Order Online or Choose Click & Collect - FREE Shipping on most orders over $100


Your Cart is Empty



PreSonus Studio Channel - Tube Channel Strip Preamp / Comp / EQ

The Presonus Studio Channel will out-perform most audio-interface inbuilt preamps, whilst giving you the added flexibility of a VCA compressor and EQ section too. Very wise investment for those after an excellent recording channel on a budget. Class A circuitry and VU metering to top it off!


      The Anywhere Channel

      We admit it: we screwed up. We named this preamp and signal processor the Studio Channel, and indeed it’s a wonderful studio tool. But it’s great for live performance, too. So okay, we got the channel strip’s name wrong. But we got the design right.

      One of our newest signal processors, the versatile Studio Channel provides tube preamplification, dynamics processing, and EQ and takes the channel-strip concept in a bit different direction than does its older sibling, the Eureka.

      The Studio Channel’s Class A tube preamplifier is based on our original BlueTube DP preamp and features a high-output 12AX7 tube that operates on voltages double that of other preamplifiers in its class. The result is lots of headroom and big tone. Gain and Tube Drive controls enable a wide range of sounds, from transparent and clear to edgy and overdriven.

      Our VCA-based compressor is known for musicality and fast attack, with the ability to tame the fastest transients. From slap bass, to snare drum, to vocals, the Studio Channel’s compressor allows you to record blazing-hot signals with total dynamics control. Its convenient Auto Attack/Release feature provides preset attack and release curves. The backlit VU meter can display gain reduction or output gain.

      The custom-designed amplifiers in the Studio Channel’s three-band EQ deliver sweet-sounding gain and cut for smooth highs; deep, solid lows; and clear midrange. The midrange band is fully parametric, with variable Q. The high- and low-frequency bands have Frequency and Gain controls, but fixed Q, and can be either shelving or peak bands. The EQ can be pre- or post-compressor, and you can bypass each stage independently.

      With both XLR and ¼” line outputs, you can connect the Studio Channel to almost any recording interface, amp, or P.A. system. 

      What’s in a Name?

      With one multipurpose processor, you can elicit a huge variety of tones. Produce luscious, in-your-face vocals, dynamic acoustic piano, and fat, solid bass guitar, not to mention crystal-clear acoustic guitars, cracking snare, and huge MPC tracks.

      What’s in a name? That which we call the Studio Channel, live or in the studio, would sound as sweet.

      Feature Summary:

      1 channel with Class A 12AX7 vacuum-tube mic/instrument preamplifier
      Gain control with +10 dB to +54 dB gain range
      Tube Drive control
      48V phantom power switch
      80 Hz high-pass filter
      -20 dB pad
      Polarity-reverse switch

      Fully Variable VCA compressor
      Attack, Release, Ratio, Threshold, and (makeup) Gain
      Auto Attack/Release switch
      Soft/Hard Knee switch
      Bypass switch
      3-band parametric equalizer
      Gain, Frequency, and Q controls (mid band)
      Gain and Frequency controls (low and high bands)
      Shelving/peak switches (low and high bands)
      Switchable pre-/post-compressor
      Bypass switch

      Master level control

      Backlit VU meter
      Gain Reduction to Meter switch (selects gain reduction or output gain)

      1 unbalanced ¼” instrument input (front panel)
      1 balanced ¼” line input
      1 balanced XLR mic input
      1 balanced ¼” line output
      1 balanced XLR line output

      1U 19” rack-mountable, rugged steel chassis
      Sealed, detented, metal rotary controls
      External 16 VAC power supply


      Dynamic Range
      >115 dB
      Frequency Response
      10 Hz to 50 kHz
      Internal Operating Level
      0 dBu = 0 dB

      Microphone Preamp

      -6 dB to +66 dB (± 10 dB trim on line input)
      Noise Floor
      -96 dBu
      -126 dB
      THD + Noise (0% Tube Drive)
      < 0.050%
      THD + Noise (100% Tube Drive)
      < 0.10%
      Microphone Input Connector
      Microphone Input Impedance
      1.3 kΩ
      Instrument Input Connector
      ¼” TS
      Instrument Input Impedance
      1 MΩ
      Line Input Connector
      ¼” TRS
      Line Input Impedance
      10 kΩ
      Phantom Power (switchable)
      Pad (switchable)
      0 dB / -20 dB
      Phase (switchable)
      0°, 180°
      High-pass filter (switchable)
      -3 dB at 80 Hz


      Threshold (variable)
      -40 dBu to +-2 dBu
      Ratio (variable)
      1-10 (1:1 to 10:1)
      Attack (variable)
      0.1 to 200 ms
      Release (variable)
      0.05 ms to 3S
      Gain Makeup
      -10 dB to +10 dB
      Analog VU (Gain Reduction / Output)


      LF Band Controls:

      Variable from 40 Hz to 500 kHz
      Variable between ±10 dB
      0.7 (on Peak setting)

      MF Band Controls: 

      Variable from 200 Hz to 3 kHz
      Variable from -10 dB to +10 dB
      Variable from 0.7 to 2.5

      HF Band Controls:

      Variable from 2 kHz to 20 kHz
      Variable between ±10 dB
      0.7 (on Peak setting)


      Output Fader
      -80 dB to +10 dB
      Output Connectors
      XLR Balanced and ¼” TRS Balanced/Unbalanced
      Output Impedance
      Metering (Output level)
      Analog VU (-20 dBu to +6 dBu)
      Metering (Gain Reduction)
      Analog VU -20 dB to 0 dB
      Output Headroom
      +22 dBu

      Power Supply

      16 VAC / 1000 mA
      Power Requirements (Continuous)
      External (country specific)


      1U rackmount
      1.75” (44.45 mm)
      5.5” (139.7 mm)
      19” (482.6 mm)
      5 lbs. (2.27 kg)

      As a commitment to constant improvement, PreSonus Audio Electronics, Inc., reserves the right to change any specification stated herein at anytime, without notification.


Need more info? Click HERE for the manufacturer's website >>>