12dBu
Output Impedance: <50O
Frequency Response: +/-0.5dB 10Hz to Fs/2
Crosstalk: <-110dBu @ 1kHz
THD+N @ -1dBFS (1kHz): <0.006%
Dynamic Range: >117dB A-weighted
1/4" Jack: TIP (Hot), RING (Cold) & SLEEVE (Shield)

Dimensions

Unit: 355mm (w) x 255mm (d) x 53mm (h)

Notes: What It Is

It's tempting, if not a little lazy, to view these new 500-series offerings as mere repackages of the tried-and-true products like the RNLA. There is really nothing mere about them. It's not that there aren't obvious connections...the RNLA500's lineage is definitely visible and audible: red knobs-albeit slightly more refined-provide a visual clue as to its origins while it's thick & gooey sound tell you the RNLA's algorithm is still beating in its silicon heart! Okay, it's still an RNLA that you can use to add some compression-induced character (and control) to your vocal/bass/drum/mix/guitar/piano/orchestral/banjo tracks. It's also comfortably responsive to its controls, just like the 1/3 rack version. So what about this isn't merely a repackaging?

First, there's the 500-series thing: small, rugged and convenient analogue audio processing modules that fit into just about any recording situation-from pro studios to bedroom venues. Having what you need, when and where you need it is, as "they" say, half the battle. The 500-series format is, well, everywhere. Secondly, although convenience and size are important (this is audio after all), if it doesn't deliver the sonic results, what's the point? Even dyed-in-the-wool RNLA users notice that there's something more here: thick & gooey, meet creamy & smooth! From fully, electronically balanced I/O to higher-resolution arithmetic, the net result is a professional audio compressor that's both responsive, small, rugged and has tone for days! RNLA progeny? Yes. But not merely...

How It Sounds

Okay, thick, gooey, creamy & smooth. Got it. For most of us, this means that it sounds good, but what does that mean? The RNLA500 is, admittedly, much "gentler" and not as apt to grab'n'run with the signal as other, more "modern-sounding" compressors. Like an old-timey photocell, the RNLA500 is a little resistant to responding right away, but requires the signal to be there for a while to get the photocell to act. That slight hesitancy to respond is one of the key performance parameters that causes opto (and opto-like) compressors to be so coveted. Although the RNLA500 is a VCA-based compressor, the algorithm controls it in a manner that puts the essence of opto-compressors in a more modern and controllable compressor.

How It's Done

Like all FMR Audio dynamic audio processing products, the sidechain electronics replaced with chunks of software to accomplish both a bill-of-materials cost reduction while simultaneously improving dynamic performance accuracy and consistency. The beauty of this approach is that the main signal path (all dynamic audio processors have two paths: a sidechain/control path and the main audio path) remains firmly in the analogue domain thereby avoiding latency and digital conversion artifacts that are sometimes unwanted. Coupled with a faster (40x) processor and higher-resolution VCA control, sealed switches & relays, multi-layer printed circuit board (PCB) the RNLA500 will deliver smooth and controllable compression for years to come.