buzz audio heritage
Designed to provide transparent amplification to reveal the true source, they do not come any better than this. If you wish to record your sounds with the utmost warmth and clarity possible, you have found the tool for the job. And it's not just us blowing our trumpet here, it's what hundreds of users have told us over the years since the MA-2.2's first introduction.
audio path quality
The circuitry used in the MA-2.2 preamp was developed by Tim Farrant in the 1990's and was dubbed "True Class A". The resulting BE40 series of amplifiers exhibit very wide frequency response (into the mega-hertz ) and ultra fast slew rates (140V/uS) even at 60dB of gain. These attributes, plus the inherently low distortion provide the exceptionally pure top end sound of the MA-2.2. In additon, the over engineered power supply design with localized Class A regulators for each amplifier stage supplies the grunt needed for an authoritive and accurate bottom end.
As many of our users have discovered, the MA-2.2 sounds amazingly vibrant when recording acoustic guitar and percussion. It is equally at home on vocal and piano duties - you will also be very surprised how good a kick drum can sound using this preamp. One could say, there is not much this preamp cannot record well! The transformer-less low reactance input stage with a Wima capacitor stack matches well with all microphones types and the noise specification is within 0.5dB of the theoretical minimum possible, so ribbon and dynamic mics' are no problem for this preamp.
controls and functions
POLARITY REV - this switch changes the polarity (phase) of the input.
0dB/-20dB - this switch introduces a 20dB pad right at the mic input for high level signals.
PK - this red led will light up when the QSP output level reaches +22dBu.
GAIN - 41 position detented pot that sets gain between +16 to +65dB.
MUTE - mutes the MA-2.2 output while you change mic positions. 48V - locking toggle switch turns the phantom power on and off.
HI Z/LO Z - selects the input impedance as seen by the microphone which can change the overall tone.
There is also a handy power ON/OFF switch and associated power led.
Min Gain; +16dB (-4dB with pad in)
Max Gain; +65dB Maximum Output Level; +24dBu unbalanced
Frequency Response 2Hz to 250kHz @ 20dB gain (-3dB)
20Hz to 250kHz @ 65dB gain (-3dB)
Harmonic Distortion; less than 0.008% 100Hz to 10kHz
Slew Rate; typically 140 V/uS, @ +20dBu output level
Equivalent Input Noise; -133.5dB A wtg, 150ohm source Z
Signal to Noise Ratio; -74dBu A wtg, input shorted
Common Mode Noise Rejection; 100Hz-80dB, 1kHz -80dB, 10kHz-70dB internal trims
Channel to Channel Crosstalk; below noise
Input Impedance; 3k ohms/1k2 ohms switchable
Indicators; Peak Level @ +18dBu, Power On
Connectors; Input-XLR3F, Out on 1/4" jack and XLR3M
Size; 1 Unit rack mount, (482Wx44Hx300D)
Power requirements; 230V/115V selectable
Specifications are typical of a production unit and are subject to change without notice. 0dBu reference = 0.775 volts RMS