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The new PR8E multi-channel mic/line preamp is the vanguard of the 'next-generation' in the SM Pro range. Using the latest components available and redesigned from the ground up, the PR8E's carefully structured single circuit board design results is an exceptionally low noise pre-amp boasting a very high gain structure.

Tailored to suit a wide variety of applications, the PR8E is perfectly suited for use as a front-end device for many hard disk recording systems, as well as adding additional mic pre's to digital mixers and sound cards.

Each pre-amp features it's own XLR/TRS jack 'Combo' input connector, 48v phantom power switch for the mic-pre and a built-in -20dB pad in the 1/4" (6.5mm) TRS line-in jack sockets. Individual phase reversal switches are provided next to the eight balanced 1/4" (6.5mm) TRS output sockets on the rear panel. All this is housed inside a hardened steel chassis, complete with rack mounting panels.

Each mic-pre provides some 60dB of gain with a massive 23db of maximum output! Ultimately however, the quest is about sound quality. To this end, the PR8E is certainly designed to deliver and will outperform just about any other device in it’s class.

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• 1 Brand New SM Pro Audio PR8E Microphone Preamp
• 8 x discrete microphone preamplifiers
• Line Input: Impedance 47K
• Ultra-Wide Dynamic Range
• Line Input: Min sensitivity -35dB
• Low-Noise Operating Levels
• Line Input: Peak input level +32 dB
• Balanced XLR/combo Inputs and TRS Outputs
• Output: Impedance 600 Ohms
• 48V Phantom Power per channel
• Peak output level:+23dB
• Phase Reverse per channel
• Frequency response: 20Hz- 20KHz 0dB- -0.5dB
• Gain control per channel
• Distortion: 0.005%
• Peak Light Per channel
• S/N: > 105dB
• Mic Input: Impedance 4K7 Ohms
• Crosstalk rejection: >120dB @1KHz; -20dB input
• Mic Input: Peak input level +9.5 dB
• Max Gain: 58dB
• Mic Input: Phantom Power +48V, (switchable)
• Housing: Metal
• 19" Rack Mountable
• Unit Measurements are 17.5" x 7" x 1.75"
• Power cord included and full instructions included

A lot of computer recording systems and Digital Audio Workstations (DAWs) suffer from a chronic lack of ways of getting sound into the system, with line level inputs usually outnumbering the mic inputs. For example, I bought a Yamaha AW2400 24-track mixer/recorder system that has had the expansion card fitted, to work with live bands, simultaneously recording to 16-tracks. The unfortunate thing is that the expansion card is only for line level inputs so I couldn’t just simply plug in 16 mics into the system, hit record, and go. To record to all 16 tracks simultaneously I needed a pre-amp to boost the microphones up to line level.

(For the uber tech-heads, pro sound and broadcast gear operates at a line level of + 4dBm. That is, on the VU meters of a +4dBm mixing desk, the “0”= 1.23 volts RMS. Mic Level is generally considered to be around 2 or 3 millivolts – that’s 1/1000ths of a Volt. That’s why the mic level must be boosted!)

Pre-amps can be designed to be as ‘neutral’ sounding as possible, merely boosting the signal from mic level up to line level. They can also be ‘boutique’ preamps, designed to deliberately ‘colour’ the sound during the process, with different types and brands of ‘pre’ flavouring the sound in differing ways. This is why recording studios usually have a large range of different types of pre-amps to use on different tracks and in different settings, to build a distinctive palette of sounds, especially for the all- important vocal tracks.

Basically the kind of pre-amp I needed was one leaning towards the ‘neutral’ end of the spectrum as live rock recordings are often more about capturing cleanly the energy and force of a live gig rather than subtle variations of tone! And, as it was mostly to be used in the rough and tumble of live band recording it must be able to handle a variety of input levels – the peaks from a meaty kick-drum can hit +4dBv! I also did not want to pay too much. Enter the SM Pro Audio PR8E 8-channel mic pre-amp. NOTABLE FEATURES The PR8E is a single 19” rack-space unit, complete with rack mounting ears. The design is clean and modern, mostly black with silver gain knobs (aka ‘potentiometers’) and swatches of gray and red. The power switch and accompanying very bright blue LED are located at the front. The electronics live inside a hardened steel chassis, giving the unit a very solid feel. Each of the eight preamps has a combination XLR/TRS jack Input on the unit’s front panel; with a TRS Output jack at the rear. The preamps provide an impressive 60dB of gain with peak indicator LEDs on every channel. According to the spec sheets there’s a massive 23db of maximum output and, although I could not verify this in a lab, I can tell you that the PR8E 8 can easily overload anything it is plugged into. (Hint: Keep an eye on your recording gears’ input meters when using this or any other type of external pre-amp.) Unlike many other budget pre’s – and many other not-so-cheap units - the PR8E 8 has individually switched 48V phantom power per channel, rather than global or group ‘bank’ switches. A ‘phase’ or polarity reversal switch for each channel is located on the back of the unit. IN USE Like all things audio, whether something sounds good or not is in the ‘ears of the beholder’, so to speak. (If there was a group of sound dudes discussing a piece of gear, there might be variation in opinion of how good a piece of gear may sound, but if it was crap, the verdict would be unanimous!) So rather than getting opinions I ran it through a spectrum analyser – Smarrt Live – to get an idea of where any ‘lumps’ or ‘holes’ in the sound might be. Without trying to describe every little bump and peak on the graph, the sound's frequency response agrees with the marketing blurb, with a gentle dip around 90Hz and a rise at both 2.5kHz and 10kHz. Kick drum and Floor Tom will need a tad of EQ as a result of the dip at 90Hz but the 2.5 and 10k boosts adds some ‘cut’ and ‘air’ to most things. (Almost like an EQ with Lo, Mid and Hi bands! But then again we can always pull it out if we don’t like it!) I like the logic of having the inputs on the front panel and outputs to the rear but having the Phase Reverse switch out the back can be a real pain if we routinely have to ‘flip’ the polarity of the input when we are top and bottom miking drums. This will be even worse when we rack mount the unit for gigging. SM Pro may have assumed that most pro mixing desks have a phase reverse built in to each channel but at the budget end of town – where this unit is squarely aimed at – this is design flaw. I have used the units with all pre-amps getting up towards max settings for hours on end without them ever getting too hot. They just reliably deliver eight channels of extremely clean and quiet audio. When operated sensibly the output sound is clean and detailed and not dragged down at all by a noticeable noise floor. I liked it that much I bought it. Highly Recommended; and it’s an Australian company! RRP $350, but shop around, I paid $280. WILLY T operates Giraffe Media, supplying Words, Pix & Live Recording Services to the Entertainment Industry. Email liveaudioworkshop@netspace.com.au.