m103 channel strip
Channel Strip – mic preamplfier / EQ / compressor
The m103 starts with the tried and true m101 microphone preamplifier circuity. For many engineers, the m101 is an introduction to what quality mic preamplification is all about, and the perfect starting point for a channel strip – musical, transparent and pure. Headroom, detail, clarity – its all there. Complete with our exclusive ribbon mic mode, a 75Hz HPF and 48V phantom.
The 3 band EQ section is built around single stage parallel tuning architecture, which minimizes circuitry and delivers natural tonal shaping from 20Hz to 20kHz. Controls include a fully parametric mid, with sweepable high and low bands which can be operated in shelving or peak modes. Because of its accuracy of this design, smaller increments of cut or boost can be heard, providing a greater level of control over tone shaping.
“Instead of searching for that ever elusive box that’s going to magically make your sh**ty mics sound like rainbows, consider investing in an m103, which will afford you the ability to capture the true color of the source and the dynamic detail of the performance.”
-Scott McChane, TapeOp Magazine
The compressor circuit is based on an optical attenuator – the purest, high fidelity gain control mechanism available. It provides gentle limiting to fairly heavy compression, while remaining neutral and transparent. The perfect way to zip it all up and send it downstream – clean, intact and alive.
10 segment gain reduction and output meters make monitoring compression and output levels simple. The front panel accessed HI-Z input makes this an amazingly high quality instrument preamp. Comprehensive I/O options allow the mic pre and EQ/COMP sections to be accessed independently of each other, and the order of the EQ/COMP is switchable.
A dual function link/ sidechain input on rearpanel is provided for inserting external sidechain signals (for de-essing, ducking) or connecting two m103’s together for stereo compression applications. Predictably, the m103 is built to last, and proudly backed by our 5 year transferable warranty. So there it is, we’ve done it. The m103 – a channel strip by name, a powerful tool by design.
Check out a track which features m103’s on overheads and electric guitars.
The Grace Design EON and STANDARD Warranties
We back up everything we make with either our unrivaled 20 year EON limited warranty, or the 5 year standard limited warranty. These represent the best coverage in the business and prove our commitment to the quality, serviceability and long term value of Grace Design products.
- Fast and musical transimpedance microphone preamplifier architecture
- Updated audio path with 0.5% precision metal film resistors
- New 12 position gold plated rotary gain switch
- High performance output line driver amplifier and HPF amplifier
- Ribbon mic mode (also great for dynamic mics) -Relay bypass of phantom power decoupling capacitors, increased input impedance, and 48V lockout
- 3-band presicion EQ, fully parametric mid band, peak and shelf mode for hi and low bands
- newly designed optical compressor
- Mic amp direct output
- EQ/COMP section line input
- Bombproof laser-etched black anodized frontpanel
- Sealed gold contact relay for Hi-Z input switching
- Built in power supply
- Led indicators for +48V, Ribbon mode, and HPF
- powerful 10 segment meters for gain reduction and output level
- Five year transferable warranty on parts and labor
- Made in the USA
| Gain Range (5dB steps) | |
|---|---|
| Mic input | 10-65dB |
| Hi-Z input | -10-45dB |
| THD+N 1kHz, 22Hz-22kHz BW | |
|---|---|
| @ 20dB Gain +20dBu out | <0.00085% |
| @ 40dB Gain +20dBu out | <0.0010% |
| @ 60dB Gain +20dBu out | <0.0050% |
| Intermodulation Distortion | |
|---|---|
| @ 40dB Gain +20dBu out | |
| SMPTE/DIN 4:1 7kHz/50Hz | <0.0020 |
| NOISE – REFERRED TO INPUT @60dB Gain 22Hz-22kHz BW | |
|---|---|
| 50Ω source | <-130dB |
| 150Ω source | <-128dB |
| 600Ω source | <-124dB |
| CMRR @60dB Gain, 3.5Vcm | |
|---|---|
| 100Hz | >60dB |
| 1kHz | >75dB |
| 10kHz | >65dB |
| FREQUENCY RESPONSE | |
|---|---|
| Mic input @ 40dBm Gain -3dB | 3.7Hz-140kHz |
| Hi-Z input @ 20dB Gain -3dB | 1.2Hz-112kHz |
| Impedance | |
|---|---|
| Mic input | 8.1kΩ |
| Mic input, Ribbon mode | 20kΩ |
| Hi-Z input (unbalanced) | 2.5MΩ |
| Hi-Z input (unbalanced) | 5MΩ |
| Balanced Output | 300Ω |
| Unbalanced Output | 150Ω |
| PEAK LED METER | |
|---|---|
| Green Threshold | -10dBu |
| Red Threshold | +16dBu |
| Maximum Output Level | |
|---|---|
| 100k Ohm load, 0.1% THD | +28dBu |
EQ Comp Section
| Gain Range | |
|---|---|
| Output Trim | -10 – +10dB |
| EQ: 3 Bands of 0-12dB Cut or Boost | |
|---|---|
| Low Frequency Range | 20Hz – 750Hz |
| Mid Frequency Range | 500Hz – 4kHz |
| Mid Frequency Q | 0.5 – 5 |
| High Frequency Range | 3kHz – 20kHz |
| Low and High Frequency Peak/Shelf switches | |
| Compressor – Inserts Pre or Post EQ | |
|---|---|
| Threshold Range | -15 – +15 dBu |
| Attack Range | 3 – 200 ms |
| Release Range | 0.03 – 3 s |
| Ratio Range | 1:1 – 12:1 |
| Gain Reduction | 0 – 10dB |
| THD+N 1kHz, 22Hz-22kHz BW | |
|---|---|
| @ 0dB Gain +20dBu out | <0.002% |
| INTERMODULATION DISTORTION | |
|---|---|
| @ 0dB Gain +20dBu out | |
| SMPTE/DIN 4:1 7kHz/50Hz | <0.002% |
| OUTPUT NOISE 22Hz-22kHz BW | |
|---|---|
| @0dB Gain | <-78dB |
| CMRR @0dB Gain, 3.5Vcm | |
|---|---|
| 100Hz | >75dB |
| 1kHz | >75dB |
| 10kHz | >75dB |
| FREQUENCY RESPONSE | |
|---|---|
| @0dB Gain -3dB | 0.016Hz-150kHz |
| IMPEDANCE | |
|---|---|
| Line in | 24kΩ |
| Main Out balanced | 350Ω |
| Main Out unbalanced | 150Ω |
| Link In – sidechain mode | 100kΩ |
| LEVEL METERS | |
|---|---|
| EQ Peak threshold | 6 dB below interstage clipping |
| Output Level VU Meter | 0dB VU = +4dBu output |
| Gain Reduction Meter | 0-10dB Gain Reduction |
| Maximum Output Level | |
|---|---|
| 100k Ohm load, 0.1% THD | +28dBu |
| Weight and Dimensions | |
|---|---|
| 4.5 lbs | H1.7” x W19” x D9.0” |
| 2.05 kg | H4.3cm x W48.3cm x D22.9cm |
| Power Consumption | |
|---|---|
| 85-264VAC / 120-370VDC | 14 Watts Max |
Review in TapeOp Magazine by Scott McChane
Review in Vintage Guitar by Steven Stone
Review in Recording Magazine by Mike Metlay
Review in Resolution Magazine by Jon Thorton
Review in Bass Player Magazine by Jonathan Herrera
Review in Bass Player Magazine by Jonathan Herrera
