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Aphex Channel Master Preamp and Input Processor

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With more and more studios foregoing consoles in favor of recording and mixing in the computer, a clean and versatile front-end input stage is indispensible. There are dozens and dozens of channel str... Click To Read More About This Product

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With more and more studios foregoing consoles in favor of recording and mixing in the computer, a clean and versatile front-end input stage is indispensible. There are dozens and dozens of channel strips and similar devices to choose from, but none that come close to the Channel by way of sound, features or performance.

The legendary Model 230 has been re-imagined, adding a host of new features to address a greater number of workflows while retaining the sound, functionality and versatility that made it one of the most in-demand processors ever for professional audio, live sound, broadcast and post production.

The Channel incorporates seven powerful devices within a compact, single rack space design, including five of Aphex's exclusive patented technologies. Together, the result is the highest possible audio quality, processing power and flexibility available.

The elegant front panel not only looks great, but is laid out in an intuitive, easy-to-use workflow with easy to understand labeling. Building on the foundation of the Model 230, the Channel features an instrument input, dedicated output and gain reduction metering, front panel sample rate and clock source selection, and a reference quality internal clock.


The Aphex Channel is a Tube Microphone Preamp and signal processor that is an indispensable broadcast station tool. You'll find them in the production room and installed as a permanent on-air processing for pumping up voices.

Recording Studios
The Aphex Channel is a powerful and easy-to-use channel strip for commercial and project studios, featuring our reflected-plate amplifier tube microphone preamp design plus compression, gating, de-esser, parametric EQ, Aural Exciter, and Big Bottom bass enhancement. It is an extraordinary single rack unit that offers 7 of Aphex's most popular tools that help you work more easily and naturally, achieving the sonic quality you want without connecting several devices.

Live Sound
When space is at a premium in a touring rig, and night after night reliability is essential, the rugged Aphex Channel provides all the top quality processing needed for any instrument without taking up precious rack space.


  • Patented Reflected Plate Amplifier (RPA) Ultra-wide bandwidth Tube Preamp
  • EasyRider Class A Compressor automatically adjusts attack and release times
  • Logic Assisted Gate designed to avoid false triggers, clicks and chattering
  • De-Esser to maintain presence while dramatically reducing sibilance
  • Big Parametric EQ to precisely fine tune the all-important midrange
  • Aural Exciter for increased presence and clarity
  • Connector: XLR-3F
  • Type: Transformerless, NPN active balanced, tube second stage
  • Input Z: 2k ohms nominal
  • Maximum Input Level (MIL): +25dBu
  • CMRR: >70 dB @ 60 Hz
  • Nominal Preamp Gain: 20 to 65 dB
  • Phantom Power: +48VDC
  • Pad: 20dB
  • EIN: -127dBu (Input Shorted)
  • Tube Type: 12AT7/ECC81 Dual Triode
  • Connector: XLR-3M and 1/4" TRS Phone Jacks
  • Type: XLR is Impedance Balanced (may be used unbalanced); TRS is unbalanced
  • Out Z Balanced: XLR 66 ohms
  • Out Z Unbalanced: XLR 33 ohms; TRS 600 ohms
  • Nominal Level: XLR +4dBu; TRS -10dBV
  • Maximum Output Level: +25dBu Unloaded; TRS +11dBV
  • Attack / Release: Program dependent, user variable release baseline
  • Ratio: 4:1
  • Threshold: Fixed
  • Knee: Medium Hard
  • GATE
  • Attack: 0.1 millisecond
  • Hold / Release: 300 milliseconds / 400 milliseconds
  • Threshold: Variable -50 to +20dB
  • Depth: Variable, 1 to 58dB
  • Attack: 0.1 millisecond
  • Release: 100 milliseconds
  • Threshold: Variable -20 to +20dB
  • Ratio: 5:1
  • Active Band: 4 kHz to 20kHz Linkwitz-Riley 24 db/octave crossover
  • Connector type - Send: 1/4" TRS Phone Jack, Balanced
  • Connector type - Return: 1/4" TRS Phone Jack, Balanced
  • Nominal Operating Level: 0 dBu
  • Point of Insertion: Between dynamics processing and equalizers
  • Frequency: 50 Hz to 280 Hz
  • Tune: Off to +12dB
  • Frequency Tune: 240 Hz to 8 kHz
  • Peak / Dip: ±12dB
  • Q Range: 0.5 to 5
  • Frequency Tune: 500 Hz to 5kHz
  • Mix: Off to +12dB
  • THD: <.01% @ +4dBu Out
  • IMD: <.01% @ +4dBu Out
  • Freq Response (Flat): 18 Hz to 24kHz ±1dB
  • Internal Sample Rates: 44.1KHz, 48KHz, 88.2KHz, 96KHz
  • External Sample Rates: Automatically syncs to any word clock between 32KHz and 96KHz
  • Resolution: 24 bits
  • Word Clock Input: BNC Jack, High Z, Captures <1Vp-p to 5Vp-p
  • Word Clock Output: BNC Jack, 75 Ohms, 5Vp-p
  • Dynamic Range: Digital dynamic range greater than analog front end
  • Noise Dither: Dithered by analog preamp noise floor. Equivalent to 16-bit digital audio dither.
  • Level Equivalency: -20dBFS Digital = +4dBu Analog
  • Power requirements: 90-250 VAC 50-60 Hz 12W
  • Dimensions: 19"W x 1.75"H x 8.25" D 1 Rack U (482.6mm x 44.5mm x 209.6mm)
  • Depth Behind Front Panel: 7.5" (190.5mm)
  • Net Weight: 6 lbs (2.73 kg)
  • Shipping Weight: 9 lbs (4.1 kg)
Pro Coverage
One year parts and labor warranty.

  • Customer Reviews

Review Snapshot

by PowerReviews
AphexChannel Master Preamp and Input Processor

(based on 1 review)

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Reviewed by 1 customer

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(1 of 1 customers found this review helpful)


All in one

By Juan Sebasti��́n Urrego

from Colombia

Comments about Aphex Channel Master Preamp and Input Processor:

This little guy it's so powerful. You have compressor, gate, de-esser, aural exciter and preamp all in one. I use it for music recording and, even when it's design for broadcast, sounds great (i have used it with vocals, guitars and percussion). The only thing that is not the best is the easy rider compressor , off course it?s great feature and usually works great, but if you want a high input with a little of compression, it's impossible (with more gain you get more compression, and even if you have a slow release you can feel it). So you can't have the exactly compression that you want. I'd discovered that if you use a not too much high gain (a little less than half) and a quarter of the release, you get a nice compression and a clear voice (also works with instruments).

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